Search Results: Old Master Prints from L'Estampe Originale

1511. Woodcut. One of the plates from the set of 16 illustrations of the Apocalypse of Saint John. Fine impression of the only state with the latin text on the verso. 1511. With 1/4" margins 390 x 279 (15 3/8 x 11) Meder 175, B. 74, Pan.294, K. 117, T. 137,Schoch, Mende, Scherbaum 123. Watermark: Flower with a triangle (M. Watermark #127). Printers crease in upper left corner, some glue stains on verso right border, not noticeable from the front. Otherwise in fine condition.

Etching and Engraving. 1758-1764. P. 205 v/vi. Image:12 1/4 x 8 3/8. Margins: 16 x 11 1/8. Hogarth was working on this plate the day that he died. It was pub. posthumously by his widow.

1759. Etching and engraving. P.206, only state. 11 x 14 . From a set of prints sold by the artist's widow before 1775.

Engraving. Hollstein 280 iii. Watermark: Late Amsterdam Seal (18th Century), see Dutuit. 6 x 8¼. Trimmed to the platemark.

1742. Engraving. Firmin-Didot p. 110, 359, ii/ii with letters. Image: 474 x 342, 18 5/8 x 13 3/8. Margins: 525 x 398, 20 ¾ x 15 5/8. A fine impression printed on heavy laid paper.

Engraving. c. Early 17th c. From the series published by H. Cock. Image: 8 x 4¾. Margins: 12 x 7½.

17th century engraving. Hollstein 30, vol. III. 15 x 20 . Trimmed. Very fine impression.

1658. Etching. From the set Four Landscapes. Hollstein 11 ii/ii. Watermark: Foolscap. Prov: S. Coster (Lugt 462). 4¾ x 6. Trimmed just outside the platemark.

c. 1600. Engraving. After Coninxloo. Holl. 23; Le Blanc 13. 13 x 19½. Trimmed to platemark.

1770. Boucher 34. Engraving After the painting by Pierre-Antoine Baudouin. Image: 18¼ x 13½. Trimmed to the platemark .
A Momsieur de Comte de Stroganoff. Conseler Prive, Chambellan Actuel de La Majeste Imp.de toutes Russies les Chevalier des Ordres de l'Aigle Blanc de St. Stanislav and de Ste. Anne.
Boucher 34. Engraving. After the painting by Pierre-Antoine Baudouin. Image: 18¼ x 13½. Trimmed to the platemark.

Le Blond, 1636. Etching. A good impression on paper without a watermark. Trimmed just showing the platemark all around. 259mm x 324mm. G.D. 1080, Blum 154, only state, Paris/Tours 2004, No. 128

Etching and engraving. Paulson 128 iii. Image: 13½ x 18 . Margins: 17¾ x 24¼. With the Wm. Hogarth Invt, Pinxt & Sculpt. in middle of lower margin. From a set of prints sold by the artist's widow before 1775. A RARE lifetime impression. A Midnight Modern Conversation is one of Hogarth's most famous prints. The scene takes place in St. John's Coffee House in Sire Lane, Temple Bar near the Law Courts of London.

Etching and engraving. D.1385, Blum 203. Image: 10 x 12½. Margins: 10½ x 14.

1749. Engraving. Paulson 180ii/ii. Image: 13¾ x 17¼. With large margins. Hogarth appears on the left with sketchbook in hand. A satirical view of the English Gate at Calais, lampooning the French for their devotion to fashion and the Roman Catholic Faith. Hogarth had visited Calais in 1748,

PORTRAIT OF BARTOLOMEO RAMENGHI (D. 1542)LASINIO, CARLO (1759-1838) Hand-colored mezzotint. From the rare series of artists' self-portraits. Thieme-Becker XXII, 404. Image: 6¼ x 5¼. Margins: 7 x 6¼. Engraver, b. Treviso in 1759, to Florence by 1779, died Pisa. Trained by Gautier-d'Agoty in colour printing in 1782/3. 1790 set of artists' self-portraits from the series in the Uffizi. Professor of engraving in Florence; 1807 curator of the Campo Santo in Pisa (of which he published a set of the monuments in 1812: set kept at Blythe House). Also active as collector and dealer in Italian art.

1658. Etching. H12 II(2). Sopher 30. Provenance: S. Coster (Lugt 462). Image: 5 x 6 . Trimmed to the platemark.

Hand colored Mezzotint. 1550.

Engraving. SIZE. DATE:1596.

1642. Etching and engraving. Duplessis 1386; Blum 204, only state. Image: 10 x 12, with small margins. Foxing, traces of old fold in the legend.

c. 1870. size: Created to be viewed in a perspective kind of box, like a view finder.