Maker Unknown (67 results)

Portrait of Michiel de Ruyter. Below the portrait a quotation attributed to him: 'Houdt moed, mijn kinderen, houdt moed! / Zoo moet men doen om de zege te verkrijgen / Michiel Adrianszoon de Ruyter', which means: 'be brave, my fellow, be brave! This is how you should act to gain the triumph'. From a series of six portraits and quotations, wood engraving on laid paper; total: 352 x 217 mm.

Profile potrait of Juan I of Austria (1547-1578). Inscribed on the bottom: 'IOANES AUSTRIACUS CAROLI V. / FIL. BELGII GUBERNATOR.'; numbered on the top left: '506' l Etching on paper, small margins; platemark: 114 x 63 mm, total: 133 x 75 mm.PP01JI (Juan I of Austria).

Bust portrait in profile towards the right of Juan I of Austria (1547-1578). On the bottom three line text in Dutch: 'DON JOHAN VAN OOSTENRYK, / GOUVERNEUR GENERAEL / DER NEDERLANDEN.' From an unknown publication; on the tio left corner: 'Tom. 1, N. 17' l Engraving on paper with broad margins; platemark: 263 x 180 mm, total: 305 x 220 mm. PP01JI (Juan I of Austria).

Hardcover. Condition: Good. This is an original album of cabinet cards (28) & cdvs (16) of portraits photographs of faculty and 1888 graduates of 'Girls Latin School' in Boston. In the back are photos identified as family members. Laid in are hand drawn & written Latin School related ephemera. The album was assembled during the10th year anniversary of the Girls Latin School of Boston. The first cabinet card is of Julius Eichberg, composer and head of music for Boston Public schools in the 1880s. There are cabinet cards of identified people that appear to be faculty, and young women identified as 1888 graduates [+ two graduates from 1883]. CDVs appear to be mostly family and include Thomas Florian Currier, a prominent Boston abolitionist. Binding is fair, spine cover is missing. Measures approximately 10.5"×9"×3". Activist mothers in the 1870s were largely responsible for pushing for the establishment of a girl's educational institution that would be equivalent to that of the Boston Latin School. An executive committee of the Massachusetts Society for the University Education of Women first sought unsuccessfully to have girls granted admittance to the male-only Latin School. Then, after an arduous procession of petitions and board referrals, Girls' Latin School was established as the first college preparatory school for women the country, opened on Feb.12, 1878, with 37 pupils split among three classes.

Decorated holy card, with punctured borders, with second margin in gold. In an oval the Virgin Mary with crossed hands on her chest. On the verso French text and some scribbles in pen. Titled: 'vierge imma[.]llée' 'Holy cards/immaginette are small, mass-produced, wallet-sized cards that have been, and still are, a significant marker of "growing up Catholic." In many respects they represent, and have been used as, the people's Lives of the Saints, the child's first lesson in orthodoxy and everyday manners, art for the masses, a modern version of the Bible of the illiterate. Despite the adjective "holy" and although they are often treated by the devout as placeholders for the sacred, holy cards are not really sacred objects. They are, instead, aids to worship, reminders of the sacraments and of the model lives of saints and other hallowed figures. More than that [.] they can be understood and often function as rich and cherished repositories of personal and cultural memory both visual and verbal.' This kind of decorated Holy cards are also referred to as 'canivets' ['Santini' or 'Immaginette' in Italian] and were '[.] securely tucked away in a pocket, or pinned to the folds of clothing, they could be retrieved in moments of anguish or need to be looked at, touched, perhaps kissed, and often spoken to. During the 1700s and 1800s, as the middle and merchant classes increased in numbers, the cards reflected that changing economic demographic. For those rising in wealth and status, elaborate lace versions of immaginette, canivets, very similar to Victorian valentines, began to circulate alongside humbler and simpler versions in Europe, particularly in France and subsequently in Italy. Carefully crafted, expensive versions of immaginette were exchanged as gifts and mementos of important religious occasions. When left blank, and in the hands of literate people, the verso (back side) of these artifacts became the site of "epistolary" exchanges between teachers and students, between parents and children, and between friends.' [D. George, M. Rizzi Salvator. Holy Cards/Immaginette: The Extraordinary Literacy of Vernacular Religion, in 'College Composition and Communication', Vol. 60, No. 2 (Dec., 2008), pp. 250-284]. Engraving on paper, elaborate puncturing of the paper along the border; gilded inner border; total: 93 x 64 mm; damp stain on the bottom; upper right decorated margin damaged .

Bust portrait of admiral Michiel de Ruyter in a laurel wreath. Inscription on pedestal: 'MICHEL de RUYTER / Duc Chevalier etc / Lt. Admiral General de / Hollande et Westfrise, etc.' Etching and engraving on paper, pasted on cardboard paper, no margins; print size: 110 x 61 mm; Good contrast.

Profile portrait of Juan I of Austria (1547-1578) in oval and external decorative frame. Inscribed on the bottom: 'Don Johan de Austria.' Engraving and etching on paper, some dirt on the bottom; total: 275 x 165 mm PP01JI (Juan I of Austria).

[s.l., s.n., circa 1900]. Photographic glass magic lantern slide, 82 x 82 mm, with original manuscript caption label 'Kalgurli (sic) Retreatment Plant'; in very good condition.

Bust portrait of admiral Michiel de Ruyter in armor. On the bottom an inscription: "D Heer MICHIEL ADRIAENZ D RUITER, Lieutent / Admirael Generael der Vereenigde Nederlanden." Engraving and etching on paper with small margins; plate mark: 162 x 120 mm, total: 175 x 143 mm; slightly yellowing paper; Muller 4628g (?).

Frontispiece to a publication concerning fighting and duels. Second edition. The title is reproduced on a ribbon above; on the bottom address of the publisher and year: 'TE DELFT, Gedrukt Bi ANDRIEZ VOORSTAD. / 1702'. In the picture in the foreground a priest (Jesuit?) reading from a book a sentence to a kneeling man on the right; further towards the background different kind of duels, on horse and on foot. l Etching and engraving on paper, on the right trimmed to plate mark; total: 168 x 99 mm; on the verso scribblings in pencil and black ink.

A group of armoured men (possibly princes of Orange and/or stadtholders) stands around a seated man. In front of him, a soldier lies on his back on a Medusa figure. On the left is the Dutch Virgin with the coat of arms. At the top, Fame flies with a trumpet and laurel wreath.The title inscribed on a flag hanging from the trumpet: NASSOUER HELDENS Pronk-toneel.With the date and the address of the publisher below: T'AMSTERDAM By Ian Iansz, op 't water inde Parkstraat A. 1664.[NL] Een groep geharnaste mannen (mogelijk prinsen van Oranje en/of stadhouders) staat rondom een zittende man. Voor hem ligt een soldaat op zijn rug op een Medusa-figuur. Links zit de Hollandse Maagd met wapenschild. Aan de bovenzijde vliegt Faam met bazuin en lauwerkrans.bookillustration - boekillustratie - frontispiece - frontispice Engraving on paper, trimmed within plate mark; total: 147 x 81 mm; evenly yellowing paper; overall in good condition.

Profile portrait of Juan I of Austria (1547-1578) in a circular frame, inscribed: JOANNES AUSTRIACUS CAROLI V. F. PHILIPPI REGIS CATHOLICI NOMINE APUD BELGAS GUBERNATOR ET CAPITANEUS GENERAL. ANN. MDCIIII. Numbered on the bottom left: '126'. This plate was employed in Emanuel van Meteren 'Historia Oder Eigentliche und War hafte Beschreibung aller Kriegshändel unnd Gedenckwürdigen Geschichten', ca. 1610. l Etching on paper with margins; platemark: 172 x 171, total: 189 x 183 mm; small hole slightly below the center, small tear on the right bottom affecting slightly the plate, otherwise in good conditions. PP01JI (Juan I of Austria).

The Virgin and Child on a donkey and St. Joseph walking beside in the desert. Possibly from the first half of the nineteenth century. Lettered at the bottom: 'Die Flucht des Kindleins Jesu nach Aegypten. / Matth. 2, 13-15 /Zum Besten der Diaconissen-Anstalt zu Kaiserswerth a/Rhein'. Lithography on paper; total: 468 x 377 mm; soil and stains along the margins, not affecting the image. Some small tears on the most external margins.

Bust portrait of admiral Michiel de Ruyter in an oval frame. Inscribed on the bottom: 'M.A. de RUYTER / Lt. Adm. du Pais Bas.' l Etching on paper, trimmed within plate mark; total: 118 x 69 mm.

Bust portrait of admiral Michiel de Ruyter in oval laurel wreath. Above on the right: 'Par. II Pag. 388' From unknown publication. Etching on paper; plate mark: 130 x 103 mm, total: 151 x 105 mm.

Bust portrait of Wolfgang Amadeus Mozart (1756-1791), looking to the right. With signature of Mozart at bottom l Engraving and etching on paper with margins; plate mark: 143 x 96 mm, total: 253 x 177 mm; stained paper, some light stains affect the plate, light foxing, paper pin hole on the top.

Bust portrait of admiral Michiel de Ruyter in an oval. On the bottom an inscription: "MICHAEL DE REUTER VICE AD: / MIRAL VON HOLLANDT VND / WESTFRIESSLANDT etc." l Engraving and etching on paper with small margins; plate mark: 181 x 122 mm, total: 210 x 151 mm; mounted on cardboard (top margin).

Commemorative medal with portrait of admiral Michiel de Ruyter on one side and on the other the Four Day's battle between the English and the Dutch fleet in 1666. Inscription on the portrait side: 'MICHAEL DE RVITER PROVINCIARVM CONFOEDERAT: / BELGIC ARCHITHA. LASSVS DUX ET EQVES.' under the sea battle: 'PVGNANDO' on the bottom right: 'fig.: 103'; bottom portion from larger plate. On the verso collector's mark of Pim van Eekelen. l Engraving on paper with small margins, pasted on thicker paper with margin drawn in brown ink; total: 98 x 164 mm.

First edition. The body of this Cochiti Pueblo wooden drum appears in its natural unpainted state except for the red paint in the area of the drum heads, and thin blue lines which are remnants of prior blue paint on the body. Both of the drum heads are painted black, and the drum is 8 1/4" tall x 9" diameter. The drum came from Cochiti Pueblo, New Mexico. Pueblo dances are prayers. They are sacred occasions where Pueblo people give thanks for a bountiful harvest, good health and prosperity. The singer's prayer songs are accompanied by the sound of drums. The beat of the drums reminds us of the sound of the heartbeat of mother earth, the source of all life. It could also be the sound of thunder, the signal that life-sustaining rain is on the way. Drums are an integral part of all Pueblo dances, but not all Pueblos make their own drums. The most desired drums are known to come from Cochiti Pueblo where the Herrera family has been making drums for three generations. Santiago â Jimâ Herrera (? - 1971) taught his son Arnold to make drums in the 1960s and 70s. After the death of his father in 1971, Arnold continued the drum-making tradition and has now passed this art to his sons. This drum could have been made by a member of the Herrera family but we do not know the artisan who carved this drum. It was carefully carved out of cottonwood The drum has two heads. Pueblo songs are written to start slowly and then go to a climax. At a certain point of the song, the drum is flipped over to achieve a higher beat. This lifts the dancers and gives them the impetus to continue dancing. Condition: The drum is in excellent condition, the rawhide head and the strings are very tight.

First edition. This Cochiti Pueblo wooden drum's basic cylinder was left in the natural state with pink and blue rainbow shape outlines near the drum heads. The edges of the drum heads are painted black but the tops are unpainted, and the drum is 7 1/2" tall x 8" diameter. The drum came from Cochiti Pueblo, New Mexico. Pueblo dances are prayers. They are sacred occasions where Pueblo people give thanks for a bountiful harvest, good health and prosperity. The singer's prayer songs are accompanied by the sound of drums. The beat of the drums reminds us of the sound of the heartbeat of mother earth, the source of all life. It could also be the sound of thunder, the signal that life-sustaining rain is on the way. Drums are an integral part of all Pueblo dances, but not all Pueblos make their own drums. The most desired drums are known to come from Cochiti Pueblo where the Herrera family has been making drums for three generations. Santiago â Jimâ Herrera (? - 1971) taught his son Arnold to make drums in the 1960s and 70s. After the death of his father in 1971, Arnold continued the drum-making tradition and has now passed this art to his sons. This drum could have been made by a member of the Herrera family but we do not know the artisan who carved this drum. It was carefully carved out of cottonwood The drum has two heads. Pueblo songs are written to start slowly and then go to a climax. At a certain point of the song, the drum is flipped over to achieve a higher beat. This lifts the dancers and gives them the impetus to continue dancing. Condition: The drum is in excellent condition, the rawhide head and the strings are very tight.

First edition. This Cochiti Pueblo wooden drum is painted a rose color with blue near the drum heads. The two colors are divided by a white line, and the drum is 9" tall x 9" diameter. The edges of the drum heads are painted black, as are the drum heads. The drum came from Cochiti Pueblo, New Mexico. Pueblo dances are prayers. They are sacred occasions where Pueblo people give thanks for a bountiful harvest, good health and prosperity. The singer's prayer songs are accompanied by the sound of drums. The beat of the drums reminds us of the sound of the heartbeat of mother earth, the source of all life. It could also be the sound of thunder, the signal that life-sustaining rain is on the way. Drums are an integral part of all Pueblo dances, but not all Pueblos make their own drums. The most desired drums are known to come from Cochiti Pueblo where the Herrera family has been making drums for three generations. Santiago â Jimâ Herrera (? - 1971) taught his son Arnold to make drums in the 1960s and 70s. After the death of his father in 1971, Arnold continued the drum-making tradition and has now passed this art to his sons. This drum could have been made by a member of the Herrera family but we do not know the artisan who carved this drum. It was carefully carved out of cottonwood The drum has two heads. Pueblo songs are written to start slowly and then go to a climax. At a certain point of the song, the drum is flipped over to achieve a higher beat. This lifts the dancers and gives them the impetus to continue dancing. Condition: The drum is in excellent condition, the rawhide head and the strings are very tight.

First edition. This Cochiti Pueblo drum is painted dark brown and is 18 1/4" tall x 12 7/8" diameter. The edges under the drum heads are painted yellow, red, green, pink, black, and turquoise. Both drum heads are painted black. The drum came from Cochiti Pueblo, New Mexico. Pueblo dances are prayers. They are sacred occasions where Pueblo people give thanks for a bountiful harvest, good health and prosperity. The singer's prayer songs are accompanied by the sound of drums. The beat of the drums reminds us of the sound of the heartbeat of mother earth, the source of all life. It could also be the sound of thunder, the signal that life-sustaining rain is on the way. Drums are an integral part of all Pueblo dances, but not all Pueblos make their own drums. The most desired drums are known to come from Cochiti Pueblo where the Herrera family has been making drums for three generations. Santiago â Jimâ Herrera (? - 1971) taught his son Arnold to make drums in the 1960s and 70s. After the death of his father in 1971, Arnold continued the drum-making tradition and has now passed this art to his sons. This drum could have been made by a member of the Herrera family but we do not know the artisan who carved this drum. It was carefully carved out of cottonwood and painted dark brown and decorated with yellow, red, green, pink, black and turquoise at the edges under the drum heads. The drum heads are painted black. The drum size is 18 1/4" height x 12 7/8" diameter. The drum has two heads. Pueblo songs are written to start slowly and then go to a climax. At a certain point of the song, the drum is flipped over to achieve a higher beat. This lifts the dancers and gives them the impetus to continue dancing. Condition: The drum is in excellent condition, the rawhide head and the strings are very tight.

First edition. This Cochiti Pueblo wooden drum is painted with an orange band. outlined in blue and edged with white, and is 4" tall x 8 3/4" diameter. The edges of the drum heads are painted black, with the center left unpainted. The drum came from Cochiti Pueblo, New Mexico. Pueblo dances are prayers. They are sacred occasions where Pueblo people give thanks for a bountiful harvest, good health and prosperity. The singer's prayer songs are accompanied by the sound of drums. The beat of the drums reminds us of the sound of the heartbeat of mother earth, the source of all life. It could also be the sound of thunder, the signal that life-sustaining rain is on the way. Drums are an integral part of all Pueblo dances, but not all Pueblos make their own drums. The most desired drums are known to come from Cochiti Pueblo where the Herrera family has been making drums for three generations. Santiago â Jimâ Herrera (? - 1971) taught his son Arnold to make drums in the 1960s and 70s. After the death of his father in 1971, Arnold continued the drum-making tradition and has now passed this art to his sons. This drum could have been made by a member of the Herrera family but we do not know the artisan who carved this drum. It was carefully carved out of cottonwood The drum has two heads. Pueblo songs are written to start slowly and then go to a climax. At a certain point of the song, the drum is flipped over to achieve a higher beat. This lifts the dancers and gives them the impetus to continue dancing. Condition: The drum is in excellent condition, the rawhide head and the strings are very tight.

First edition. This Cochiti Pueblo wooden drum has a beautiful bulge on the sides which are painted blue and yellow, separated by a black arched line and is 5 1/4" tall x 6 1/4" diameter. The edges of the drum heads are painted black, with the center left unpainted. The drum came from Cochiti Pueblo, New Mexico. Pueblo dances are prayers. They are sacred occasions where Pueblo people give thanks for a bountiful harvest, good health and prosperity. The singer's prayer songs are accompanied by the sound of drums. The beat of the drums reminds us of the sound of the heartbeat of mother earth, the source of all life. It could also be the sound of thunder, the signal that life-sustaining rain is on the way. Drums are an integral part of all Pueblo dances, but not all Pueblos make their own drums. The most desired drums are known to come from Cochiti Pueblo where the Herrera family has been making drums for three generations. Santiago â Jimâ Herrera (? - 1971) taught his son Arnold to make drums in the 1960s and 70s. After the death of his father in 1971, Arnold continued the drum-making tradition and has now passed this art to his sons. This drum could have been made by a member of the Herrera family but we do not know the artisan who carved this drum. It was carefully carved out of cottonwood The drum has two heads. Pueblo songs are written to start slowly and then go to a climax. At a certain point of the song, the drum is flipped over to achieve a higher beat. This lifts the dancers and gives them the impetus to continue dancing. Condition: The drum is in excellent condition, the rawhide head and the strings are very tight.

Unknown maker. PORT OR CORDIAL GLASSES (6). Each 5 inches tall, with a round base, short stem, a solid ball flaring to a cone shaped bowl, with a capacity of about three ounces. Very elegant. One with a small ding, else Fine.

Bust portrait of Antonio Albizzi in an oval. Antonio Albizzi (lat : Antonius Albicius) was an Italian jurist and genealogist, born in Florence in 1547. In 1576 he was in the service of Cardinal-Archduke Andreas of Austria. In 1585 he converted to Lutheranism and spent the rest of his life in the Protestant Imperial City of Kempten, where he died in 1626. His most famous work was Principum Christianorum Stemmata (Augsburg 1612), an unusual collection of engravings showing the family trees of the leading royal and noble houses of Europe of that time (and unusually also including the genealogy of the Turkish Emperors). The fine decorative engravings include family trees, portraits and coats of arms and are set against the backdrop of City views and panoramas closely copied from the Civitates Orbis Terrarum by Georg Braun & Franz Hogenberg (1572-1618). Lettered on the oval frame: 'ANTONIVS ALBICIVS NOBILIS FLORENTINVS'; on the bottom: 'Haec est ALBITII, Regum qui Stemmata scripsit. / Atque Ducum, artificis prodita imago manu. / Nobilitatis uti scriptor quoq[ue] Nobilis esset; / Nobilis hic genere est, Scriptore, et ingenio'. l Engraving on laid paper; on the verso text in letterpress; total: 193 x 127 mm.

Profile portrait in an oval of Juan I of Austria (1547-1578), from the publication: Oorsprong en voortgang der Neder-landtscher beroerten ende ellendicheden. Waerin vertoont worden, de voornaemste tyrannijen .(1616) by Johannes Gysius, p. 370. Inscribed on the ovel frame:'IOANNIS AVSTRIACVS PRINC. FRANCAE-VILLAE, GVB. GENERALIS IN BELGIO.' and small dutch poem on the bottom:'Des Keysers Soon ben ick, onechtelijck gheboren. / Voor Namen creech de pest, die my feer wreedt verslan.' Etching and letterpress on paper, pasted on thicker paper; total (original paper):165 x 128 mm PP01JI (Juan I of Austria).

Profile portrait of Juan I of Austria (1547-1578) in oval and external decorative frame. Inscribed on the bottom: 'Don Jan van Oostenryck Prince van / Franca-villa Gouverneur der Nederlanden / H. Jacopzoen. exc'; inscribed on the oval frame: 'IOANNIS, AVSTRIACVS PRINC FRANCÆ VILLÆ, GVB, GENERALIS IN, BELGIO'. Engraving and etching on paper pasted on cardboard; total: 267 x 176 mm PP01JI (Juan I of Austria).

Portrait of Ernst, Archduke of Austria, bust, turned to the left, glancing at the viewer, wearing armor, chain and ruff, with moustache; in lettered circle: "ERNESTVS D.G. ARCHIDVX AVSTRIAE DUX BURGUNDIAE COMES TIROLIS, ET BELGICARU PROVINCIARU GUBERN." It is not clear from which publication this portrait is taken from. On the verso of both pages is text in Latin referring to the Duke of Alba and Ernst of Austria. The dates and the text at the top of the pages suggest that the portrait was probably taken from an edition of the "Belgian Lion" by Michael von Aitzing. Etching and engraving on paper with broad margins; plate mark: 192 x 189 mm, total: 255 x 358 mm; crease in the middle as two pages are joined together. In good condition.

Engraved frontispiece of the first Edition of the political pamphlet 'Comoedia Vetus'. Though anonymously published, it commonly accepted that the author was Willem Meerman (?-1612), a seafaring man. In 1612, the year this pamphlet was published, Meerman embarked on a voyage to America, from which he never returned. In this pamplet, Meerman uses maritime expressions as an allegory on the political situation in Holland. The pamphlet is written in a clear and witty style. It attacks the protestant clergy in Holland as being little better than their Catholic predecessors. Hence the title, which translates as "the old game". The illustrated titlepage print shows prince Maurits, seated at a table with seven other gentlemen. He holds a stick, a man with a head shaped like church pulls at the other end of the stick. At the front of the scene, several sailors are approaching and watch the scene in surprise. At the foot of the title are the words "Eij Maet, siet is 't lant vol gecken? Noom wil mijn Heer de stock onttrecken". In the same year 1612 another edition was issued, slightly smaller, with the extended title "Comoedia Vetus, of anders ghenoemt Het Bootsmanspraetjen". The addition "bootmans praetjen" stuck and came back in later editions, which were issued well into the 18th century, until 1740. On the verso collector's mark: Gemeente Museum of The Hague (L. 1096); here are also pencil scribbles. l Etching and engraving on paper, trimmed within plate mark, margins restored; total: 197 x 146 mm; traces of previous mounting on the verso.