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A portrait of Marcello Malpighi from his book Opera posthuma: figuris aeneis illustrata, quibus praefixa est ejusdem vita a seipso scripta, Londini:Churchill, 1697. Inscription: Marcellus Malpighius | Medicus Bononiensis mortuus 29 Novemb. Anno Dom. 1694. Anno aetatis 67. I. Kip. sculp.
Marcello Malpighi (10 March 1628 – 29 November 1694) was an Italian biologist and physician, who is referred to as the "Father of microscopical anatomy, histology, physiology and embryology" [Wikipedia].
From European Journal of Anatomy 22(5):433-439 · September 2018, an article by Sanjib Ghosh and Ashutosh Kumar 'Marcello Malpighi (1628-1694): Pioneer of microscopic anatomy and exponent of the scientific revolution of the 17th Century': Italian anatomist and an eminent scientist who significantly contributed to the advancement of the anatomical sciences in the 17th century. Malpighi was one of the first to use the compound microscope (an instrument designed by Galileo in 1609) and made the most important discovery of his life in 1661 when he identified capillaries as connecting vessels between small arteries and veins in the lungs. Malpighi thus provided the missing link in William Harvey's theory of blood circulation. He made significant contributions in the field of embryology based on his observations on chick embryo, and his efforts provided deep insights into the development of the heart and the nervous system. His communications based on microscopic studies scripted valuable details on the structural organization of organs like the liver, kidney and spleen. He identified the hepatic lobule as the fundamental unit of the liver and noted that bile was being secreted by these lobules and not from the gall bladder (the popular belief then). In the kidney, he discovered the glomerulus (Malpighian Corpuscle) and was the first to observe the convoluted tubules in the renal cortex. He was the first to describe the presence of lymphatic bodies (Malpighi's Corpuscle) in the spleen. Although he was exceedingly successful in his scientific activities, his life was fraught with unfortunate events and savage criticism from detractors arising out of professional jealousy and personal feuds. Nevertheless, his exploits were instrumental in understanding the human microscopic anatomy (histology) and his accomplishments have etched his name in the pages of medical science forever.
The portrait was engraved by Johannes "Jan" Kip (1652/53, Amsterdam – 1722, Westminster) - a Dutch draftsman, engraver and print dealer.
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Mons the Capital City of Hainault in y Low Countries, taken by y French in 1691, Restor'd to y Spaniards by y Peace of Ryswick in 1697, retaken by y Allies in 1709, and left to y Emperor by y Treaty of Utrecht. attribution to publication source has been trimmed.
Dimensions: Sheet: 40.7 x 52.5 cm; Image: 37.5 x 48 cm. Published between 1744 and 1747. Attribution to publication source has been trimmed. Reference: Royal Academy 03/2919. Source: Maps for Mr. Tindal's Continuation of Mr. Rapin's History of England. London: John and Paul Knapton. Nicolas Tindal (British, 1687 – 1774) – the translator and continuer of the History of England by Paul de Rapin. Paul de Rapin (French, 1661 – 1725) – a Huguenot historian, author of the History of England.Artist Koikawa Harumasa (a.k.a. Banki): fl. 1801–18. Wikipedia: Koikawa Harumasa (恋川 春政; active 1800–1820), later called Banki Harumasa (晩器 春政). Associated with Katsukawa school.
Signed: Banki ga (on the bamboo flower container in the background). Censor's seal: kiwame. Mark of unidentified publisher, Genshoku #1017; Marks U084 Ibiko, p. 387.
References:
Jacob Pins #828.
Engraving by J.J. Balechou after E. Jeaurat. A husband and wife ask a quack doctor for advice about health: he suggests substituting himself for the husband in the wife's affections, and she agrees: Épigrammes de Jean-Baptiste Rousseau (French, 1671–1741).
Date: 1743.
Size: 380 x 270 mm
Inscriptions under the image:
Top: Peint par E. Jeaurat | L'Operateur Barri | Grave par Balechou 1743
Middle: Sur leurs santés un Bourgeois et sa femme
Interrogeoient l'Operateur Barri, Lequel leur dit : Pour vous guérir, Madame, Baume plus sûr n'est que votre Mari, Puis se tournant vers l'époux amaigri, Pour vous, dit il, femme vous est mortelle, Las ! dit alors l'Epoux à sa femelle, Puis qu'autrement ne pouvons nous guérir, Que faire donc ? Je n'en sçai rien, dit elle,Mais, par Saint Jean, je ne veux point mourir.
Rousseau Epig. X
Center bottom: a Paris chez Lepicie Graveur du Roi au coin de l'Abreuvoir du Quay des Orfevres. Et Chez L. Surugue Aussi Graveur du Roi rue des Noyers vis a vis le mur de St. Yves Avec Privilege du Roi.Drypoint on wove paper, depicting a woman in a hat with a ribbon lettered "ACADEMIE", carrying in her hand a male head in spectacles on a plate. Monogrammed "FR 83", inscribed: LA MODERNITÉ. — Imp. Eudes.; in pencil on verso."L'ARTISTE" – OCT. 1886 | (PRUD'HOMME ONTHOOFD) E 332-V". Owner's stamp 'LvM' on verso.
Dimensions: Paper: 27.2 x 17.8 cm; Plate: 19.7 x 14 cm; Image: 18.5 x 13 cm.
Catalogue raisonné: Rouir 767:5; Arthur Hubschmid (1977): 405; Graphics irreverent and erotic (1968): 72.
A limited-edition (№26/500) set of 42 etchings and drypoints after Félicien Rops (Belgian, 1833 – 1898), each mounted in a numbered passe-partout, printed posthumously by an anonym in Germany in 1905; in a flapped half faux suede-backed cardboard portfolio with straps, 442 x 335 mm, red embossed lettering to the front cover, bookplate of Richard Teschner (Austrian, 1879 – 1948) pasted inside.
Title-page (in a red frame): Das erotische Werk | des Felicien Rops | Zweiundvierzig Radie- | rungen des Meisters | in schwarzem und | farbigem Lichtdruck | 1905 | Privatdruk ||
Limitation (in a red two-section frame) : Dieses Werk wurde in einer | einmaligen Auflage von | 500 numerierten Exemplaren | hergestellt. — Ein Nachdruck | findet nicht statt, die Platten | == sind vernichtet == | Exemplar Nr. 26 ||
Verzeichnis der Tafeln (Table of Contents): 1. Initiation sentimentale; 2. La croix; 3. Entre-acte; 4. Holocauste; 5. La bonne hollandaise; 6. Étude; 7. La femme au pantin; 8. L’amour de Satan; 9. Au pays des féminies; 10. La volupté; 11. Evocation; 12. De castitate; 13. Joujou; 14. Vengeance d’une femme; 15. Phantasies; 16. Indolence; 17. Théâtre gaillard; 18. Appel au peuple; 19. Masques modernes; 20. Tout est grand chez les rois; 21. Marie-Madeleine; 22. L’amante du Christ; 23. Feuille de vigne; 24. La messe de Guide; 25 Viol et prostitution; 26. Le maillot; 27. Les jeunes France; 28. Les diaboliques; 29. Coquetterie au miroir; 30. Jeune homme; 31. La femme et la mort; 32. Confidence; 33. La bergère; 34. La mère aux satyrions; 35. Les exercices de dévotion de Mr. Henri Roch; 36. Mademoiselle de Maupin; 37. Le bonheur dans le crime; 38. La sirène; 39. Les cabotinages de l’amour; 40. Document sur l’impuissance d’aimer; 41. A cœur perdu; 42. Curieuse.
Seated portrait of Russian diplomat Count Semyon Romanovich Vorontsov (Семён Романович Воронцо́в; 26 June 1744 – 9 July 1832). Engraved by August Weger (Born: 1823 in Nürnberg; died: 1892 in Leipzig) from the portrait painted by Richard Evans (1784–1871). Circa 1825-50. Semyon Romanovich Vorontsov, the son of Count Roman Illarionovich and Marfa Ivanovna Surmina, was born on June 15, 1744; Active Privy Councillor; Ambassador to Venice and London from 1784, for over 20 years. Died in London on June 26, 1832.
Inscription: Графъ Семенъ Романовичь Воронцовъ. Родился въ Москвѣ Iюня 15-го/26 1744, Скончался въ Лондонѣ Iюня 9-го/21 1822. | Le Comte Simon Woronzow. né à Moscou le 26 Juin 1744, Mort à Londres le 21 Juin 1832. | Richd. Evans, Peintre. - Gravé par A. Weger, Leipzig. Vorontsov family coat of arms in the middle.
Dimensions: 23 x 15 cm. Ref.: Подробный словарь русских гравированных портретов Д. А. Ровинского, том. 1, 534-540.