Teniers david after (29 risultati)

Single Sheet. Condizione: Fine. Original Antique Engraving. Very Attractive Engraving By Peter De Iode, Of Artist Nicholas De Helt Stocade, After A Portrait By David Teniers. From A Suite Of Artist's Portraits Published By Meyssens And His Son, Cornelius Meyssens. Numbered 56 After Title. Part Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Ioannes Meyssens [John Meyssens], Engraver And Printer, Engraved By Peter De Iode, After A Portrait By David Teniers (illustratore).…

No Binding. Condizione: Very Good. 1st Edition. Large Original Etching, Ample Margins All Around. Plate 81 From "L'oeuvre De Teniers", But Only Simple Title "Fete Du Village" And Without The Extensive Plate Title Or Source Or Publisher's Information Present In Another Printing Of This Engraving. 29.6 X 25 Cm. One Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Jacques-Philippe Le Bas Or Lebas (1707 -1783) Was A French Engraver. Lebas Was Engraver To The Cabinet Du Roi And Successfully Produced Engravings After Several Paintings By Different Artists. His Oeuvre Amounts To More Than 500 Works, Including Many Large Portraits After Vernet, And Several Works After Van De Velde, Parrocel, Berchem, Ruysdaël, Watteau, Oudry And Lancret. He Trained The Line Engraver François-Anne David. He Served Time In The Army From 1739 To 1741, But Was Ultimately Thrown Out, Because Of Philosical Disagreements With His Commanding Officer. He Created Many Pictures Commemorating His Time In The Army. Of Particular Mention Are His Works Halte Des Gardes Suisses And Detachement De Cavalerie, Pictures That Go For Great Amounts Of Money At Auctions. …

No Binding. Condizione: Very Good. 1st Edition. Large Original Etching, Ample Margins All Around, Mounted On A Larger Sheet. One Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Jacques-Philippe Le Bas Or Lebas (1707 -1783) Was A French Engraver. Lebas Was Engraver To The Cabinet Du Roi And Successfully Produced Engravings After Several Paintings By Different Artists. His Oeuvre Amounts To More Than 500 Works, Including Many Large Portraits After Vernet, And Several Works After Van De Velde, Parrocel, Berchem, Ruysdaël, Watteau, Oudry And Lancret. He Trained The Line Engraver François-Anne David. He Served Time In The Army From 1739 To 1741, But Was Ultimately Thrown Out, Because Of Philosical Disagreements With His Commanding Officer. He Created Many Pictures Commemorating His Time In The Army. Of Particular Mention Are His Works Halte Des Gardes Suisses And Detachement De Cavalerie, Pictures That Go For Great Amounts Of Money At Auctions.…

Single Sheet. Condizione: Fine. Original Antique Engraving. Very Attractive Engraving By Peter De Iode, Of Artist David Teniers, Senior, After A Portrait By P. Y. Mol. From A Suite Of Artist's Portraits Published By Meyssens And His Son, Cornelius Meyssens. Numbered 26 After Title. Part Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Ioannes Meyssens [John Meyssens], Engraver And Printer, Engraved By Peter De Iode, After A Self-Portrait By David Teniers (illustratore).…

Single Sheet. Condizione: Fine. Original Antique Engraving. Very Attractive Engraving By Peter De Iode, Of Louis De Bourbon In Dress Armor. . Part Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Ioannes Meyssens [John Meyssens], Engraver And Printer, Engraved By Peter De Iode, After A Portrait By David Teniers (illustratore).…

Single Sheet. Condizione: Fine. Original Antique Engraving. Very Attractive Engraving By Peter De Iode, Of Artist David Teniers, After A Self-Portrait By David Teniers. From A Suite Of Artist's Portraits Published By Meyssens And His Son, Cornelius Meyssens. Numbered 58 After Title. Part Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Ioannes Meyssens [John Meyssens], Engraver And Printer, Engraved By Peter De Iode, After A Self-Portrait By David Teniers (illustratore).…

Condizione: Good. [Lithograph]. Text in French on verso. 21 x 30.5 cm (sheet). Good, light traces of glue on verso showing through to recto.

Condizione: Good. Etching. 22.7 x 26.5 cm. (sheet). Very Good, paper lightly toned.

Condizione: Good. Mezzotint engraving. 23.5 x 25 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Print mounted onto to a support sheet.

Condizione: Good. Engraving on watermarked laid paper. 20.5 x 22.5 cm (sheet). Very Good, minor surface soiling.

Condizione: Good. Original engraving. 37.5 x 30.5 cm (sheet). Very Good, folds on the margins, light soiling.

Condizione: Good. Etching and engraving. 27.5 x 20 cm. (plate). 33.5 x 26 cm. (sheet). Sheet mounted to support sheet. Very Good. Sheet trimmed. Some light foxing, and surface soiling.

Pas de couverture. Condizione: Satisfaisant. Edition originale. John Boydell. D'après David Téniers. The Chymist. 1752. Gravure sur cuivre (roulette). Cuvette, 375 x 280 mm. Feuille, 480 x 320 mm. Dans la cuvette, à gauche Teniers Pinx, au centre THE CHYMIST. Fortement brunie, mouillure en marge en bas à gauche, perforation à la limite du trait en haut à droite. John Boydell. (1719-1804) est un graveur londonien devenu exclusivement marchand d'estampes à partir des années 1750. En tant que graveur il s'était spécialisé dans la reproduction de tableaux. Celui-ci, du peintre flamand David Téniers (1610-1690), représente le cabinet d'un alchimiste. Cette gravure est longuement décrite par Mathieu Guerriaud et Agnès Tabutiaux dans « La gravure mystérieuse », Revue d'histoire de la pharmacie, 2011. DESCRIPTION IN ENGLISH : John Boydell. David Téniers. The Chymist. 1752. Copper (Roulette) engraving. Plate, 375 x 280 mm. Sheet, 480 x 320 mm. In the platel, left Teniers Pinx, center THE CHYMIST. Strong yellowing, wetting in bottom left margin, perforation at the upper right line. John Boydell (1719-1804) is a London engraver who became exclusively print merchant from the 1750s. As an engraver he specialized in the reproduction of paintings. This one, by the Flemish painter David Téniers (1610-1690) represents the cabinet of an alchemist. This engraving is described at length by Mathieu Guerriaud and Agnès Tabutiaux in «La gravure mystérieuse», Revue d'histoire de la pharmacie, 2011.…

Fine impression, large outer margins. Verso (back) of print with old mounting tape remnants at top corners, no affect to recto (front), bottom right corner rounded, no affect. Large wide margins, excellent example overall of a rare piece. Signed A. da Corregio in lower left, and Q. Boel in lower right. Magical scene with a half-naked witch with sagging breasts seated at center, and looking up at Cupid in top left corner, a soldier asleep at right, magical instruments and inscriptions on the floor in foreground, and a book of spells in right corner. A sorceress evoking love. Most likely from Teniers Gallery, published in Amsterdam in mid 18th century. From a series of etchings as a part of Theatre of Paintings (Theatrum Pictorum) published by David Teniers the Younger in the 1660s for his employer at the time, Archduke Leopold Wilhelm of Austria. It was a catalog of numerous paintings and painters in the Archduke?s collection. Teniers prepared the engravings of the paintings for the book. See British Museum for more on earlier print, c.1660. BM: 1837,0408.386 Citations: Hollstein 1-29 (c1656-1660). Mussini 1995 664 (c1656-1660). BM: 1983, U. 320 (our reference for other citations and earlier dates).The Met: 459068 (original painting). Etching: 7 x 9 inches. Overall with margins: 9.25 x 13.75 inches.…

"Flemish Delight." A man sits holding a large glass of wine or beer, behind a man lights his pipe.Made by Pierre Chenu after David Teniers after David Teniers, the younger.Medium: Mezzotint engraving on hand laid (verge) paper.Sheet size: 11.2 x 13.8 cm (4.41 x 5.43 inch).FLEMISH-DELIGHT-PIPE-DRINKING | PCO-C43-21BACKGROUND INFORMATIONPrinted for Bowles & Carver, a partnership of two individuals who played a significant role in the world of publishing and printing during their time. Henry Carington Bowles II was the son of Carington Bowles I and was born around 1763. Interestingly, in 1818, Bowles built Myddelton House in Enfield. Samuel Carver was the other half of the partnership. The partnership of Bowles & Carver continued the Bowles business at No. 69, St. Paul's Churchyard, London, where they ran a Map and Print Warehouse, from 1793 to 1832. Together, they met the increasing demand for reproductive images of London and other European cities.Biography artist: Pierre Chenu (1718-1795), born in Paris on April 8, 1718, and died in the same city on the same city on the 18th Floréal Year III (May 7, 1795), was a French engraver and print dealer. David Teniers the Younger or David Teniers II (1610-1690) was a Flemish Baroque painter, printmaker, draughtsman, miniaturist painter, staffage painter, copyist and art curator. Condition: good, given age. Pinholes in corners. Thin Paper spots. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. David Teniers, the younger (illustratore).…

No Binding. Condizione: Very Good. 30 by 24 cm. 18th-century French engraving titled "Depart pour le Sabat" (Departure for the Sabbath). Engraver: Jean-Jacques Aliamet (1726-1788). Original Artist: After a now-lost painting by the famous Flemish master David Teniers the Younger(1610-1690). Creation Date: Originally published in 1755 in Paris. Thematic Significance: "These famous representations of the Sabbath by Ténier David II le Jeune (1610-1690) are among the reference works concerning witchcraft and its practices in the 17th century." Visual Narrative The scene illustrates an eerie occult ritual unfolding inside a dark tavern or workshop interior: The Potion Table: On the left, an elderly woman mixes a flying salve or magic potion at a candlelit table while surrounded by bizarre, anthropomorphic winged demons. The Fireplace Escape: In the background, an initiate is greased with the mixture and sent flying naked straight up the massive chimney. Occult Objects: The floor is covered with ritual tools, including an hourglass, playing cards, candles, a human skull, and a magic circle inscribed with occult characters. This engraving was issued as a matching pair alongside another piece titled "Arrivée au Sabat".…

Condizione: Aceptable. Size: 15 x 25 cm (engraving). 20,5 x 27,3 cm (sheet size). John Boydell was a prominent English publisher, noted for his reproductions of engravings.

Condizione: Good. Engraving. 43 x 52 cm (sheet). Very Good, light speck of foxing in the margins, crease at upper right sheet corner.

Condizione: Good. Engraving on wove paper. 26.3 x 20 cm. Very Good.

No binding. Condizione: Very Good. Framed engraving, total 36 x 46 cm. Some light foxing on the edges. Original engraving after Teniers (no 81). Charming impression of a village fest, dancing people, a man plays the bagpipe, barrels with wine and beer on the front.[NL] Leuke weergave van een dorpsfeest waar de mensen dansen en een man een doedelzak bespeeld.…

Condizione: Good. Etching. Waterstain and short tear. 17 x 25.5cm. Provenance:Né en 1906 à Lezay (Deux-Sèvres), Jacques Cathy a exercé d'abord la profession de caricaturiste à l'hebdomadaire « Le Rire ». Il a rejoint vers 1927 l'équipe du Cabaret « La Vache Enragée » conduite par Roger Toziny. Jacques Cathy poursuit sa carrière de chansonnier après le décès de Toziny en 1939 et après la guerre il conduit parallèlement une carrière d'acteur dans le cinéma. Jacques Cathy était le 3ème Maire de La Commune Libre de Montmartre à partir de l'élection en 1949.Final provenance: Les Collections Aristophil - 164 bis avenue Charles-de-Gaulle 92200 Neuilly-sur-Seine. …

Condizione: Good. 11.5 x 15.5 inches. Unbound sheet. Black and white etching. Good with slight edgewear and marginal tears. En Francais. Lettered text below title reads: "A Monsieur Hickman de la Societe Royale de Londres par son tres humble et tres obeissant serviteur J.P. LeBas, 1735 (To Mr. Hickman of the London Royal Society from his humble and loyal servant J.P LeBas, 1735);" and "Tire du Cabinet de M. DeVeaux a Paris che le Bas rue de la Harpe chez un fayancie a la Rose rouge." Print originally collected by Frederick Ruffner, founder of Gale research. …

Engraving, coloured by hand, by J.B. Michel. (Expert repair to upper margin just touching image area). A lively scene from the Flemish master of the interior genre picture. Born in Antwerp, David Teniers was the son of David Teniers I. He became a master of the Antwerp Guild of St Luke in 1632-3 after an apprenticeship to his father, with whom he also collaborated. In 1637 he married Anna, the daughter and heiress of Jan Breughel I. From the outset Teniers the younger was an extremely productive painter, thanks to his good relationship with Antwerp art dealers. During the 1630s he produced small-format religious scenes on commission for Chrysostoom van Immerseel, who supplied the Spanish market. However, it was Teniers's genre pieces that were greatly prized by the Antwerp dealers and made him famous. Teniers quickly became one of Antwerp's pace-setting and most successful painters, which probably accounts for his assumption of functions that carried a degree of social prominence, such as the office of Master of the Chapel of the Holy Sacrament in the St Jacobskerk between 1637 and 1639, and Dean of the Guild of St Luke in 1645. He also received such prestigious commissions as the large group portrait of the Arquebusiers Company (1643). During this same Antwerp period he also executed commissions for Antonine Triest (1576-1657), Bishop of Bruges, one of the most prominent patrons of the arts in the southern Netherlands. By 1647 Teniers was working for Archduke Leopold William, Governor of the southern Netherlands from 1646, and in 1651 he became the Archduke's court painter. He consequently moved from Antwerp to the court at Brussels, and in 1656 he bought a building near the archducal palace and had it rebuilt as a spacious and handsome house-cum-studio.' (artnet,com) "Teniers's Kitchen" is a celebration of abundance, a happiness provoked by the instinctive anticipation of plenty of good food from sea, sky and land. Teniers is also pleased to demonstrate how many people are employed in this important work, and it is probably he who stands in a commanding posture, staff in one hand and falcon in the other surrounded by dogs on the dais to the right. The original painting was completed in 1646 and is in the Hermitage collection. The print was published and commissioned by John Boydell, the great London printmaker and seller. The painting was part of Sir Robert Walpole's collection and was soon thereafter sold to Catherine the Great (1779).…

Genre scene with a man seated in an interior smoking a pipe. On the background a standing man peeing against a wall. Signed on the bottom: 'David Teniers Pinx / P. Chenu Sculp.'; titled: 'LE FUMEUR FLAMAND / Gravé d'aprés l'Original de David Teniers de meme grandeur / qui est dans le Cabinet de M.r le Comte de Cence'; address at the bottom: 'A Paris ches l'Auteur rue de la Harpe á cote du Passage des Jacobins vis á vis le Caffé de Condé'; ca. 1776. Engraving and etching on paper, trimmed to plate mark and mounted on laid paper; total: 338 x 234; some foxing on the mount otherwise in good condition.…

In an interior of an inn a peasant man seated at a table and smoking a pipe while holding a glass. To the right a jug is resting on the table. Behind the man a woma is holding a glass. Signed on the bottom: 'D. Teniers Pinx. Adr Possemiers ex. A gand' l Engraving on paper, with small margins; platemark: 197 x 135 mm; total 210 x 148 mm; small damage on the wrist of the man. Pasted on larger sheet on the upper margin. PG013. …

A man pulling at a band-aid on his skin, symbolizing the sense of touch. He is sitting beside a small table with a bottle and a tiny recipient. He wears a hat with a pipe in its fold.Monogrammed on the top left, in reverse, DT F.[NL] Een man trekt een pleister van zijn rechterhand. Personificatie van het voelen, de zintuigen. In de hoekrand een pijp door een lus. Antieke prent naar David Teniers. Very fine etching trimmed on or within plate mark; total: 110 x 92 mm; some traces of handling; a small hole at center, mounted on fine paper passepartout. Hollstein 8, copy, described in Dutuit as original (nr. 41).…

The Gold-Weighers; an elderly couple seated at a table, the man wearing a fur-trimmed coat at right and with a pouch on his lap, the woman at left and holding a small pair of scales, weighing a coin, gold coins on the table; a shelf in upper left; an unwritten paper hung on the top right, above the man's head.Signed at bottom: Vandermine pinxit / C. Cobutt fecit.With the address of the publisher: Printed for Rob.t Sayer at No.53 Fleet Street London.After a painting by David Teniers the Younger at the National Gallery in London (inv. NG 155). The painting is titled: The covetous man. The description reads: "In this powerful piece of storytelling, David Teniers the Younger has drawn on his ability to show character and incident with an insightful brush. He has illustrated one of Christ's parables, in which Christ told of a rich man who squirrelled away his grain and his goods, hoarding them to ensure his future comfort instead of using them for charitable deeds. But God commanded that the man's time to die had come: 'Thou fool, this night thy soul shall be required of thee: then whose shall those things be, which thou hast provided?' (Luke 12: 20).Teniers has lit up the faces of both figures, unsparing in his depiction of greed and covetousness. The old woman weighs coins on her handheld scales but stares at the old man with hard eyes and a downturned mouth. He seems almost unaware of her. The bags he clutches rest empty on his lap whether he is waiting to take the money from the table or has just put it there, Teniers leaves us to decide. The man gazes out across the pile of deeds and the glinting coins on the table; it's as if, in the darkness beyond, he already sees the end that awaits him. The room itself is shabby and uncared for. The accumulated clutter of bottles, books and boxes on the shelf above the woman's head appear to be forgotten: they are gathering dust. They are there partly to symbolise the uselessness and transience of worldly objects and partly to show Teniers's skill in painting still-life objects.What is the relationship between the two figures? He wears a ring but she does not, though at the time in the Netherlands wedding rings could be worn on any finger, or sometimes not worn at all. Under her dull, heavy outer garment she wears a finely tucked chemise, and her bodice is embroidered with tiny jewels. Large bags crammed with money sit beside her elbow. His collar is clean and his coat sleeves are satin, but the fur trim looks scruffy and both the coat and his hat are old-fashioned, suggesting that he's too miserly to waste money on new clothes. Whatever their relationship, beyond them in the shadows is a newly turned over hourglass, its sand beginning to run out a symbol that the old man's end is coming soon.These moralising paintings were popular in the seventeenth century. Teniers painted several on the theme, including The Rich Man being led to Hell, which is far more startling than this picture monsters and demons escort an old miser to his fate. The theatrical representation of the character in that picture is very different from the expressive handling of the restrained emotion on the faces here."Titled and inscribed: 'AGE and AVARICE. Shou'd one Short Guinea here be found, / Within a Hundred Thousand Pound; // These sordid Elves (for all their Store) / Wou'd fret as if they had no more.'[NL] De goudweegsters; een ouder echtpaar aan een tafel, de man met een bontmantel rechts en een buidel op zijn schoot, de vrouw links met een kleine weegschaal in haar hand, een munt wegend, gouden munten op tafel; een plank linksboven; een wit papier hangt rechtsboven, boven het hoofd van de man. Goud. Gold. Mezzotint on paper, total: 422 x 283 mm, some staining on the right margin, particularly visible on the bottom right corner. Some tears along the outer margins and minor foldings, overall in fair condition.…

A man and a woman at a wooden table. The man has placed a hand around the woman's shoulders and raises his glass.Monogrammed on the bottom of the bench the woman is sitting on DT.[NL] Een man en een vrouw aan een houten tafel. De man heeft een hand om de schouders van de vrouw gelegd en heft zijn glas. Antieke prent naar David Teniers.Wijn - wine - drinking Very fine etching trimmed to or within plate mark; total: 124 x 175 mm; some traces of handling, mounted on fine paper passepartout. Laurentius 80.…

'PAULO VERONES INUENTOR. 10 ALTA 15 LATA. 125. W. HOLLART FECIT'Biblical court scene after Paolo Veronese: a richly dressed queen approaches a seated ruler at the foot of steps, surrounded by attendants and guards; figures gather on an upper balustrade; monumental palace architecture in the background. Probably the Queen of Sheba attending to Solomon.Made by Wenzel (Vaclav) Hollar after David Teniers the Younger after Paolo Veronese.Medium: Etching and engraving on hand laid (verge) paper.Sheet size: 46.5 x 43.5 cm (18.31 x 17.13 inch). Image size: 45.7 x 40.2 cm. (17.99 x 15.83 inch).PAOLO VERONESE, WENZEL HOLLAR, DAVID TENIERS, THEATRUM PICTORIUM, LEOPOLD WILHELM, BIBLICAL SCENE, SOLOMON QUEEN OF SHEBA, ESTHER AHASUERUS, BAROQUE ENGRAVING, 17TH CENTURY PRINT | PCO-B9-20BACKGROUND INFORMATIONFrom Theatrum Pictorium (1673), the printed catalogue of Archduke Leopold Wilhelm's collection compiled by David Teniers the Younger; plate no. 125 (album leaf 126/247).Reference: SNG record: G 11965/126; Theatrum Pictorium (1673) / album of Leopold Wilhelm's collection after D. Teniers (plate numbering includes '125').Biography engraver: Wenzel (Vaclav) Hollar (1607-1677) was a Bohemian-born engraver and etcher active in Germany, England, and the Low Countries, celebrated for his refined line work, topographical views, and reproductive prints after major European masters.Biography artist: Paolo Veronese (1528-1588) was a leading Venetian Renaissance painter, famed for grand narrative canvases, sumptuous colour, and monumental architectural settings. David Teniers the Younger (1610-1690) was a Flemish painter and court artist who compiled and disseminated Archduke Leopold Wilhelm's collection through Theatrum Pictorium, providing models for many reproductive prints. Condition: good, given age. Light creasing, foxing and soiling. Trimmed to the plate and attached to a carrier sheet. Origanal fold as issued. Paper separation at top and lower fold. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. David Teniers the Younger after Paolo Veronese (illustratore).…