Marco Gatti

A Satyr and a Ram Clashin - Etching by Marco Gatti - 16th Century

16th Century

Pan in Ancient Roman Fresco, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Francesco Cepparoli in the 18th Century. Signed on the plate ...

Hercules and Lion from "Antiquities of Herculaneum" is an etching on paper realized by Pietro Campana in the 18th Century. Signed on the plate. Good c...

Satyr from the series "Antiquities of Herculaneum" , is an etching on paper realized by Various Authors in the 18th Century. Monogrammed on the plate. Good conditions. The etching...

Etching on paper from "Antiquities of Herculaneum", realized by Filippo Morghen in the late 18th Century. Signed in the plate. Good conditions with some folding. The etching belon...

"Two Rams Looking Down & To Their Left" is an original etching by Karel DuJardin. DuJardin completed many delicate etchings of rams. 3 3/4" x 7 3/4" art 16 3/8" x 19 1/2" frame Du Jardin was a master of various genres of painting, including refined and tranquil Italianising landscapes, monumental historical paintings and superb portraits of the aristocracy. Unlike the majority of his contemporaries, Karel du Jardin (b. Amsterdam 1626, d. Venice 1678) was a talented painter in not one, but many different genres. He is especially famous for his small-scale landscapes, such as the charming Italian landscape with a woman milking a goa" (1652) from the Rijksmuseum's collection. Du Jardin depicted both sun-filled Italianate scenes and Dutch farmyards with pigs and sheep. He also painted a range of elegant portraits of aristocrats and merchants. His self-portrait (1662) on copper is one of the most fascinating 17th-century portraits of a Dutch artist. Du Jardin's spectacular large-scale historical pieces, represented is the show by the impressive Conversion of Saint Pau" (1662) from the collection of the National Gallery of London, are among his most remarkable achievements; he often chose themes that were only rarely depicted by other Dutch painters of the period. During his own lifetime Du Jardin was praised by poets and writers, particularly for his attention to detail and elegant painting technique. As Cornelis de Bie, the artist’s biographer, wrote in 1661: "the surety of the brush at his finger and such sharpe clarity […] that the eye thereon doth linger." Du Jardin's valuable paintings were mainly purchased by rich individuals with an eye for elegance, but were also commissioned by prominent institutions such as the Amsterdam 'Spinhuis' (a women's prison), for whom he painted a vast group portrait of the prison-governors. Karel du Jardin was an artist who liked to travel. He lived for a time in Lyon and in Paris, and sailed with Joan Reynst, Heer van Drakestein, by ship via England, Portugal and Spain to Tangier and Algiers, where they met Michiel de Ruyter...

Marcantonio Raimondi, After by Amand Durand, Italian (1480 - 1534) - Hercule et Antee, Year: 1875, Medium: Heliogravure, Size: 13 x 9 in. (33.02 x 22.86 cm), Printer: Amand Durand...

Bacchanal Etching, 1649 Inscribed in the square left: "Magnificentis/simo Principi/Paolo lorda/no. II Bracci/ani Duci/Aud. P.DDD/1640; Inscribed on right: Rome apud Franciscsum Saluucium Condition: Usual centerfolds from paper manufacture Plate: 10 3/8 x 15 1/2" Sheet: 11 1/2 x 16 1/2"; References: Bartsch XX.4 Sopher Plate 145 An impression of this image is in the collections of the Philadelphia Museum of Art and the National Gallery of Art, Washington An exceptionally rich impression in excellent condition. From Wikipedia, the free encyclopedia Putti as Allegory of Music Giovanni Andrea Podestà or Giovanni Andrea Podesta (1608 - c. 1674) was an Italian painter and engraver who was principally active in Rome. His principal subject matter is children playing in landscapes with classical objects. His works show the influence of Poussin's Arcadian landscapes and bacchanals, which were ultimately derived from Titian's bacchanals. Life Giovanni Andrea Podestà was born in Genoa. He was formed in Genoa with Giovanni Andrea de Ferrari and Domenico Fiasella according to the information provided by the contemporary Genoese biographer Raffaele Soprani. He is also recorded as an apprentice of Giovanni Battista Paggi in 1627. His presence is documented from in 1634 in Rome where he made drawings after the statues and ancient reliefs at the famous Giustiniani collection. These were subsequently engraved for publication in the 'Galleria Giustiniani'. The artist's career ran a course similar to that of the young Domenico Fiasella. In Rome his art evolved in contact with the works of Poussin, Andrea di Leone, Pietro Testa...

Rome: Nicolas van Aelst, 1613. Engraving on cream laid paper with a foolscap watermark, 8 x 11 1/4 inches (203 x 282 mm), thread margins. Scattered expert repairs including minor pu...