Search Results: Antique-Prints from D & E Lake Ltd. (ABAC, ILAB)

c1641. Only State. From the series 'Divers dessins tant pour la paix que pour la guerre', published by Israël Henriet, Paris. The battle scene extends from left to centre, with cavaliers galloping into the distance on the right. Della Bella was born in Florence in 1610, and studied the art of etching under Remigio Cantagallina, who had also been the master of Callot. While at first the young artist undertook to emulate Callot, he soon developed a style of his own. "No artist has handled the point with more facility and finesse than Della Bella. His execution is admirable, and his touch spirited and picturesque. He designed his subjects with infinite taste, and his plates produce a clear and brilliant effect.". (Bryan's Dictionary Of Painters And Engravers). The present etching dates from Della Bella's enormously productive and successful stay in Paris, where he worked from 1640 to 1649, etching prints on a wide variety of subjects: military, landscape, theatrical, religious, architectural, &c. De… Read More

[np: c1840]. The artist and engraver attributions are based on the aquatint of the Maggiore Hospital held by the Wellcome Library which has its legend intact printed below the image. Further research located images of two Migliara paintings after which the corresponding aquatints were engraved. Since all of the aquatints are stylistically uniform it is more than highly likely that they were all engraved by Joannes Ruff after paintings by Giovanni Migliara. Migliari studied at the Brera Academy in Milan and began his career as a set designer in the Teatro Carcano and La Scala. He became a favourite of the Milanese aristocracy and in 1822 was named professor at the Brera Academy. In 1833 he was named court painter to King Charles Albert of Sardinia after being presented with the Civil Order of Savoy. His artistic output included numerous views of Milan and Venice. The aquatints depict (1) Porta Romana; (2) Piazza dei Mercanti; (3) Palazzo Reale: (4) Il Duomo (Milan Cathedral); (5) San-Fedele; (6)… Read More

c1641. Only State. From the series 'Divers dessins tant pour la paix que pour la guerre', published by Israël Henriet, Paris. The print shows on the left a long line of horse-drawn canons extending into the distance, to the extreme right a cavalier making a sign with his right hand, at centre foreground a horse whose rider has fallen to the ground, and at right foreground a dead horse, in the distance a battle on a bridge. Della Bella was born in Florence in 1610, and studied the art of etching under Remigio Cantagallina, who had also been the master of Callot. While at first the young artist undertook to emulate Callot, he soon developed a style of his own. "No artist has handled the point with more facility and finesse than Della Bella. His execution is admirable, and his touch spirited and picturesque. He designed his subjects with infinite taste, and his plates produce a clear and brilliant effect.". (Bryan's Dictionary Of Painters And Engravers). The present etching dates from Della Bella's… Read More

c1649. Second State (of 2). Amalekites are shown riding in a large landscape pursued by Israelites. A dead man and a dead horse are in the foreground left and another dead man is shown in foreground right. Three figures are discernable on a distant mountaintop to the right (Moses, Aaron and Hur). Della Bella was born in Florence in 1610, and studied the art of etching under Remigio Cantagallina, who had also been the master of Callot. While at first the young artist undertook to emulate Callot, he soon developed a style of his own. "No artist has handled the point with more facility and finesse than Della Bella. His execution is admirable, and his touch spirited and picturesque. He designed his subjects with infinite taste, and his plates produce a clear and brilliant effect.". (Bryan's Dictionary Of Painters And Engravers). The present etching probably dates from Della Bella's enormously productive and successful stay in Paris, where he worked from 1640 to 1649, etching prints on a wide variety of… Read More

1551. Only State. Abraham is shown with a sword raised above his head with Isaac kneeling before him, the scene set in an expansive landscape. The southern Netherlandish painter and etcher Cock produced a total of 62 etchings but he was better known as a print publisher: "[He] was the most important print publisher of his time in northern Europe and played a key role in the transformation of printmaking from an activity of individual artists and craftsmen into an industry based on division of labour. His house published more than 1,100 prints between 1548 and his death in 1570, a vast number by earlier standards... Cock's enterprise played an important role in the spread of the Italian High Renaissance throughout northern Europe as Cock published prints made by prominent engravers such as Giorgio Ghisia, Dirck Volckertsz Coornhert and Cornelis Cort after the work of leading Italian painters like Raphael, Primaticcio, Bronzino, Giulio Romano and Andrea Sarto." (Wikipedia) The landscape design for the… Read More

c1645. Jean Morin is another engraver of the earlier part of the seventeenth century in France, who fills a distinct and distinguished place in our history...he constantly combines engraving with etched dot and line, and achieves thereby a subtlety of tone of which the Bentivoglio after Van Dyck is a brilliant example." (Hind, A History of Engraving and Etching, p. 144). etching & engraving. 289 x 233 mm. (image). signed in the plate. A good dark impression on laid paper, trimmed to just outside image

c1666-1707. Edelinck studied with the engravers Gaspar Huybrechts and Cornelis Galle the Younger in his native Antwerp, and with François de Poilly, Robert Nanteuil, and Philippe de Champaigne in Paris. He became a naturalized French citizen in 1675, was appointed by Louis XIV teacher at the academy established at the Gobelins manufactory for the training of workers in tapestry, won admission to the Académie Royale de Peinture et de Sculpture in 1677, and became principal draftsman for the King. A superb portrait engraver, Edelinck executed prints of many of the most eminent persons of his time. copper engraving. 324 x 218 mm. (plate). (sheet: 348 x 243 mm.). signed in the plate. A good dark impression on thick laid paper (traces of mounting on verso)

1679. Fourth State (of 5). The Dutch engraver and mezzotinter Blooteling was a pupil of Cornelis van Dalen and probably worked with Cornelis Visscher. He is credited with the invention of the rocker as a tool in the preparation of mezzotint plates and with the introduction of the technique into England. Hollstein 3. copper engraving. 343 x 254 (image) (sheet: 350 x 261 mm.). signed & dated in the plate. A good dark impression on slightly thick laid paper (mounting tape on verso). Provenance: rubberstamp in lower right corner of Friedrich August II [1797-1854]

1655-58. Numerous architectural and urban projects were undertaken in Rome under the direction of Pope Alexander VII (1655-1667), who engaged the talents of leading architects Gianlorenzo Bernini, Pietro da Cortona, and Carlo Rainaldi among others to accomplish his vision. Among these were the church and piazza at Santa Maria della Pace, the Via del Corso, Piazza Colonna and associated buildings, the reworking of the Porta del Popolo, the Piazza del Popolo and Santa Maria del Popolo, the Piazza San Pietro, the Scala Regia and interior embellishments in the Vatican Palace and St. Peter's, Sant'Andrea al Quirinale, part of the Palazzo del Quirinale, the obelisk and elephant in Piazza della Minerva, and the Palazzo Chigi. Hollstein 138. copper engraving. 307 x 235 mm. (image) (313 x 238 mm. sheet). signed in the plate. A good dark impression on laid paper, trimmed just inside plate mark at top & sides & 4 cm outside plate mark at bottom. (2 neat short repaired tears at edges extending into image - no… Read More

1577. Second State (of 3). Apparently 2 lines of Latin verses and Speccard's (Speckaert's) name have been cut off at the bottom. The Dutch engraver apprenticed with prolific print publisher Hieronymus Cock and spent the last twelve years of his life in Italy, where he lived for a time with the painter Titian in Venice, and where he produced engravings based on works by Titian, Raphael, Caravaggio and others. "In the use of a more open system of lines, contrasting with the closer hatching of Marcantonio and is followers, Cort was perhaps the pioneer in Italy, and the immediate inspirer of Agostino Carraci." (Hind, A History of Engraving and Etching, p. 119) Hollstein 138. copper engraving. 215 x 152 mm. (image). laid paper. trimmed at or near neatline (image shaved on left). signed in the plate. A dark impression (repair to upper left corner with some loss, mounting tape on verso)

c1666-1707. Edelinck studied with the engravers Gaspar Huybrechts and Cornelis Galle the Younger in his native Antwerp, and with François de Poilly, Robert Nanteuil, and Philippe de Champaigne in Paris. He became a naturalized French citizen in 1675, was appointed by Louis XIV teacher at the academy established at the Gobelins manufactory for the training of workers in tapestry, won admission to the Académie Royale de Peinture et de Sculpture in 1677, and became principal draftsman for the King. A superb portrait engraver, Edelinck executed prints of many of the most eminent persons of his time. copper engraving. 283 x 205 mm. (plate). signed in the plate. A good dark impression on laid paper, trimmed to 3 mm. outside plate mark

1658. copper engraving. 293 x 233 mm. (sheet). signed & dated in the plate. A good dark impression on laid paper (trimmed just inside or at plate mark at top & sides & just outside plate mark at bottom, tear & repair to lower left corner with slight loss, traces of mounting on verso). Provenance: rubberstamp on verso of the Städtisches Museum of Leipzig

1661. First State (of 2). Arthur Hind refers to Nanteuil as "the master of pure engraving" and "the undisputed head of the French school of portraiture". "At its best his work possesses a noble directness of expression and a complete freedom from all the attractive mannerisms by which a spurious reputation is so lightly gained." (Hind, A History of Engraving and Etching, p. 144) This print was made two years after Nanteuil's appointment as portrait engraver to Louis XIV. It was largely due to Nanteuil's influence that the King granted the edict of 1660 by which engraving was pronounced free and distinct from the mechanical arts, and engravers were declared to be entitled to the privileges of other artists. Nanteuil engraved portraits of many distinguished personages, including the King, Cardinal Richelieu and Queen Christina of Sweden. Le Tellier became Secretary of State for War in 1643 and Chancellor of France in 1677. He played a major role in transforming the French army into a much larger and… Read More

17th century. Likely Third State with name of Vincentius (Vincenzo) Billy as publisher in the plate. St. Andrew is shown kneeling with his arms extended and hands together in prayer, his clothes being stripped from him, surrounded by soldiers (some on horseback) and onlookers. His cross is visible on a hill in the distance on the upper right. The scene is after a fresco by Guido Reni located in the Oratory of St. Andrew in San Gregorio Magno in Rome. This is one of Cesio's major prints. Bartsch 3. etching with engraving. 297 x 446 (image). narrow margins. signed in the plate. beige laid paper (11 short tears & 1 small hole at edges entering image, crease in upper left corner, remains of mounting on verso)

1541. Only State. Pencz trained in the Nuremberg workshop of Albrecht Dürer whose lasting influence is evident in his work. Together with Hans Sebald Beham, Barthel Beham and others he was a member of the group of influential German printmakers known as the "Little Masters", whose engravings were characterized by their small size and delicate and intricate style. The present small engraving, from Pencz's series 'The Seven Deadly Sins', shows a finely dressed woman with peacock feather wings gazing into a mirror above the caption 'Superbia Omnes Despicio'. Pencz also became a distinguished portrait painter, and in 1550 was appointed court painter by Albert, Duke of Prussia, although he unfortunately died en route to his destination. Landau 97. Bartsch 98. Hollstein 108. copper engraving. 82 x 53 mm. initialed in the plate. A good but slightly worn impression on laid paper, trimmed on or just inside plate mark. Provenance: Dr. W. Schumacher (rubberstamp on verso)

1667?. Tenth State (of 12). Van Ostade was a prolific Dutch Golden Age painter and etcher best known for his genre scenes of peasant life. He was born in Haarlem and probably trained with Frans Hals along with Adriaen Brouwer, whose style strongly influenced his own. "The greatness of Ostade lies in how often he caught the poetic side of the peasant class in spite of its ugliness, and stunted form and misshapen features. He did so by giving their vulgar sports, their quarrels, even their quieter moods of enjoyment, the magic light of the sungleam, and by clothing the wreck of cottages with gay vegetation." (Encyc. Britannica, 11th Edn.) Godefroy 11. Hollstein 11. etching. 165 x 126 mm. signed 'Av. Ostade' in the plate. A good impression on laid, trimmed inside plate mark but outside neat line (thinning of paper in lower left corner). Provenance: rubberstamp on verso of the Kupferstich-Sammlung Der Konigl. Museen in Berlin

Ottawa: 1884. ìThe dramatic impact of the coming of the railroad to Winnipeg is illustrated here. Winnipegís population reached 17,000 in 1884 (not the 30,000 indicated on this map) and in four years the extent of the built-up area more than doubled... Practically overnight Winnipeg had become a major railroad centre.î(Artibise & Dahl) Fonsecaís plan shows the streets, homes, buildings, railway yards of the Canadian Pacific Railway &c. The plan is illustrated with twenty-two views of the old and new Hudson Bay Company Store, the Grand Pacific Hotel, Manitoba Free Press Office, Manitoba College, St. Marys Academy, St. Boniface Cathedral, the residence of Hon. A.G.B. Bannatyne, St. Johns College, the Hudson Bay Land Office, the Redwood Brewery &c. Artibise & Dahl, Winnipeg In Maps 1816-1972, pp. 22-23. Reps, Views And Viewmakers Of Urban America, 1269. Warkentin & Ruggles, Historical Atlas of Manitoba, 195. 32 1/2î x 42î (entire sheet). chromolithograph