Distribution des Recompenses (Distribution of Rewards), 1633

Etching.

Plate 18 from Les Misères et les Mal-Heures de la Guerre (The Miseries and Misfortunes of War)

Israël Henriet (French, Nancy ca. 1590–1661 Paris) Publisher

Reference: Bibliothèque Nationale II. 237.1339-1356; Lieure III.78.1356 iii/iv; Meaume 581

Watermark: Lieure No 46 Plate: 82 x 185 mm

Provenance: British Museum duplicate Lugt 302, 305

 Le Porte di Dolo, 1743/4

Etching.

Bromberg 6 II (of III). 300 x 434 mm (plate), 355 x 485 mm (sheet). Watermark: Shield surmounted by a crown, partial.
"In this print, executed at the very end of Canaletto’s etching career, he wielded the needle expertly, displaying virtuoso strokes of varying form and intensity. Canaletto reached the full potential of the medium with this most painterly image of striking contrasts. It is one of seven large titled views from nature resulting from Canaletto’s trip to the mainland with his nephew Bernardo Bellotto during the early 1740’s “ from The Glory of Venice. Art in the Eighteenth Century. Andrew Robison, Jane Martineau, Editors, 1994. Cat. no 144.

God the Father observing the Virgin and Child, Angels To The Right, ca. 1645–47.

Etching.

Percy E6, Bartsch XXI.15.11, II/II, Bellini 1982, no.19. II/II. Provenance: Richard Houlditch (Lugt 2214), his stamp on verso. Collector of prints and drawings of the highest quality, 1736, UK

The Martyrdom of Saint Philip, c. 1510-12.

Woodcut. B. 41.

Hollstein 57. Without watermark. 162 x 216 mm.

A fine proof impression from Martyrdom of the Twelve Apostles

in very good condition.

When day breaks we will be off (Si amanece; nos Vamos), 1799

Plate 71 from 'Los Caprichos’, first edition.

Goya’s commentary: Even if you hadn’t come you wouldn’t have been missed.

Etching, burnished aquatint and burin.

Reference: Tomás Harris 106, “ The burin was used to redraw the back of the old witch at the left edge, towards the back of the group. The stars are produced by stopping-out. Burnishing is extensively used to create halftones and highlights in the figures and on the ground.” Preliminary drawing (Prado 82)

The copperplate is in the Calcografia

Dimensions: Plate 200 x 150 mm

The Four Seasons, 1629

after Jan van de Velde II (Dutch, Rotterdam or Delft ca. 1593–1641 Enkhuizen)Etchings, 1629, Parthey, Pennington 618-621; New Hollstein (Hollar) 58-61, all second state of three (II/III) Watermark Serpent with staff and emblem (on plates 1 & 2) Each 104 x 155mm circa. from Van de Velde’s four scenes of peasant life of 1617. Very fine impressions in excellent condition. Provenance: Friedrich Schindler Lugt 2351, his stamp on verso.

Upper left: Three Strapwork Pendants, each with three pearls.

Engraving. 1595. Hollstein 67 150 x 105 mm plate

Upper right: Pendant with double Cross at Centre, surrounded by six large table-stones. At bottom three drop pearls, lower left and right two earrings with table-stones set in the form of a cross.

Engraving, 1595 Hollstein 90. 145 x 104 mm

Lower left: Pendant with two Double Crosses surrounded by six large and many small Table-stones and eleven pearls, below two earrings, the left one with an angel’s head, the right one with five small table-stones set in the form of a cross.

Engraving, 1595. Hollstein 96. 145 x 104 mm

Lower right: Twelve Studs

Engraving. Around 1595.

Hollstein 99. Only state 152 x 105 mm

A Portrait of Piazzetta, 1754

By Marco Alvise Pitteri (Italian, Venice 1702–1786 Venice)

Engraving.

458 x 350 mm

Aldo Ravà Marco Pitteri: Incisore Veneziano. 1922, cat. no. 220, p. 25.

George Knox, Adelheid M. Gealt Piazzetta: A Tercentary Exhibition of Drawings, Prints, and Books. Exh. cat., National Gallery of Art, Washington D. C. 1983, cat. no. 27, p. 90, ill.

A portrait of Piazzetta at the age of circa 70 engraved by Pitteri soon after the death of the Piazzetta in April 1754.

Self Portrait (Marco Alvise Pitteri) c. 1750

By Marco Alvise Pitteri (Italian, Venice 1702–1786 Venice)

Engraving.

50.8 × 38.1 cm

One of two identical altars dedicated to Apollo with Greek key motif around the rim and Medusa heads on the bowl, found in the Villa of Pompey the Great in Albano, 1778/80

Etching.

Plate 95 from Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne ed Ornamenti Antichi

675 x 420 mm

Funerary Urn of Lucius Aurelius Terentus and of his wife Cecelia Ticherna

Plate 77 from Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne ed Ornamenti Antichi Etching, 1778/80

535 x 385 mm

The Pier with Chains

1749-1760

etching, engraving, sulfur tint or open bite, burnishing

41 x 55 cm

Ref. Robison 42 state I/VI, without ink dabbing (rare) on the upper left beam. F39 H16. From the Carceri (Prisons) Plate XVI. With two men descending a staircase, center, alone in the foreground. Unsigned until state II

The Colosseum

etching, 1757 from the Vedute di Roma

17 x 27 1/2 in. (43.1 x 70.3 cm)

Hind 57, II/IV after the price is erased but before the number is added, upper right.

A very fine impression. Some foxing mostly visible on verso and in margins.

Mars and the Graces

Etching and burin. Ca. 1760.

Reference: De Vesme 8 II (of III). Rizzi 229. Succi 7 II (of III).

Watermark: Arm with sword (?) and W with open crown and three half moons.

Dimensions: 55.6 x 40.1 cm (subject), 61.8 x 45.5 cm (sheet).

A very fine impression, rich in tonal values, in the second of three states, after the addition of “39” in the upper left,

but before the name of Giambattista and of the engraver Lorenzo.

With wide margins beyond the plate mark, which shows traces of the inking, characteristic of early impressions.

The Death of Ajax, 1525-1527, 1608

After Polidoro da Caravaggio

Chiaroscuro woodcut from three blocks, printed in dark grey (line block), light grey and brownish grey (tone blocks). B. XII. 99,9-II. 2nd state with the address of the printer Andrea Andreani -“POLIDORODACARAVAGIO INVENT AAINMANTOUA 1608” in the lower margin. 310 x 410 mm

Born in Vicenza, Niccolò Vicentino produced chiaroscuro woodcuts of a discernible character. Working in Rome after Raphael’s death he belonged to the circle of Ugo da Carpi, as a printer and a woodcutter. This chiaroscuro after a drawing by Polidoro di Caravaggio belongs to the early works from Rome but already shows a cursive, elegant line.