pontius paulus (58 risultati)

Original Kupferstich-Portrait aus dem 17. Jh. -- Blatt-Maße: ca. 41 x 26 cm. -- gut erhalten. || Original engraved portrait from the 17th century. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Niederländisch Gewicht in Gramm: 20.

Original Kupferstich-Portrait aus dem 17. Jh. -- Blatt-Maße: ca. 41 x 26 cm. -- gut erhalten. || Original engraved portrait from the 17th century. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Niederländisch Gewicht in Gramm: 20.

Original Kupferstich-Portrait aus dem 17. Jh. -- Blatt-Maße: ca. 41 x 26 cm. -- gut erhalten. || Original engraved portrait from the 17th century. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Niederländisch Gewicht in Gramm: 20.

Original Kupferstich-Portrait aus dem 17. Jh. -- Blatt-Maße: ca. 41 x 26 cm. -- gut erhalten. || Original engraved portrait from the 17th century. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Niederländisch Gewicht in Gramm: 20.

Original Kupferstich-Portrait aus dem 17. Jh. -- Blatt-Maße: ca. 41 x 26 cm. -- gut erhalten. || Original engraved portrait from the 17th century. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Niederländisch Gewicht in Gramm: 20.

Original Kupferstich-Portrait von ca. 1640. -- Blattformat: ca.29x19,5 cm. Platte: ca. 16 x 11 cm. -- gut erhalten. || Original copper engraved portrait from c. 1640. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 10.

Blatt-Maße: ca. 41,5 x 26 cm. -- Original Kupferstich-Portrait aus dem 17. Jh. -- gut erhalten. || Original engraved portrait from the 17th century -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 20.

Blatt-Maße: ca. 38 x 24 cm. Portrait: ca. 24 x 17 cm. -- Original Kupferstich-Portrait aus dem 17. Jh. -- gut erhalten. || Original engraved portrait from the 17th century. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 20.

Blatt-Maße: ca. 38 x 24 cm. Portrait: ca. 23 x 17 cm. -- Original Kupferstich-Portrait aus dem 17. Jh. -- gut erhalten. || Original engraved portrait from the 17th century. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 20.

Blatt-Maße: ca. 38 x 24 cm. Portrait: ca. 24 x 17 cm. -- Original Kupferstich-Portrait aus dem 17. Jh. -- mit alter Knickspur, sonst gut erhalten. || Original engraved portrait from the 17th century. -- with old fold mark, otherwise in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 20.

Blatt-Maße: ca. 38 x 24 cm. Portrait: ca. 23 x 17 cm. -- Original Kupferstich-Portrait aus dem 17. Jh. -- gut erhalten. || Original engraved portrait from the 17th century. -- win good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 20.

Condizione: Good. Engraving. 38.5 x 30 cm (sheet). Good, age toning along sheet edges, top margin trimmed to the image, print affixed on three sides to another support sheet.

Condizione: Good. Steel engraving. 31.5 x 21.5 cm. (sheet). Very Good. Horizontal crease in lower text area.

Leather Bound. First Edition. pp. x, 602. 4to., measuring 9.5" x 8". Period mottled calf over boards, gilt rules and lettering to the spine over maroon spine label, five rasied bands, six compartments; marbled endpapers and edges. Title printed in red-and-black. Lacking the engraved frontispiece portrait of Gustave-Adolphe; eight gorgeous engraved plates comprising of five fold-out engraved maps, two fold-out battle plans, and one fold-out table (diagram), all collated and accounted for. Charming engraved rules, and head-pieces throughout. Light scuffing to the leather extremities (the leather binding has recently been professionally replenished and treated with a natural leather preserver). Leaves uniformly without blemish, and free of any markings, one 6" very neat closed tear to the left margin of plate No. 2 (p. 272) (no loss), otherwise, the remainder of the plates are without blemish, tears, or deficiencies. Overall, very good. Text in French. See, Warmholtz Citation #3810. Corresponds to OCLC #493733549.

Blatt-Maße: ca. 41,5 x 26 cm. -- Original Kupferstich-Portrait aus dem 17. Jh. -- gut erhalten. || Original engraved portrait from the 17th century -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 20.

No Binding. Condizione: Poor. Portrait of Balthazar Gerbier. Born 13 February 1592 in Middelburg, The Netherlands. Died 1663. Etching and Engraving by Paulus Pontius (1603-1658), after Anthony van Dyck (1599-1641), 1634. Mediocre condition. Lacking the margins and part of the left and lower parts of the image. Several small holes affecting the image. Verso: blank, with traces of former mounting and an old collection stamp. Dimensions: 223 x 157 mm. Balthazar Gerbier was Writer, Diplomat, Artist, Miniaturist, Courtier, Painterr, Art advisor, and Architectural designer. Print.

Anthony van Dyck (illustratore). 'D. CONSTANTINVS HUGENS EQVES / TOPARCHA SVYLECOM. / PAUL. PONTIUS SCULP. / ANT. VAN DYCK PINXIT / CUM PRIVILEGIO'Portrait of Constantijn Huygens I, bust-length, seated with hand resting on a large closed book. Dressed in formal robes with wide collar, shown against a background of curtain and sky. After a painting by Van Dyck.Made by Paulus Pontius after Anthony van Dyck.Medium: Engraving on hand laid (verge) paper. Watermark: lettering.Sheet size: 17.7 x 24.9 cm (6.97 x 9.8 inch). Image size: 16.2 x 22.5 cm. (6.38 x 8.86 inch).CONSTANTIJN HUYGENS, DUTCH GOLDEN AGE, VAN DYCK ICONOGRAPHY, PAULUS PONTIUS, 17TH CENTURY ENGRAVING, FLEMISH PORTRAIT, HUMANIST, SCHOLAR, POET | PCO-E22-38BACKGROUND INFORMATIONFrom: 'Iconographia.'.State: 6th state (per Hollstein).Reference: New Hollstein Dutch 38-6(6); Hollstein 90-4(6); Mauquoy-Hendricx (Van Dyck) 53-4(6); FMP 2685.Biography engraver: Paulus Pontius (1603-1658) was a Flemish engraver and one of the principal interpreters of Anthony van Dyck's portrait paintings. He was active in Antwerp and collaborated with Rubens as well.Biography artist: Sir Anthony van Dyck (1599-1641) was a Flemish Baroque painter, best known for his elegant portraits of aristocrats. His Iconographie series, engraved by various printmakers, became a key reference in 17th-century portraiture. Condition: very good, given age. Light foxing, soiling and creasing. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Condizione: Good. Engraving on laid paper with fleur-d-lys watermark (Mauquoy-Hendrickx 170?). 23.6 x 17.3 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Condizione: Good. Engraving on laid paper with indecipherable watermark. 24.5 x 17.3 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Condizione: Good. Engraving on laid paper with fleur-de-lys watermark (Mauquoy-Hendrickx 170?). 26 x 17.6 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Condizione: Good. Engraving on laid paper with fleur-de-lys watermark (Mauquoy-Hendrickx 170?). 24.7 x 17 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Condizione: Good. Engraving on laid paper with letters watermark (Mauquoy-Hendrickx 337). 23.6 x 16.3 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. A short tear at bottom sheet edge (below his right hand)."Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Condizione: Good. Engraving on laid paper with letters watermark (Mauquoy-Hendrickx 337). 24.4 x 15.4 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling."Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Condizione: Good. Engraving on laid paper with fleur-de-lys watermark (Mauquoy-Hendrickx 167?). 23.2 x 16.9 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Condizione: Good. Engraving on laid paper with partial watermark. 24.3 x 17.3cm. sheet size.Reference: Marie Mauquoy-Hendrickx.L'Iconographie d'Antoine van Dyck = [Van Dyck's Complete Original Engravings]. Catalogue raisonné; no. 66 state IV of VII.

Anthony van Dyck (illustratore). 'D. PETRVS PAVLVS RVBBENS EQVES.' WITH CREDITS BELOW: 'ANT. VAN DYCK PINXIT.' AND 'PAUL. DU PONT SCULP.' AND 'MART. VANDEN ENDEN EXCUDIT CUM PRIVILEGIO.''Portrait of the Flemish Baroque master Peter Paul Rubens shown half-length, turning slightly toward the viewer while placing his hand on his chest. He wears a cloak and lace collar and looks directly outward, emphasizing his status and dignity. The background is rendered with fine cross-hatched engraving typical of early seventeenth-century portrait prints. The composition is based on a painted portrait by Anthony van Dyck and engraved by Paulus Pontius. Peter Paul Rubens (1577-1640) was one of the most influential painters of the Flemish Baroque, renowned for his dynamic compositions, vibrant color, and large workshop in Antwerp. Beyond painting, Rubens was also active as a diplomat and intellectual, serving the Spanish Netherlands and several European courts.Made by Paulus Pontius after Anthony van Dyck.Medium: Line engraving on hand laid (verge) paper.Sheet size: 15.9 x 23.5 cm (6.26 x 9.25 inch). Image size: 15.9 x 23.5 cm. (6.26 x 9.25 inch).PETER PAUL RUBENS PORTRAIT, PAULUS PONTIUS ENGRAVING, ANTHONY VAN DYCK PORTRAIT RUBENS, FLEMISH BAROQUE PAINTER PORTRAIT, 17TH CENTURY ENGRAVING, RUBENS EQUES | PCO-EXPO-PORTRAITSBACKGROUND INFORMATIONPublished by Martin van den Enden, Antwerp, after a portrait by Anthony van Dyck, c.1630-1640.Reference: Yale Center for British Art, accession YCBA/lido-TMS-27601.Biography engraver: Paulus Pontius (1603-1658) was a Flemish engraver from Antwerp and one of the most important reproductive printmakers of the seventeenth century. He worked closely with Peter Paul Rubens and produced many engravings after paintings by Rubens and Anthony van Dyck. Pontius was known for his refined line engraving technique and helped disseminate the works of Flemish Baroque masters throughout Europe through prints.Biography artist: Sir Anthony van Dyck (1599-1641) was a Flemish Baroque painter and one of the most celebrated portraitists of the seventeenth century. A pupil and collaborator of Peter Paul Rubens, he later became court painter to King Charles I of England. Van Dyck's elegant portrait style strongly influenced European portraiture for centuries. Condition: good, given age. Light foxing, soling and creasing. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Paulus Pontius (illustratore). Horses in a stable with a groomsman holding a pitchfork. The scene is detailed, showing three horses in the foreground.Made by Paulus Pontius after own design.Medium: Engraving on hand-laid (verge) paper. Watermark: Coat of arms with a cross and a crown with letters GR below.Sheet size: 35.5 x 24.8 cm (13.98 x 9.76 inch). Image size: 32.5 x 22 cm. (12.8 x 8.66 inch).HORSE STABLE, PONIES, GROOMSMAN, 17TH-CENTURY, DUTCH ENGRAVING, ANIMALS | EXPO-415 (FLEMISH)BACKGROUND INFORMATIONSource: unknown, to be determined.Biography engraver: Paulus Pontius (1603-1658) was a Flemish engraver and painter. He was one of the leading engravers connected with the workshop of Peter Paul Rubens. After Rubens' death, Pontus worked with other leading Antwerp painters such as Anthony van Dyck and Jacob Jordaens. Condition: very good, given age. Light soiling and creasing. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Condizione: ACEPTABLE. Grabado de Paulus Pontius de la obra de Rubens Isabel Clara Eugenia de Habsburgo como monja de 1625. Isabela ClaraEugenia (1566-1633)fue Infanta de España, Archiduquesa de Austria y Soberana de los Países Bajos y de Borgoña. Además, fue candidata a la corona de Francia, a la que no accedió a causa de la Ley Sálica. Formato (cm): 43x60.

Amberes, Paulus Pontiusm 1630. Grabado. (368 x 272)mm. Tercer estado (de 3), con el arco ornamental y las letras. Autoretrato dibujado por Rubens en 1623 y grabado por Paulus Pontius en 1630 para la célebre Iconografía de Antón van Dyck, proyecto destinado a perpetuar a los artistas, mecenas y demás personalidades destacadas de la época. 368x272mm. (14½x10¾").

34,5 x 25,5 cm. Condizione: Gut. Kupferstich. Hulle, Anselm - Paulus Pontius. JOHANN CUYERMANS, Spanischer Rat in Brabant, Berater des Königs im obersten Senat und Gesandter zu dem Westfälischen Friedens. Halbporträt nach rechts im Oval, mit reicher Verzierung. In der Platte Signiert, Blatt Nr. 106. Tadellos erhalten, Breitrandig. HULLE, Anselmus von ( eigentlich Ans. Hebbelynck), Maler, geb. in Gent 1601 gestorben nach 1674. Wurde bekannt durch seine zahlreichen Porträts und Kirchenbilder. Seine Bekanntschaft verdankt er im besondseren Maße den berühmtesten Stechern seiner Zeit, die seine Porträts stachen. Allen voran PIETER DE JODE II., geb. 1606 in Antwerpen und gest. nach 1674 in England. Das Blatt entstammt dem Werk " PORTRAITS DES HOMMES ILLUSTRES. " ( Porträts berühmter Personen die im 17. Jahrhundert gelebt haben, verlegt bei Francois van der Plaats in Amsterdam, 1706. JOHANN CUYERMANS, Spanish council at Brabant, adviser of the King at the highest senate and ambassador to the Westphalia peace. Half portrait to the right in oval, with rich decoration. Signed in the plate, folio number 106. In excellent condition, expanded bordered. Hulle anselmus (actually Ans. Hebbelynck), born at Geneva 1601; died after 1674. He became famous trough his several portraits and church paintings. His famous he owes in particular the most famous engravers of his time, which etched his portraits. All ahead PIETER DE JODE II., born 1606 at Antwerp and died after 1674 in England. The folio emanates of the volume ?PORTRAITS DES HIOMMES ILUSTRES?? (Portraits of famous people which lived in the 17th century, published Francois van der Plaats at Amsterdam, 1706). deu S 7|1357BG Sprache: Deutsch Gewicht in Gramm: 444.