Bry, Theodor de (1528-1598)

De Hoopman van weisheyt. Le capitaine prudent

Medallion with the bust of the "Merchant of Weisheit" (portrait of William of Orange, Willem van Oranje). In the border grotesques with various scenes such as the judgment of Solomon and a representation of the devout monarch, unaffected by death and destruction. Plate from series of four designs for tazzas, with a medallion within a wide border with figures, animals and vines on a dark ground. The border around the medallion and the outer edge include Dutch and French verses. Signed 'THE DE BRI F ET EX' and 'J Wolff ex', possibly Jeremias Wolff (1663-1724), German publisher of the seventeenth century. l Engraving on paper, trimmed within platemark; diameter: 123 mm; undocumented state II/2; some soiling, damaged along the border, yellowed and traces of former mounting on the verso; Hollstein 178 (second state undocumented); Guilmard 368; Atlas van Stolk

Antiquariaat GoltziusProfessional seller

Book number: 60536

Catalogue: (general) Allegory Portraits Portretten

Dyck, Anthonie van (1599-1641) and Vorsterman, Lucas I (1595-1675)

Titian and his mistress [self portrait of Titian and Pictura]

An old man on the left in profile reaching out towards a younger woman to the right. This impressive work on paper is said o be based on a lost self-portrait by Titian. Rather than a mistress, the young woman might be seen as a personification of Pictura, or Painting. She is clearly oversized in respect to the painter. Titian had used an extra-large woman in a series of paintings of a nude Venus, in each of which the woman is larger than the male musician. This discrepancy in scale might mean that the man is an "artist" creating his "work of art". Music, as a metaphor for the creation of art, has been a common theme in painting in every century since the Renaissance. Instead of music here Titian (or possibly Van Dyck) constructed a composition in which touch becomes the metaphor for "painting." A skull is positioned within a niche under the elbow of the woman. The lower part of the print has been cut out. The text would read: 'Ecco il belveder ó che felice sorte! / Che la fruttifera frutto in ventre porte // Ma ch'ella, ó me vita et morte piano / demone tra l'arte del magno Titiano // Al molto illustre, magnifico et osseruandis.mo sig.re il SIG LUCA VAN UFFEL, in segno d'affectione et inclinatione / amorevole como Patrone et singularis.mo amico suo dedicato il vero ritratto del unico Titiano Ant. van Dyck.' The dedicatee of the print is Lucas van Uffelen (1586-1638) art dealer and patron of van Dyck. l Etching and engraving on paper pasted on cardboard; total 261 x 224 mm; traces of glue visible on the surface, some dirt and a tear on the right margin repaired while attaching the print to the cardboard. Bright impression; late state; Hollstein 21

Antiquariaat GoltziusProfessional seller

Book number: 60940

Catalogue: (general) Allegory Portraits Portretten

Goltzius, Hendrick (1558-1617)

CAROLA BURBONIA... (portrait of Charlotte de Bourbon)

Portrait of Charlotte de Bourbon (1547-1582) the third wife of William of Orange. Half-length portrait of the richly dressed woman with a hand on the table in front of her. In each corner female personifications of the four elements with biblical scene in the background; in strapwork symbols related to the elements. Inscribed on the oval frame: 'CAROLA BVRBONIA D.G. PRIN. AVR. CO: NASS. &C. AET. ANN. XXIII A. M.LXXXI'. Latin captions below the representations of the elements; four lines of Latin text in cartouche at the bottom centre: 'Huius me curae... lustrabit lampade Solis'. l Engraving on paper trimmed to plate mark; total: 272 x 183 mm; state II/2; very nice impression; New Hollstein 262; Strauss 143; Bartsch 179, Muller 99

Antiquariaat GoltziusProfessional seller

Book number: 60252

Catalogue: (general) Allegory Portraits Portretten Prenten Prints