Giorgio Mantovano Ghisi Art

The execution of Charles I (1600-1649) at Whitehall, January 30th 1649, in front of the Banqueting House. The executioner holding the head of Charles up to the crowd below. Engravin...

Rembrandt Harmensz. van Rijn 1606 Leiden – Amsterdam 1669 The Descent from the Cross by Torchlight 1654 etching and drypoint; sheet 213 x 163 mm (8 3/8 x 6 7/16 inches) Bart...

Self-portrait with Raised Sabre is an engraving on ivory-colored paper realized by Charles Amand Durand after an etching by Rembrandt dated 1634. This wonderful piece of art belongs ...

Street in Smyrna. 1889. Etching. Wisselingh 34. 7 x 5 1/4 (sheet 12 7/8 x 8 7/8).Edition 100, number 49. A rich, tonal impression printed on Strasbourg cream laid paper on the full s...

Etching and drypoint. Schneiderman 133.v/xi. 7 3/4 x 16 3/8 (sheet 9 1/4 x 17 1/2). A rich impression with plate tone printed in black/brown in on antique cream wove paper. Signed in pencil. In this state, according to Schneiderman (p. 273):"With additional etched work: an extra balk of timber has been added to the balk in the right foreground (the tip of which is approx. 135 mm. from the right plate mark and 35 mm. from the bottom); the barges made darker, and there are drypoint touches in the water in front of the stern. The extreme left line of the hoist of the wrecking barge is complete. The faint lines in the area of the sail of the passing ship just to the right of the mizzenmast of the Agamemnon have also disappeared." The etching, one of Haden's largest, was too large to publish in The Portfolio. Subsequently the plate was proved by Haden and printed by the foremost plate printer of the day, Frederick Goulding, and was issued by the artist himself through Colnaghi’s – with immense success. Keppel claimed that the print sold 10,000 copies, though around 500 seems more likely.' Breaking up of the Agamemnon...

Engraving on cream laid paper, 8 x 5 3/8 inches (203 x 137 mm), trimmed at the platemark. A fine impression with a Coat of Arms watermark. Second state, after the addition of the Frederick de Witt...

A charming scene with romping dogs and spectators watching the cascading water play a trick on an unsuspecting man who is sprayed as he descends the steps, as the fountain was design...

Artist: Charles Amand-Durand, French (1831 - 1905) after Albrecht Dürer, German (1471 - 1528) Title: La Grande Fortune Year: 1873 (original circa 1502) Medium: Heliogravure on thin l...

Hans Sebald Beham (1500-1550), an engraving after Beham’s Two Fools (or Fool and Foolish Woman), engraving, c 1540, a copy or impression in reverse of Pauli 215, Bartsch 213, the cop...

Rome: Giovanni Giacomo De Rossi, 1625. Etching and engraving on cream laid paper, 8 3/8 x 11 1/4 inches (222 x 286 mm), full margins. In good condition with some light yellow discol...

An exalted portrait of fellow Flemish engraver and publisher Karel van Mallery. Lucas Vorsterman the Elder (after Anthony van Dyck). Carolus de Mallery, from Icones Principum Viror...

Self-Portrait, Frowning is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This piece of art belongs to a late edition...