Philippe Thomassin Sold at Auction Prices

copperplate engraver, b. 1562 - d. 1622

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  • Philippe Thomassin Vita et miracula S. Catharinae Senen triplici idiomate Latino, Italo ac Hyspano descripta humani generis redemptoridicata 1608
    Apr. 16, 2025

    Philippe Thomassin Vita et miracula S. Catharinae Senen triplici idiomate Latino, Italo ac Hyspano descripta humani generis redemptoridicata 1608

    Est: €1,000 - €1,500

    Complete series of thirty-four plates. Engraving and etching, approx. 268 x 200 mm (each sheet). Bruwaert 284. Very fine impressions printed on laid paper with watermark (Easter lamb in double circle with letters AN, Heawood 2838). Slightly browned sheets, some foxing, the first sheet (title page) with a lack in the left corner, restored, and other small lacks at the edges, but the rest in very good condition. Full leather binding.

    Bertolami Fine Art s.r.l.
  • P. THOMASSIN (*1562), After ancient statue in Capitolio, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), After ancient statue in Capitolio, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Engraving after an antique female statue "in Capitolio", plate 49, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Watermark: Flora - Leaf/leaf/tree - Lilie - Date: Date: c. 1610 Description: After an antique statue, in a conch. Inscribed below the depiction within the printing plate: "in Capitolio". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. | Watermark: Lily Keywords: 17th century, Figurative, Portraits, Italy, Size: Laid paper: 22,0 cm x 14,3 cm (8,7 x 5,6 in), Depiction: 12,4 cm x 8,0 cm (4,9 x 3,1 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), After antique statue, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), After antique statue, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Engraving after an antique female statue, plate 47, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue, in a conch. Inscribed below the depiction within the printing plate: "Sponsa nuptiá appetens in aedibus". From: Gravure d'Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy, Size: Laid paper: 22,4 cm x 12,3 cm (8,8 x 4,8 in), Depiction: 12,2 cm x 8,1 cm (4,8 x 3,2 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Goddess Ceres, after an ancient statue, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Goddess Ceres, after an ancient statue, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Depiction of the goddess Ceres, after an antique statue, from the Borghese Collection, plate 30, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an ancient statue, in a conch. Ceres is the Roman goddess of agriculture and fertility (Greek: Demeter) and is regarded as a lawgiver. She is depicted with a bunch of ears of wheat. From the Borghese Collection; labelled below the depiction within the printing plate: "Ceres uiridario Cardinalis Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy, Size: Laid paper: 22,2 cm x 11,5 cm (8,7 x 4,5 in), Depiction: 12,4 cm x 8,1 cm (4,9 x 3,2 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), After antique statue, Smlg. Borghese, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), After antique statue, Smlg. Borghese, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Depiction after an antique statue, from the Borghese Collection, plate 39, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue, in a conch. From the Borghese Collection; Inscribed below the depiction within the printing plate: "in aedibus Card. Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy, Size: Laid paper: 22,2 cm x 12,0 cm (8,7 x 4,7 in), Depiction: 12,0 cm x 8,0 cm (4,7 x 3,1 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Statue of Julius Caesar, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Statue of Julius Caesar, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Depiction of Julius Caesar after an antique statue, from the Borghese Collection, commander-in-chief, general, marshal, plate 38, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Watermark: Flora - Leaf/leaf/tree - Lilie - Date: Date: c. 1610 Description: After an ancient statue, in a conch. From the Borghese Collection; Gaius Julius Caesar (100 BC in Rome - 44 BC ibid.), Roman statesman, general and author, with armour and defensive weapon, protection from weapons: shield. Inscribed below the depiction within the printing plate: "Julius Caesar Imp. in aedibus Card. Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. | Watermark: Lily Keywords: 17th century, Figurative, Portraits, Italy, Size: Laid paper: 22,3 cm x 12,0 cm (8,8 x 4,7 in), Depiction: 12,1 cm x 8,0 cm (4,8 x 3,1 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Musa in Capitolio mit Flöte,, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Musa in Capitolio mit Flöte,, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Muse on the Capitol in Rome with flute, "Musa in Capitolio" plate 20, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue, in a conch. Inscribed below the depiction within the printing plate: "Musa in Capitolio". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Mythology, Italy, Size: Laid paper: 22,3 cm x 14,0 cm (8,8 x 5,5 in), Depiction: 12,3 cm x 8,2 cm (4,8 x 3,2 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Male statue, Borghese Collection, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Male statue, Borghese Collection, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Male statue from the Borghese Collection, plate 21, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: Reproduction of a sculpture: after an antique statue, in a conch. Inscribed below the image within the printing plate: "in aedibus Card. Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy, Size: Laid paper: 22,4 cm x 11,0 cm (8,8 x 4,3 in), Depiction: 12,5 cm x 8,2 cm (4,9 x 3,2 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Statue des Orpheus, Slg. Borghese, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Statue des Orpheus, Slg. Borghese, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Depiction of Orpheus after an antique statue, from the Borghese Collection, plate 8, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Watermark: Flora - Leaf/leaf/tree - Lilie - Date: Date: c. 1610 Description: After an ancient statue in a conch, reproduction of a sculpture. The singer and poet Orpheus from Greek mythology descended into the realm of the dead out of love for his wife Eurydice. Inscribed below the depiction within the printing plate: "Orpheus in aedibus Card. Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. | Watermark: Lily Keywords: 17th century, Figurative, Mythology, Italy, Size: Laid paper: 22,3 cm x 12,8 cm (8,8 x 5 in), Depiction: 12,2 cm x 8,0 cm (4,8 x 3,1 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Male statue, Borghese Collection, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Male statue, Borghese Collection, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Male statue from the Borghese Collection, plate 8, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Watermark: Flora - Leaf/leaf/tree - Lilie - Date: Date: c. 1610 Description: After an antique statue in a conch. Inscribed below the depiction within the printing plate: "in aedibus Card. Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. | Watermark: Lily Keywords: 17th century, Figurative, Portraits, Italy, Size: Laid paper: 22,2 cm x 12,0 cm (8,7 x 4,7 in), Depiction: 12,3 cm x 8,0 cm (4,8 x 3,1 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Statue of Latona, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Statue of Latona, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Depiction of the Roman goddess Latona, after an antique statue, plate 43, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue in a conch. Inscribed below the depiction within the printing plate: "Latona in aedibus". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy, Size: Laid paper: 22,2 cm x 11,4 cm (8,7 x 4,5 in), Depiction: 12,2 cm x 8,0 cm (4,8 x 3,1 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Statue of the Comodus, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Statue of the Comodus, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Statue Comodus, Platte 7, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue in a conch. Inscribed below the image within the printing plate: "COMODUS IN UIRIDARIO SUMMI PONTIFICIS". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues - drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy, Size: Laid paper: 22,4 cm x 13,9 cm (8,8 x 5,5 in), Depiction: 12,2 cm x 8,0 cm (4,8 x 3,1 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Statue of Mercury, slg. Borghese, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Statue of Mercury, slg. Borghese, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Depiction of Mercury after an antique statue, from the Borghese Collection, plate 37, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an ancient statue in a conch; Mercury, the messenger of the gods and god of merchants and thieves, with attributes: Winged shoes, Hermes' staff and a purse, which he holds in his right hand. Inscribed below the depiction within the printing plate: "Mercurius in aedibus Card. Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues - drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Mythology, Italy, Size: Laid paper: 22,4 cm x 14,2 cm (8,8 x 5,6 in), Depiction: 12,2 cm x 8,0 cm (4,8 x 3,1 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Statue of the muse Thalia, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Statue of the muse Thalia, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Depiction of the muse Thalia, after an antique statue, "Musa in Capitolio", plate 41, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue in a conch; inscribed below the image within the printing plate: "Musa in Capitolio". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues - drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy, Size: Laid paper: 22,0 cm x 13,8 cm (8,7 x 5,4 in), Depiction: 12,3 cm x 8,2 cm (4,8 x 3,2 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Statue of Venus, Borghese, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Statue of Venus, Borghese, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Depiction of Venus after an antique statue, from the Borghese Collection with Cupid, Vénus en armes, Venere che si arma, Louvre, 17th century, Copper engraving Technique: Copper engraving on Laid paper Date: 17th century Description: After an antique statue in a conch; Venus en Armes and Cupid, who is not only depicted as an attribute - from the Borghese Collection - Louvre Museum Paris. Inscribed below the depiction within the printing plate: "Venus in aedibus Cardinal Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues, drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of them are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Mythology, Italy, Size: Laid paper: 22,4 cm x 11,0 cm (8,8 x 4,3 in), Depiction: 12,2 cm x 8,0 cm (4,8 x 3,1 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Statue of Mercury, Borghese, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Statue of Mercury, Borghese, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Depiction of Mercury (Mercurius)/Hermes with winged helmet, after an antique statue, from the Borghese Collection, plate 18, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue in a conch; from the Borghese collection. From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues, drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. Inscribed below the image within the printing plate: "Mercurius in aedibus Card. Burghesij". From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Mythology, Italy, Size: Laid paper: 22,4 cm x 12,6 cm (8,8 x 5 in), Depiction: 12,2 cm x 8,2 cm (4,8 x 3,2 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Statue Trajans, Borghese, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Statue Trajans, Borghese, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Statue of Trajan from the Borghese Collection, plate 16, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue in a conch; from the Borghese collection. From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues, drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. Inscribed below the image within the printing plate: "Traianus Imp. in aedibus Card. Burghesij". From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Mythology, Italy, Size: Laid paper: 22,5 cm x 13,5 cm (8,9 x 5,3 in), Depiction: 12,3 cm x 8,2 cm (4,8 x 3,2 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Apollo statue, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Apollo statue, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Apollo (Phoebus), after an antique statue, plate 19, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an ancient statue in a conch. Apollo is one of the Olympian gods and, as he was associated with the arts, has played a major role in poetry and the visual arts since antiquity. From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered to be the first work with independent engravings after ancient statues, drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. Inscribed below the image within the printing plate: "Apolinis in viridario Magni Ducis Etruriae". From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Mythology, Italy, Size: Laid paper: 22,5 cm x 14,4 cm (8,9 x 5,7 in), Depiction: 12,3 cm x 8,2 cm (4,8 x 3,2 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Statue of Venus, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Statue of Venus, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Statue of Venus, plate 27, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue, depiction in a conch. From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber (1594), it is considered the first work with independent engravings after antique statues, drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher and created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, these are illustrations of 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered to be the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. Inscribed below the image within the printing plate: "Venus in uiridario Cardinalis Burghesij". From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Mythology, Italy, Size: Laid paper: 22,5 cm x 12,0 cm (8,9 x 4,7 in), Depiction: 12,3 cm x 8,2 cm (4,8 x 3,2 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Faunus, Borghese Collection, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Faunus, Borghese Collection, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Antique statue of Faunus from the Borghese Collection, plate 26, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Watermark: Undeterminable watermark Date: Date: c. 1610 Description: After an antique statue in a conch: Faunus from the Borghese collection. From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber (1594), it is considered the first work with independent engravings after antique statues, drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher and created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, these are illustrations of 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. The dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. Inscribed below the image within the printing plate: "Faunus in aedibus Cardinalis Burghesij". From the estate of the antiquarian Rosenthal Munich / Amsterdam. | Watermark: Lily Keywords: 17th century, Figurative, Mythology, Italy, Size: Laid paper: 22,5 cm x 13,9 cm (8,9 x 5,5 in), Depiction: 12,3 cm x 8,2 cm (4,8 x 3,2 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Commodus from the Borghese Collection, around 1610, Copper engraving
    Dec. 07, 2024

    P. THOMASSIN (*1562), Commodus from the Borghese Collection, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Statue of Commodus from the Borghese Collection, plate 25, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: Depiction of an antique statue in a conch, from the Borghese collection. From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber (1594), it is considered the first work with independent engravings after antique statues, drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher and created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, these are illustrations of 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. Inscribed below the image within the printing plate: "Comodus in aedibus Card. Farnesij". From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Mythology, Italy, Size: Laid paper: 22,5 cm x 13,2 cm (8,9 x 5,2 in), Depiction: 12,3 cm x 8,2 cm (4,8 x 3,2 in)

    Fichter Kunsthandel
  • Philippe Thomassin, Grammatica / Aritmetica / Astrologia / Geometria / Retorica / Dialettica. Roma: Callisto Ferranti, 1580-1620 ca.
    Nov. 26, 2024

    Philippe Thomassin, Grammatica / Aritmetica / Astrologia / Geometria / Retorica / Dialettica. Roma: Callisto Ferranti, 1580-1620 ca.

    Est: €320 - €640

    Bulino. mm 228x150/152. Foglio: mm 233/245x162/167. Da invenzioni di Maarten de Vos con indicazione su tutte le incisioni. Sei tavole con numerazione progressiva al margine inferiore a sinistra e iscizione su due righe, da una serie di sette dedicata alle Arti liberali (mancante la tavola con la Musica). Alla prima tavola sulla lastra in basso a sinistra l'indirizzo "Calistus Ferranti Formis Roma". Ottime impressioni stampate con nitidezza e segno pieno su carta vergellata sottile, filigrana "tre monti" visibile alla tavola 6.

    Gonnelli Casa d'Aste
  • Philippe Thomassin The Fire in the Borgo
    Nov. 14, 2024

    Philippe Thomassin The Fire in the Borgo

    Est: €150 - €200

    after Raphael's fresco in the room of the same name in the Vatican. Engraving, 435 x 570 mm (plate), 465 x 590 mm (sheet). State with De Rossi's address. Raphael Invenit 55.1, Bartsch XV.33.6 (as school of Marco da Ravenna). Sharp impression on laid paper with watermark. Usual vertical central fold. In good condition, except for stains and wear along the edges.

    Bertolami Fine Art s.r.l.
  • P. THOMASSIN (*1562), Statue of Silenos, around 1610, Copper engraving
    Oct. 26, 2024

    P. THOMASSIN (*1562), Statue of Silenos, around 1610, Copper engraving

    Est: €300 - €400

    Philippe Thomassin (1562 Troyes - 1622 Rom): Statue of Silenos, Silen, plate 44, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Watermark: Undeterminable watermark Date: Date: c. 1610 Description: After an ancient statue, in a conch. Depiction of Silenos, who was Dionysus' teacher and companion during his processions. One of the Orphic Hymns is addressed to him. Inscribed below the depiction within the printing plate: "Silenus aeneum iacentis ueteri uasi". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. | Watermark: Lily Keywords: 17th century, Figurative, Portraits, Italy, Size: Laid paper: 21,8 cm x 18,5 cm (8,6 x 7,3 in), Depiction: 8,0 cm x 12,4 cm (3,1 x 4,9 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Statue of Tiberinus, god of the river Tiber, around 1610, Copper engraving
    Oct. 26, 2024

    P. THOMASSIN (*1562), Statue of Tiberinus, god of the river Tiber, around 1610, Copper engraving

    Est: €300 - €400

    Philippe Thomassin (1562 Troyes - 1622 Rom): Statue of Tiberinus, river god of the Tiber, plate 40, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an ancient statue, in a conch. Depiction of Tiberinus with Cornucopia (cornucopia). The river god also saved the twins Romulus and Remus from drowning when they were abandoned on the Tiber. Inscribed below the depiction within the printing plate: "Tyberis in uiridario Summi Pontificis". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of them are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. | Watermark: Lily Keywords: 17th century, Figurative, Portraits, Italy, Size: Laid paper: 22,4 cm x 19,7 cm (8,8 x 7,8 in), Depiction: 8,1 cm x 12,5 cm (3,2 x 4,9 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Statue of Cupido, Amor, around 1610, Copper engraving
    Oct. 26, 2024

    P. THOMASSIN (*1562), Statue of Cupido, Amor, around 1610, Copper engraving

    Est: €300 - €400

    Philippe Thomassin (1562 Troyes - 1622 Rom): Statue of Cupid with vine, Cupid (Eros), plate 45, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue, in a conch. Inscribed below the depiction within the printing plate: "Cupido in aedibus". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy, Size: Laid paper: 20,5 cm x 12,7 cm (8,1 x 5 in), Depiction: 12,3 cm x 8,2 cm (4,8 x 3,2 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Statue of Diana of Ephesus, around 1610, Copper engraving
    Oct. 26, 2024

    P. THOMASSIN (*1562), Statue of Diana of Ephesus, around 1610, Copper engraving

    Est: €300 - €400

    Philippe Thomassin (1562 Troyes - 1622 Rom): Statue of Diana of Ephesus, "Natura", plate 46, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an ancient statue, in a conch. "Natura", Diana of Ephesus, with many breasts. Inscribed below the image within the printing plate: "Natura in aedibus". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy, Size: Laid paper: 22,3 cm x 14,4 cm (8,8 x 5,7 in), Depiction: 12,4 cm x 8,2 cm (4,9 x 3,2 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Statue Apolls a.d. Slg. Borghese, around 1610, Copper engraving
    Oct. 26, 2024

    P. THOMASSIN (*1562), Statue Apolls a.d. Slg. Borghese, around 1610, Copper engraving

    Est: €300 - €400

    Philippe Thomassin (1562 Troyes - 1622 Rom): Statue of Apollo with kithara from the Borghese Collection, plate 48, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an ancient statue, in a conch: Apollo is one of the Olympian gods and, as he was associated with the arts, has played a major role in poetry and the visual arts since antiquity; here he is depicted with a kithara, one of the most noble instruments of Greek antiquity. Inscribed below the depiction within the printing plate: "Apolo in aedibus Card. Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy, Size: Laid paper: 22,0 cm x 13,0 cm (8,7 x 5,1 in), Depiction: 12,3 cm x 8,1 cm (4,8 x 3,2 in)

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Ancient statue of Egeria, around 1610, Copper engraving
    Oct. 26, 2024

    P. THOMASSIN (*1562), Ancient statue of Egeria, around 1610, Copper engraving

    Est: €300 - €400

    Philippe Thomassin (1562 Troyes - 1622 Rom): Ancient statue of Egeria, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue in a conch. From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues, drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher and created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in niches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. Inscribed below the image within the printing plate: "AEGERIA ARICINA I AEDIBUS CARD. FARNESIJ". From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Mythology, Italy, Size: Laid paper: 22,5 cm x 15,0 cm (8,9 x 5,9 in), Depiction: 12,3 cm x 8,2 cm (4,8 x 3,2 in)

    Fichter Kunsthandel
  • Thomassin (Philippe, 1562-1622). Battle of the Lapiths, after Bernadino Passeri, 1617-1619
    Jul. 25, 2024

    Thomassin (Philippe, 1562-1622). Battle of the Lapiths, after Bernadino Passeri, 1617-1619

    Est: £300 - £500

    Thomassin (Philippe, 1562-1622). Battle of the Lapiths, after Bernadino Passeri, 1617-1619 * Thomassin (Philippe, 1562-1622). The Battle of the Lapiths, after Bernadino Passeri (1540-1596), Rome, 1617-1619, fine large circular engraving by Thomassin after Passeri on laid paper, incorporating a circle of centaurs and lapiths fighting with cudgels over women, with an outer border of putti, mermen, and serpents, at the centre of the engraving a circular device with a crab on whose carapace is engraved the Vitelli coat of arms, with a circular border in which is engraved: ‘ILLVSTRISSIMO D· IOANNI VITELLIO PATRONO VIRT· AMAT’, and a second circular border bearing the words: BERNARDINVS PASSARVS INVEN · PHIL · THOMASSINVS FEC · ET EXCVD · CVM PRIVIL · SVMMI PONTIFICIS ET SVPERIOR LICENTIA · ROMAE, scattered light toning (generally in good condition), 57 cm (22 1/2 ins) diameter QTY: (1) NOTE: Provenance: Sidney John Alexander Churchill (1862-1921), thence by descent. A design for a shield for Giovanni Vitello, showing the battle of the Lapiths and Centaurs. The mythical Battle of the lapiths and centaurs features in several prominent works of Greek architecture, including the temple of Apollo at Bessae and on the Parthenon in Athens. The tale begins with the marriage of Hippodamia to Pirithious, king of the Lapiths, and the centaur guests at their wedding. The centaurs became drunk and attempted to kidnap and rape the bride and other women at the wedding. The Lapiths eventually triumphed over the centaurs, in most accounts due to the intercession of Apollo. According to Bruwaert's catalogue, La vie et les œuvres de Philippe Thomassin graveur Troyen 1562-1622 (Troyes and Paris, 1914-15), number 415 is a ‘Bouclier des Lapithes, diamètre 280, d’après Bern. Passaro, Phil Thomassinus fec. et exc., dédié à Jean Vitelli par Thomassin.’ The date is given as 1620. Bruwaert notes (p.68) that in the period after 1617, ‘A Cassian dal Pozzo, secrétaire du cardinal Barberin, Philippe offre une Galathée fort légèrement vêtue. Un Triomphe du Printemps, dans la même note, peut être de la composition même de Thomassin. Un Combat de Lapithes, en form de bouclier, doit dater de ce temps.’

    Dominic Winter Auctions
  • P. THOMASSIN (*1562), Statue of Silenos, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), Statue of Silenos, around 1610, Copper engraving

    Est: €300 - €400

    Philippe Thomassin (1562 Troyes - 1622 Rom): Statue of Silenos, Silen, plate 44, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Watermark: - Unidentifiable characters - Undeterminable watermark - Date: Date: c. 1610 Description: After an ancient statue, in a conch. Depiction of Silenos, who was Dionysus' teacher and companion during his processions. One of the Orphic Hymns is addressed to him. Inscribed below the depiction within the printing plate: "Silenus aeneum iacentis ueteri uasi". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. | Watermark: Lily Keywords: 17th century, Figurative, Portraits, Italy,

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  • P. THOMASSIN (*1562), Statue of Tiberinus, god of the river Tiber, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), Statue of Tiberinus, god of the river Tiber, around 1610, Copper engraving

    Est: €300 - €400

    Philippe Thomassin (1562 Troyes - 1622 Rom): Statue of Tiberinus, river god of the Tiber, plate 40, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an ancient statue, in a conch. Depiction of Tiberinus with Cornucopia (cornucopia). The river god also saved the twins Romulus and Remus from drowning when they were abandoned on the Tiber. Inscribed below the depiction within the printing plate: "Tyberis in uiridario Summi Pontificis". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of them are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. | Watermark: Lily Keywords: 17th century, Figurative, Portraits, Italy,

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  • P. THOMASSIN (*1562), Statue of Cupido, Amor, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), Statue of Cupido, Amor, around 1610, Copper engraving

    Est: €300 - €400

    Philippe Thomassin (1562 Troyes - 1622 Rom): Statue of Cupid with vine, Cupid (Eros), plate 45, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue, in a conch. Inscribed below the depiction within the printing plate: "Cupido in aedibus". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy,

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  • P. THOMASSIN (*1562), Statue of Diana of Ephesus, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), Statue of Diana of Ephesus, around 1610, Copper engraving

    Est: €300 - €400

    Philippe Thomassin (1562 Troyes - 1622 Rom): Statue of Diana of Ephesus, "Natura", plate 46, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an ancient statue, in a conch. "Natura", Diana of Ephesus, with many breasts. Inscribed below the image within the printing plate: "Natura in aedibus". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy,

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  • P. THOMASSIN (*1562), Statue Apolls a.d. Slg. Borghese, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), Statue Apolls a.d. Slg. Borghese, around 1610, Copper engraving

    Est: €300 - €400

    Philippe Thomassin (1562 Troyes - 1622 Rom): Statue of Apollo with kithara from the Borghese Collection, plate 48, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an ancient statue, in a conch: Apollo is one of the Olympian gods and, as he was associated with the arts, has played a major role in poetry and the visual arts since antiquity; here he is depicted with a kithara, one of the most noble instruments of Greek antiquity. Inscribed below the depiction within the printing plate: "Apolo in aedibus Card. Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy,

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  • P. THOMASSIN (*1562), After ancient statue in Capitolio, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), After ancient statue in Capitolio, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Engraving after an antique female statue "in Capitolio", plate 49, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Watermark: - Leaf/leaf/tree - Lilie - Date: Date: c. 1610 Description: After an antique statue, in a conch. Inscribed below the depiction within the printing plate: "in Capitolio". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. | Watermark: Lily Keywords: 17th century, Figurative, Portraits, Italy,

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  • P. THOMASSIN (*1562), After antique statue, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), After antique statue, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Engraving after an antique female statue, plate 47, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue, in a conch. Inscribed below the depiction within the printing plate: "Sponsa nuptiá appetens in aedibus". From: Gravure d'Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy,

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  • P. THOMASSIN (*1562), Goddess Ceres, after an ancient statue, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), Goddess Ceres, after an ancient statue, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Depiction of the goddess Ceres, after an antique statue, from the Borghese Collection, plate 30, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an ancient statue, in a conch. Ceres is the Roman goddess of agriculture and fertility (Greek: Demeter) and is regarded as a lawgiver. She is depicted with a bunch of ears of wheat. From the Borghese Collection; labelled below the depiction within the printing plate: "Ceres uiridario Cardinalis Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy,

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  • P. THOMASSIN (*1562), After antique statue, Smlg. Borghese, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), After antique statue, Smlg. Borghese, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Depiction after an antique statue, from the Borghese Collection, plate 39, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue, in a conch. From the Borghese Collection; Inscribed below the depiction within the printing plate: "in aedibus Card. Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy,

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  • P. THOMASSIN (*1562), Statue of Julius Caesar, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), Statue of Julius Caesar, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Depiction of Julius Caesar after an antique statue, from the Borghese Collection, commander-in-chief, general, marshal, plate 38, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Watermark: - Leaf/leaf/tree - Lilie - Date: Date: c. 1610 Description: After an ancient statue, in a conch. From the Borghese Collection; Gaius Julius Caesar (100 BC in Rome - 44 BC ibid.), Roman statesman, general and author, with armour and defensive weapon, protection from weapons: shield. Inscribed below the depiction within the printing plate: "Julius Caesar Imp. in aedibus Card. Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. | Watermark: Lily Keywords: 17th century, Figurative, Portraits, Italy,

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  • P. THOMASSIN (*1562), Musa in Capitolio mit Flöte,, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), Musa in Capitolio mit Flöte,, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Muse on the Capitol in Rome with flute, "Musa in Capitolio" plate 20, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue, in a conch. Inscribed below the depiction within the printing plate: "Musa in Capitolio". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Mythology, Italy,

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  • P. THOMASSIN (*1562), Male statue, Borghese Collection, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), Male statue, Borghese Collection, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Male statue from the Borghese Collection, plate 21, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: Reproduction of a sculpture: after an antique statue, in a conch. Inscribed below the image within the printing plate: "in aedibus Card. Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy,

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  • P. THOMASSIN (*1562), Statue des Orpheus, Slg. Borghese, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), Statue des Orpheus, Slg. Borghese, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Depiction of Orpheus after an antique statue, from the Borghese Collection, plate 8, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Watermark: - Leaf/leaf/tree - Lilie - Date: Date: c. 1610 Description: After an ancient statue in a conch, reproduction of a sculpture. The singer and poet Orpheus from Greek mythology descended into the realm of the dead out of love for his wife Eurydice. Inscribed below the depiction within the printing plate: "Orpheus in aedibus Card. Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. | Watermark: Lily Keywords: 17th century, Figurative, Mythology, Italy,

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  • P. THOMASSIN (*1562), Male statue, Borghese Collection, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), Male statue, Borghese Collection, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Male statue from the Borghese Collection, plate 8, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Watermark: - Leaf/leaf/tree - Lilie - Date: Date: c. 1610 Description: After an antique statue in a conch. Inscribed below the depiction within the printing plate: "in aedibus Card. Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. | Watermark: Lily Keywords: 17th century, Figurative, Portraits, Italy,

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  • P. THOMASSIN (*1562), Statue of Latona, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), Statue of Latona, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Depiction of the Roman goddess Latona, after an antique statue, plate 43, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue in a conch. Inscribed below the depiction within the printing plate: "Latona in aedibus". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues -- drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy,

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  • P. THOMASSIN (*1562), Statue of the Comodus, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), Statue of the Comodus, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Statue Comodus, Platte 7, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue in a conch. Inscribed below the image within the printing plate: "COMODUS IN UIRIDARIO SUMMI PONTIFICIS". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues - drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy,

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  • P. THOMASSIN (*1562), Statue of Mercury, Slg. Borghese, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), Statue of Mercury, Slg. Borghese, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Depiction of Mercury after an antique statue, from the Borghese Collection, plate 37, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an ancient statue in a conch; Mercury, the messenger of the gods and god of merchants and thieves, with attributes: Winged shoes, Hermes' staff and a purse, which he holds in his right hand. Inscribed below the depiction within the printing plate: "Mercurius in aedibus Card. Burghesij". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues - drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Mythology, Italy,

    Fichter Kunsthandel
  • P. THOMASSIN (*1562), Statue of the muse Thalia, around 1610, Copper engraving
    Mar. 23, 2024

    P. THOMASSIN (*1562), Statue of the muse Thalia, around 1610, Copper engraving

    Est: €150 - €200

    Philippe Thomassin (1562 Troyes - 1622 Rom): Depiction of the muse Thalia, after an antique statue, "Musa in Capitolio", plate 41, c. 1610, Copper engraving Technique: Copper engraving on Laid paper Date: c. 1610 Description: After an antique statue in a conch; inscribed below the image within the printing plate: "Musa in Capitolio". From: Antiquarum statuarum urbis Romae liber primus, P. Thomassin, 1610. After the publication of Giovanni Battista de Cavalieri's engraving work "Antiquarum Statuarum Urbis Romae Tertius et Quartus Liber" (1594), it is considered the first work with independent engravings after antique statues - drawn and engraved by Philippe Thomassin himself. The French engraver was Jacques Callot's first teacher; he created over 430 engravings, including many after paintings by Italian masters such as Michelangelo. In total, he illustrated 50 antique statues, all of which were placed in conches. 23 of these are from the Borghese Collection, 5 from the Capitoline Collection, four each from the Medici Collection and the Farnese Collection, 3 from Rome: Palazzo Apostolico, Cortile del Belvedere, Statue Court and one from the Cesarini Collection. The others have no indication of their location. Dating: 1610 is considered the terminus post quem due to the existence of a statue from the Borghese collection from the estate of Guglielmo della Porta (sold to Giovanni Battista Borghese in 1609); terminus ante quem: 1622. From the estate of the antiquarian Rosenthal Munich / Amsterdam. Keywords: 17th century, Figurative, Portraits, Italy,

    Fichter Kunsthandel
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