maker unknown (78 resultados)

Condición: Sehr gut. 011278 Hersteller unbekannt. Neues Frage- und Antwortspiel 1843. 23/30 Fragen und 30/30 Antworten. Typendruck, 48x72 mm, abgerundete Ecken. Rs.: Blau (Fragen) bzw. verschiedene Muster (Antworten). 1843. Traditionsgemäß geht es hier auch bei den Fragen und Antworten um die Liebe. Letztere befinden sich auf den Rückseiten von Blättern, die in Kupferstich gedruckt sind und wohl Stickmuster zeigen. Eines trägt die Inschrift ?JUSTICE N 4 A PARIS" und verweist somit entweder auf die Rue de la Justice im 20. Arrondissement (in der Nähe vom Friedhof Père-Lachaise) oder auf die Place du Palais de Justice im 1. Arrondissement. Leider aber konnten wir keine dieser Adressen einem Verlag (?) zuordnen. In etwas beschädigter OVerp., 1 Frage im oberen weißen Rand beschädigt, sonst leicht gebraucht - gebraucht. 011278 Maker unknown. Neues Frage- und Antwortspiel 1843 (New game of questions and answers 1843). 23/30 questions and 30/30 answers. Type, 48x72 mm, rounded corners. Backs: Plain blue (questions) resp. various patterns (answers). 1843. According to tradition, the questions and answers here are also about love. The latter are on the backs of sheets printed in copper engraving and probably showing embroidery patterns. One bears the inscription ?JUSTICE N 4 A PARIS" and thus refers either to the Rue de la Justice in the 20th arrondissement (near the Père-Lachaise cemetery) or to the Place du Palais de Justice in the 1st arrondissement. But unfortunately, we could not assign any of these addresses to a publisher (?). Somewhat damaged OCase, 1 question defective in the upper white margin, otherwise slightly worn - worn.

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.

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).

[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.

Condición: Sehr gut. 001769 Hersteller unbekannt. Låna mig en Femma! (Leih mir einen Fünfer!). 55 Bl., kompl. (?). Farblith., gold- und silvergehöht, 86x57 mm, rechteckige Ecken. Rs.: Weiß, unbedruckt. Um 1885. Das Spiel setzt sich wie folgt zusammen: 20 Karten bilden die Rückseite eines 5 Kronen-Stückes in Gold ab, 5 Karten zeigen 2,50 Kronen (2 x 1 Krone + 50 Öre), 5 Karten 2 Kronen (2 x 1 Krone), weitere 5 eine Krone (Silber). Dann gibt es einen König, 3 Kronprinzen, 3 Lehrerinnen, 3 Dichter, 2 Rechtsanwälte, 2 Handwerker, einen Bankdirektor, einen Industriebaron, einen Bürgermeister, einen Arzt, eine Kammerjungfrau und einen Schatzmeister. Die Personenkarten tragen am unteren Rand 2 Verse zum Thema Geld. Die Kronenstücke sind von 1884 datiert, das 50 Öre-Stück von 1885 (aber 1885 wurden keine 50 Öre-Münzen geprägt!). Die Spielregel ist bei uns auf Anfrage in einer deutschen und einer englischen Version vorhanden (mit der Hilfe von DeepL übersetzt). In etwas beschäd. ill. OSchachtel, mit Spielanleitung (in schwedisch, gefaltet, kleiner Randeinriss), 2 Karten leicht fleckig, fast ungespielt. 001769 Maker unknown. Låna mig en Femma! (Lend me a dime!). 55, complete (?). Color lith., enhanced with gilt & silvered, 86x57 mm, square corners. Backs: Plain white. Circa 1885. The game is composed as follows: 20 cards depict the back of a 5 crown piece in gold, 5 cards show 2.50 crowns (2 x 1 crown + 50 öre), 5 cards 2 crowns (2 x 1 crown), another 5 one crown (silver). Then there are a king, 3 crown princes, 3 teachers, 3 poets, 2 lawyers, 2 craftsmen, a bank director, an industrial baron, a mayor, a doctor, a chambermaid and a treasurer. The person cards bear 2 verses on the subject of money at the bottom. The crown pieces are dated from 1884, the 50 öre coin from 1885 (but no 50 öre coins were minted in 1885!). The rules of the game are available from us on request in a German and an English version (translated with the help of DeepL). Somewhat damaged illustrated OSlipcase, sheet of instructions (in Swedish, folded, a small marginal tear), 2 cards faintly stained, almost mint.

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).

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).

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 .

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.

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 (?).

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).

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.

Condición: Sehr gut. 012301 Hersteller unbekannt. 5 Karten, kompl. Handkol. Kreidelith., 128x102 mm, rechteckige Ecken (abgerundet). Rs.: Weiß, unbedruckt. Um 1850. Lit.: NICHT in Reisinger. Auf der Hammer-Karte nutzen Zwerge einen riesigen Hammer, um Nüsse zu knacken, auf der Glocke lassen sie sie läuten. Glocke und Hammer sind im verzierten Blumenkranz, auf dem Schimmel sitzt ein Reiter mit Horn und Federhut, das Haus ist eine Herberge, draußen sitzen 3 Männer bei Trank und Gesang, der Wirt hört zu. Gebraucht-stark gebraucht. 012301 Maker unknown. 5 cards, complete. Hand-col. chalk lith., 128x102 mm, square corners (rounded). Backs: White, without imprint. Circa 1850. Lit.: NOT in Reisinger. On the hammer card, dwarves use a huge hammer to crack nuts, on the bell they ring it. The bell and hammer are in an ornate wreath of flowers, a rider with a horn and feathered hat is sitting on the white horse, the house is an inn, 3 men are sitting outside drinking and singing, the innkeeper is listening. Worn-much worn.

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.

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.

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.

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.

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.

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.

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.

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.

Condición: Sehr gut. 011561 Hersteller unbekannt. Fragen und Antworten. 62/64 Bl. (30 Fragen und 32 Antworten). Typendruck, circa 52x75 mm, rechteckige Ecken. Rs.: Weiß, unbedruckt. Um 1830. Die Fragen und die Antworten, wie fast immer anzüglichen Charakters, befinden sich in separaten, mit Buntpapier bezogenen Schubern. Die Fragen sind in Rot, die Antworten in Schwarz gedruckt. In leicht beschädigten OSchubern, fast ungespielt - leicht gebraucht. 011561 Maker unknown. Questions and Answers. 62/64 cards (30 questions and 32 answers). Type, circa 52x75 mm, square corners. Backs: Plain white, without imprint. Circa 1830. The questions and the answers, as almost always of a suggestive nature, are in separate slipcases lined with colored paper. The questions are printed in red, the answers in black. Slightly damaged OSlipcases, almost mint - slightly worn.

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.

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 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).