after lucas leyden (9 risultati)

Condizione: Good. Stipple and line engraving. 49.5 x 34.4 cm. (sheet). Drystamp of the publisher. Very Good. Light foxing in the margin areas."Storia della pittura dal suo risorgimento in Italia, dimostrata coi monumenti della Reale Galleria di Firenze." OCLC no. 83041262.

Condizione: Good. Original etching. 22 x 16.5cm. Trimmed to the platemark. Ref: Hollstein, XXVIII, p. 95, no. 23: 3rd state of 4; Wurzbach, no. 13; Detroit Institute of Arts, Accession Number 09.1S1121.British Museum: Engraver and etcher. Assistant to Hendrik Hondius, in The Hague, and engraved for him various plates of his series of artists' portraits. Mariette attributed to Stock various anonymous engravings after designs by Jacob de Gheyn II after he had stopped engraving himself by 1600, and this is now generally accepted (see New Hollstein de Gheyn p.xxxvi). In 1614?

Condizione: Good. Engraving on laid paper, likely an 18th or 19th Century perfect copy . Image 28.8 x 39.6 cm., about the same size as the impression in the Met. The 5 looks like a 4 in the date. Bartsch, Hollstein, no. 122 giving the above French title. . Mary Magdalene's reputation as a courtesan has a long history. In the fourth century, Pseudo-Basil of Caesarea quoted the Christian bishop Amphilochius of Iconium in one of his homilies. According to this, Amphilochius already had described Mary Magdalene as a sinner and a prostitute. In Dance of Mary Magdalene, Lucas van Leyden invented a new iconography to address old ideas about the saint. This engraving presents the saint's life in three episodes. Although Mary Magdalene is the only character with a halo, the artist also insisted on her worldly sensuality in the foreground. Surrounded by couples and musicians, she holds the hand of a noble man. At the intermediate level, Mary Magdalene hunts on horseback, in another expression of her life of pleasure. Finally, in the background, van Leyden represented the assumption of the saint carried by the angels, although it is not visible in this version. In other copies of the print, van Leyden thus creates a trajectory between the courtesan and the repentant, insisting on the need for penance.

Etching with borders after Lucas van Leyden, probably from the second half of the 18th century. Lettered below: S. MATTHEVS.; signed on the top: L l Etching on paper, with margins; platemark: 130 x 94 mm, total: 140 x 104. PB01SSM(Mattheus).

The Resurrection: Christ emerges from his grave in front of some men. Dated on the bottom left:'1421' and monogrammed on the bottom right: 'L'. Possibly from the 19th century reprint of the series engraved by Muller.For the full original set see also nr. 24783 on our website. Engraving on paper with some margin; plate mark: 123 x 81 mm, total: 125 x 85; state II/2; New Hollstein 55; Bartsch 56.

Engraving on cream laid paper laid down to wove paper, 4 1/4 x 2 5/8 inches (109 x 68), thread margins. Scattered discoloration and uniform age tone, all consistent with age. Initials in ink in the top right on the verso, as well as a shield with three marbles ink stamp. A reverse-image impression of Van Leyden's circa 1510 engraving, perhaps done by Jan Muller in the early to mid 17th century. [New Hollstein 115].

Engraving on cream laid paper laid down to wove paper, 4 1/4 x 2 5/8 inches (109 x 68), trimmed inside the platemark. Scattered discoloration and uniform age tone, all consistent with age. Adhesive residue at the corners with some minor associated discoloration in the top right corner. A reverse-image impression of Van Leyden's circa 1510 engraving, perhaps done by Jan Muller in the early to mid 17th century. [New Hollstein 88].

Modern copy in the same direction as original, on modern paper. From the series of the Passion (1591). Engraving on paper, total: 114 x 75 mm; not described in Hollstein (46).

The beggar family: the father walking and playing a bagpipe carrying two children in a basket on his back, other children are carried by an ass; the mother is walking with a child on her shoulder and finally another child with an owl on his shoulder on the bottom left. With date and monogram.With another small sheet of paper with inscription referring to Hondius copy of the print from 1644. Hondius impression, however, was engraved with some etching, whereas this is only etching.The inscription reads: 'UILEN SPIEGEL / DEEZ EERSTE VORM IS WEG / MENVINDT ER GEEN VOOR ONS / WANT EEN PAPIERENDRUK / GELDT VYFTIG DUCATONS.'[NL] Doedelzakspelende man met twee kinderen in de mand op zijn rug, naast hem een vrouw met een kind op de schouder. Zij voeren een ezel mee, beladen met kinderen. Voorop loopt een jongen met een uil op de schouder, naast hem snuffelt een hondje. Etching on laid paper, with added sheet with handwritten inscription; total etching, trimmed to plate mark: 171 x 137 mm, total: 220 x 142 mm; Hollstein 159, copy c1. In good condition.