Étienne Dupérac Etchings of Ancient Roman Ruins, 17th Century - A Pair

An etching entitled “Studies of Ballet”, signed Sorensen, artist proof. sight: 10 ½ by 13 ½ inches frame: 17 by 21 inches

An engraving of the Arch of Septimius Severus in Foro Boario, circa 1700. sight: 14 ¼ by 13 ¾ inches frame: 19 ½ by 19 inches

John Taylor Arms (American, 1887-1953) Arch of the Conca, Perugia etching, 1926 signed, dated lower right: John Taylor Arms, 1926 sight: 15 ¼ by 11 inches frame: 20 by 15 inch...

An etching entitled “Metastophaliese” and signed Ozman from an edition of 75, circa 1970s. sight: 4 ¾ inches wide by 16 ¼ inches tall frame: 7 ½ inches wide by 22 ½ inches tall

"Arch dedicated to Hercules" and "Arch dedicated to Bellerophon" Splendid and very rare etchings belonging to a suite of subjects executed for the preparations of the "Celebrations for the entry into Antwerp of the Cardinal-Infante Ferdinando of Habsburg-Spain on 17 April 1635". The sketches for the decorations were all drawn by Sir Peter Paul Rubens and the execution of the etchings was entrusted to Van Thulden. Bottom left: P.P. Rubens. Bottom right: G. Gervatius (who was commissioned to bring together the illustrations of the arches in a special volume) and Van Thulden. Laid paper with watermark - copper imprint - margins - excellent condition. At the end of 1634 Peter Paul Rubens (1577-1640) was invited to make a series of drawings to decorate the city of Antwerp on the occasion of the solemn entry of the infant cardinal Ferdinand of Habsburg (1609-1641) who, after his death of Archduchess Isabella Clara Eugenia (1633), Spanish governor of the southern Netherlands, had been elected as his successor. Generally in these circumstances, the itinerary was articulated through a series of stations and the city - in its main urban hubs - was adorned with decorations and ephemeral apparatuses which, without solution of continuity, covered the facades of the palaces, churches and convents facing the parade axis of the celebratory itinerary, testifying to the participatory role of the various public and private institutions that took part in the feast1. As had happened for the entrances of Charles V in 1520, of Philip II in 1549 and of the archdukes Albert and Isabella in 1599, also in this case, on 17 April 1635, the most important streets and squares of Antwerp were enriched with arrangements: temporary altars, four scenarios, a portico and large triumphal arches built in wood, over twenty meters height, decorated with paintings, sculptures and allegorical scenes. The references to the ancient alluded in this case to the greatness of the Habsburgs and to the merits of Ferdinand for the victory obtained over the Protestant armies of Sweden and their German allies. The choice to use the triumphal arch has its roots in the "city of the popes" and must be read as a connection with the triumphal and modern arches, with Rome and with the "possession" ceremony, placing the emphasis on its centuries-old use . In the elaboration of the drawings and sketches Rubens proved to be a true connoisseur of architecture, but what is most surprising about the artist is the casual use of architectural language and fidelity to sixteenth-century Roman models. In order for the memory of these works to be perpetuated over time, some artists were commissioned to etch the ephemeral apparatuses and, under the guidance of the painter Theodor van Thulden...

A large, nicely-framed Italian hand-colored engraving in tones of terracotta and black. The engraving depicts various figures and scenes from the house of Titus, including angels in chariots bringing love and prosperity, boys playing childhood games, fishing, and other elements of Roman life (17th century, with more recent matte and frame). Engraving is captioned in Latin: "Pictura qua Domus Titi fornices exornabat, plures exhibens Genios in bigis, variosque puerorum ludos, et piscationem, ultra alias principales figuras." "Petrus Sancte Bartoli delin." Pietro Santo...

A French landscape by Gabriel Perelle. With a modern walnut frame Gabriel Perelle (Vernon, 1604 - Paris, 1677) was a French engraver, draftsman and printer of topographic views and landscapes. A pupil of Simon Vouet, Perelle specialized in landscapes with a classical setting, not unlike those of Francisque Millet, although with clearly decorative pretensions. He founded an etching lab, with the collaboration of his sons Nicolas and Adam. Perelle was also a pupil of Daniel Rabel and produced hundreds of engravings from his drawings, as well as compositions by fellow antagonists such as Israël Silvestre, Paul Bril, Jacques Callot, Michel Corneille the Elder, Jan Asselijn...

Salvator Rosa, the Italian Baroque painter was also a significant etcher and printmaker. Rosa’s is series of small prints of soldiers was very popular and influential. This etching i...