Search Results: Authors starting with A from Ebattt-books

A very early edition of the story of the Soga brothers. Published in 1663 (Kanbun 3, 寛文3年).19 numbered leaves; 4 full page woodblock prints.
Volume 12 of 12 only.

Hubert van den Eynde (11 October 1593 – 18 September 1662) was a Flemish sculptor. He is mainly known for his religious sculptures and church furniture although he also worked on some secular projects. He was the first prominent sculptor of the van den Eynde family of artists and merchants. In the early 17th century, van den Eynde was one of the leading Flemish sculptors who rejected contrived Mannerist formulae in favour of greater realism. His work shows a development from the early Baroque to the high Baroque. His late style is characterized by a penchant for movement and dashing draperies. (from Wikipedia)
Plate: 22.7 x 15.5 cm; Paper: 40.5 x 27.5 cm; very fine.
Literature:  New Hollstein

Portrait of the famous art collector Cornelis van der Geest from the famous "Iconographia" by Anthonius Van Dyck (1599-1641). Van Dyck made the drawings based on what the most famous engravers of the time made the printing plates from. This engraving is by Paulus Pontius, (1603 - 1658). The Iconographia was created around 1630. Plate size: 24.8 x 17.9 cm; Paper: 41.5 x 28.5 cm. Wonderful impression on handmade paper. With extremely wide margins. Flawless. Mint. A guaranteed real, old impression.

Cornelis van der Geest (1575 - 10 March 1638) was an Antwerp spice dealer who used his fortune to support Antwerp artists and build up his art collection. He was also the dean of the Haberdashery Guild.

Original copperplate engraving by Pieter de Jode (1604 1674) after Anthonius Van Dyck (1599-1641). From the most famous 17th century portrait series (first edition 1632), known as the Iconographie, by which Van Dyck consolidated his reputation as Europe's foremost portraitist.
Andreas de Nole (1598 – 1638) was born in Antwerp, where he trained before travelling to Rome. He became the teacher of >Sebastiaen de Neve and is known today for his work on the apostle and evangelist statues in the St. Rumbold's Cathedral in Mechelen. He worked on that project together with the sculptor Johannes van Mildert and his son Cornelis van Mildert. (from Wikipedia)
Plate: 24 x 17 cm; Paper: Circa 40.5 x 27.5 cm; there is a small (ca. 2cm), almost invisible tear in the left margin; otherwise, very fine.
Literature:  New Hollstein

Original copperplate engraving by Petrus Clouet, (1629-1670) after Anthonius Van Dyck (1599-1641). From the most famous 17th century portrait series (first edition 1632), known as the Iconographie, by which Van Dyck consolidated his reputation as Europe's foremost portraitist.
Christoffel Jacobsz van der Laemen or Christoffel van der Laemen (b. c. 1607 in Antwerp or Brussels; † c. 1651 in Antwerp) was a Flemish painter who specialized in society scenes with elegant figures. He was a member of the Antwerp Guild of St. Luke. His most popular subjects are card games, brothel scenes, the prodigal son, dancing, music and scenes with food and drink in elegant rooms, inns and gardens.
Plate: 25.2 x 18 cm; paper: Circa 40.5 x 27.5 cm; a small tear at lower left margin outside of the plate; otherwise, almost mint.

Original copperplate engraving by Lucas Vorsterman (1595-1675) after Anthonius Van Dyck (1599-1641). From the most famous 17th century portrait series (first edition 1632), known as the Iconographie, by which Van Dyck consolidated his reputation as Europe's foremost portraitist.
Johannes van Mildert (1588 - 1638) was a Flemish sculptor, who is best known for his baroque sculptures found in many Belgian and Dutch churches. Van Mildert played an important role in the development of the design of Flemish Baroque religious furniture.
Plate: 24 x 15.7 cm; paper: 40.5 x 27.5 cm; there are four, paper production derived, tiny inclusions (iron particles?), that caused small stains; otherwise, almost mint.
In such fine state, extremely rare!!!!
Literature: · New Hollstein

8°, 20 x 14 cm. Mid-19th century cardboard binding.
41 nn leaves; there exist leaves aiii – a8; b1-b8; c1-c8; d1-d2; d6-d8 (?); e1-e8; f2-f7;
Missing are: a1, a2, d3 – d5 (?), f1, f7 and an unknown number of following leaves.
Numerous old ink notes; leaves are numbered recto at upper right; water stained throughout.
As the imprint is missing, an exact dating is difficult. The initials were used by Rosembach from ca. 1493. The initials were also used in the Missal of 1499 (M24774 Missale Tarraconense. 26.VI.1499.°). The woodblocks are still unworn in our Donatus melior, therefore, the impression was not made very much later.
Printed with Joan Rosembach`s types 1, 7 and 2. There are aberrant majuscules as Rosembach used in prints he made in Perpignan. The state of the type in this Donatus is the same as in the preface to Mancinelli's "Carmen de figuris" (according to Norton this is the Spica edition, p. 233a). An even better example is the "Vocabulario" of 1502.
Summary: This print has not been… Read More