Jacob van der Schley, after Charles Nicolas Cochin
Men and Women of the Island of Saint John in their Clothing Style
Netherlands (c. 1749)
Engraving, 215 × 152 mm.
Personification of Asia (Azië)
Netherlands (c. 1680)
Engraving; 249 × 185 mm.
Anonymous Printmaker (Delft)
The Baptism of a Woman from the African Coast
Netherlands (1794)
The baptism of this woman took place in the Remonstrant Church in Delft, September 24, 1794. The kneeling woman is baptized by Rev. Abraham van der Allemeersch in the church interior.
Allegory of Africa
Netherlands (c. 1650)
Engraving; 448 × 307mm.
aseantoo submitted:
Theodor de Bry
Illustration of the Native American village of Secoton
Germany (1590)
[Source]
Hand-colored version of Theodor de Bry’s engraving depicting the American Indian town of Secota. De Bry’s engraving, “The Tovvne of Secota,” was originally published as an illustration in Thomas Hariot’s 1588 book A Briefe and True Report of the New Found Land of Virginia.
A wide foot path extends from the center foreground of the image to the background. Several people stand and kneel in the middle of the path. To the left and right of the path, and in the background, are buildings and agricultural fields. In the bottom right corner of the image, several Indians are dancing in a circle, similar to the one seen in de Bry’s engraving entitled “Their Dances Which They Use at Their High Feasts.”
Theodor de Bry was a Flemish-born engraver and publisher who based his illustrations for Hariot’s book on the New World paintings of colonist John White. These depictions of the landscapes and residents of North Carolina provided Europeans with some of their earliest notions of what the North American continent looked like. An unidentified artist applied the color to this version of de Bry’s engraving, apparently without having seen John White’s original watercolor painting, “Indian Village of Secoton.”
Unknown Dutch artist
Khoikhoi in a Storm
Netherlands/South Africa (1700-1730)
National Library of South Africa
[Source]
The Adoration of the Magi
Netherlands (c. 1590s)
Engraving; 47 x 35 cm.
I think the detail on this piece in particular is especially painstaking:
John Smith (after J. Sommers)
Sir Charles Napier and a Page
England (1700)
After François Boucher
Chinese Dancer, from Livre de Chinois (Book of Chinoiserie)
France (c. 1720-70)
Etching/Engraving, 29 x 24.6 cm.
Three Equestrian Portraits: Kings or Personifications of China, Russia and Persia
Netherlands (c. 1596)
Etching/Engraving, 152 mm × w 372 mm.
medievalpoc reblogged
C. Decker and J. Kip. Bad encounter: The Dutch of the VOC, while drinking from a well, are attacked by mad women in Gentynen, Coromandel, 1661 Printed in 'Wouter Schouten’s travels into the East Indies’, 2nd ed. Netherlands (1708) [Source]
The Coromandel Coast is in southern India. Where Gentynen is I have no idea.
Joseph Marie Vien
Ambassadeur de la Chine | F[emme] de l'Ambassadeur
France (1748)
Ambassador of China and his wife; the woman stands on the left and wears a broad-rimmed hat, and a fur-lined coat; her left hand rests on the hilt of a dagger; the man stands on the right, leaning on his bow, and wears a broad-rimmed hat and a loose coat; a sword hangs from his belt; both are standing in a landscape with pagodas in the background
William Hogarth
England (1738)
The spire of St Giles-in-the-Fields, seen in the background, indicates that Noon is set in Soho, an area associated with London’s Huguenot community (French Protestants). On the left a soberly dressed congregation spills out onto the street. In front of them are a lavishly dressed couple, their posturing probably meant to indicate that they are French. On the right, a servant girl is being fondled by a black footman. With her attention understandably diverted, she inadvertently tips some of the juice from her pie onto the small boy standing beneath, breaking his platter. He stands rubbing his head and bawling uncontrollably, while a street urchin busily eats the remnants.
via Tate.org.uk
Josef Schmied after F. Pecher
Portrait of Joseph
Bohemia (c.1778)
In a portrait format usually reserved for the privileged classes, an elaborately dressed, elderly black man regards the viewer with a reserved demeanor. For all his finery, however, he is a servant in the household of an aristocratic family. His remarkably candid image sheds light on the situation of people of African descent in Europe during the Age of Enlightenment, in this case the less well-studied Eastern region of the continent.
A four-line inscription below the image identifies the unique sitter as “Joseph, a Moroccan” and goes on to give a broad account of how he came to be in the service of the Bohemian family that commissioned the portrait. According to the text, he “was captured by Freiherr Mitrovsky and baptized at Syracuse, Sicily, in 1698. From 1728 to his death in 1777, he served the family of Count Novohradsky z Kolovrat for 49 years.”