Matthias Kager's etching, “Satyr with Woman in Hammock”, c1610

Matthias Kager (aka Johann Matthias Kager) (1575–1634)

“Satyr with Woman in Hammock” (Rijksmuseum title), c1610/1611, from the series of sixteen (?) plates, “Frisians with grotesque figures in stylized tendrils” (Rijksmuseum title), published by Raphael Custos (aka Raphael Custodis) (c1590–1664) in Augsburg.

Etching on fine laid paper trimmed with small margins around the platemark and backed with a support sheet.

Size: (sheet) 7.8 x 24.3 cm; (plate) 6.9 x 23.2 cm; (image borderline) 6.6 x 23 cm.

Inscribed on plate on the hem of the tablecloth at lower left: “MK. F[?]”.

Orn Cat II 498 (Peter Fuhring 2004, “Ornament Prints in the Rijksmuseum II: the Seventeenth Century”, Amsterdam, Rijksmuseum Sound and Vision, Part 1, p. 118, cat.no. 498).

The Rijksmuseum offers the following description of this print:

(transl.) “On the left is a table with food and in the middle is a satyr with a shield above his head holding a hagmat [hangmat?]. It says on the tablecloth: MK. F. Sheet from series of 16 (?) sheets.”

(http://hdl.handle.net/10934/RM0001.COLLECT.416002)

Condition: a superb, richly inked near faultless early impression, trimmed with small margins around the platemark. The sheet has a small dot stain on the hammock otherwise it is in museum quality condition (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing) and has been laid on a support of archival (millennium quality) washi paper.

I am selling this superb ornamental frieze from the early 1600s, for AU$188 (currently US$130.21/EUR116.16/GBP102.44 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this Renaissance period engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Raphael Custos' engraving, “Ornament panel with satyr, offering bowl and running maiden”, c1610, after Matthias Kager

Raphael Custos (aka Raphael Custodis) (c1590–1664)

“Ornament panel with satyr, offering bowl and running maiden” (descriptive title only), c1610/1611, from the series of sixteen (?) plates, “Frisians with grotesque figures in stylized tendrils” (Rijksmuseum title) after Matthias Kager (aka Johann Matthias Kager) (1575–1634), published by Raphael Custos in Augsburg.

Etching with engraving on fine laid paper trimmed with small margins around the platemark (viz. a 4 mm margin at top, left and lower edge and replenished on right edge) and backed with a support sheet.

Size: (sheet with replenished right edge) 7.9 x 26.7 cm;

Inscribed on plate on spiral at lower left: “MK. Inve. RC F. [“ex” (?)]“.

Condition: a superb, richly inked early impression, trimmed with small margins around the platemark except on the right side of the sheet which has a replenished margin. There is a restored area at the lower centre of the image and the sheet has been laid on a support of archival (millennium quality) washi paper.

I am selling this eye-catching ornamental frieze from the early 1600s, for AU$188 (currently US$130.21/EUR116.16/GBP102.44 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this Renaissance period engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jan Luyken's etching, "Moses Beats Water from the Rock”, 1708

Jan Luyken (aka Jan Luiken) (1649–1712)

“Moses Beats Water from the Rock” (aka “Mose slaat het waater uyt den Rotzsteen”; “Moyse fait fortir de l’eau d’un rocher” [titles inscribed in Dutch and French on plate]), 1708, published by Jan Covens (aka Johannes Covens) (1697– 1774) and Corneille Mortier (aka Cornelis Mortier) (fl.1688) in c1708 as an illustration to “Icones Biblicae Veteris et Novi Testamenti” (Icons of Biblical Old and New Testament), in Amsterdam.

Etching on laid paper with generous margins backed with a support sheet.

Size: (sheet) 45.2 x 58 cm; (plate) 34.3 x 45.1 cm; (image borderline) 32.5 x 43.8 cm.

Lettered on plate below the image borderline: (left) “Edit à J. Covens et C. Mortier.”; (left of centre) “Mose slaat het waater uyt den Rotzsteen. Numeri. 20”; (right of centre) “Moyse fait fortir de l’eau d’un rocher. Nombre. 20.”; (right) “Johannes Luyken Inv: et fec. / 25.”

State ii (of ii?) with the change of publisher from Pieter Mortier I (1661–1711) to his son, Corneille Mortier and Corneille’s brother-in-law, Jan Covens, and the erasure of the privilege. Lifetime/early impression (based on the crisp quality of the lines showing no sign of wear to the printing plate and the retention of fine guidelines for the lettering).

Van Eeghen 3711 (Pieter van Eeghen & Johan Philip van der Kellen 1905, “Het werk van Jan en Casper Luyken”, Amsterdam, Frederik Muller & Co., vol. 2, p. 663, cat. no. 3711). 

Note that this publication is available for online viewing or free download at archive.org:

 https://archive.org/details/hetwerkvanjanen01kellgoog/page/n285 (see cat. no. 3711).

Van Eeghen (1905) offers the following description of this print:

(transl.) “On the second ground on the right Moses brings out a wide stream of water from the rock, from which people and animals quench their thirst.” (p. 662)

The Rijksmuseum offers the following description of this print:

(transl.) “Moses struck the rock with his staff, causing water to flow out. The people fill the jars. The Israelites' camp is in the background. To the Bible stories in: Ex 17: 1-7 and Num. 20: 1-13”

http://hdl.handle.net/10934/RM0001.COLLECT.337020

Condition: near faultless, well-printed early impression, with generous margins, and laid on a support sheet of archival (millennium quality) washi paper. The centre-fold of publication is flattened and is almost invisible and there are a few minor spots otherwise the sheet is in an excellent condition.

I am selling this superb lifetime impression, for AU$197 (currently US$136.45/EUR121.72/GBP107.34 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this finely executed, large and graphically arresting scene that (to my eyes) is as grand as a movie set for a Cecil B DeMille production, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Philips Galle‘s engraving, “The Sons of God, Satan amongst Them, Present Themselves before Him”, 1563, after Maarten van Heemskerck

Philips Galle (aka Philippe Galle; Philippus Gallaeus) (1537–1612)

“The Sons of God [the Angels], Satan amongst Them, Present Themselves before Him” (TIB title) (aka “The Sons of God and Satan before God”) 1563, from the series of eight plates (TIB 5601.018:1–8), "The Story of Job" (aka “Geschiedenis van Job”), after the design of the intermediary draughtsman, Maarten van Heemskerck (1498–1574), with Latin text by Hadrianus Junius (aka Adriaen de Jonghe) (1511–1575), published by Philips Galle in Haarlem.

Note: the Curator of the British Museum advises that a related drawing by Heemskerck for this print is held by the Centraal Museum, Utrecht (inv. 11260) (see BM no. 1949,0709.113).

Engraving fine laid paper trimmed with narrow margins around the image borderline on the top, sides and below the text box, backed with a support sheet.

Size: (sheet) 20.9 x 25.2 cm; (image borderline) 19.7 x 24.9 cm.

Inscribed on plate within the image borderline: (lower centre) “MHEEM. IN. 2.”; (on cloud below God) “PG. F.”

Lettered on plate below the image borderline in two columns of two lines of Latin text: "ALIGERO ... PECTORA DIRIS".

State: i (of ii)

TIB 5601.018:2 (Walter L Strauss & Arno Dolders [eds.] 1987, “The Illustrated Bartsch: Netherlandish Artists: Philips Galle”, vol. 56, Supplement, New York, Abaris Books, p. 74. cat. no. .018:2); New Hollstein Dutch 58-1(2) (Galle) (Manfred Sellink [comp. & ed.] 2001, “The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450–1700: Philips Galle”, Part 1, Rotterdam, Sound and Vision, p. 88, cat. no. 58); New Hollstein Dutch 162-1(2) (Heemskerck) (Ilja M Veldman 1993–94, “The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700: Maarten van Heemskerck”, Roosendaal, Koninklijke Van Poll, p. 140, cat. no. 162); Bartsch LVI.73-80.018:1-8.

The Rijksmuseum offers the following description of this print:

(transl.) “The heaven-dwellers and Satan make their appearance before God. God is holding a globe under his arm. God gives Satan permission to do what he wants with Job's property. Under the representation an explanatory text in Latin.”

(http://hdl.handle.net/10934/RM0001.COLLECT.543353).

See also the description offered by the Metropolitan Museum of Art

(https://www.metmuseum.org/art/collection/search/632507)

and the British Museum

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1531183&partId=1&searchText=Galle+satan&page=1).

Condition: crisp, well-printed impression, trimmed near the image borderline and retaining the text box at the lower edge. The sheet is in excellent condition and is laid onto a support of conservator’s fine archival/millennium quality washi paper.

I am selling this superb lifetime impression of this rare engraving, executed only 22 years after Michelangelo completed “The Last Judgement”, for the total cost of AU$272 (currently US$187.82/EUR167.82/GBP147.98 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this fascinating print illustrating the moment when God gives Satan permission to test Job's virtue (see Job 1:6–12), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

For those interested in the portrayed scene the following New International Version (NIV) translation of the relevant passage from Job 1:6–12 may be useful:

“6 One day the angels came to present themselves before the Lord, and Satan also came with them.

7 The Lord said to Satan, ‘Where have you come from?’

Satan answered the Lord, ‘From roaming throughout the earth, going back and forth on it.’

8 Then the Lord said to Satan, ‘Have you considered my servant Job? There is no one on earth like him; he is blameless and upright, a man who fears God and shuns evil.’

9 ‘Does Job fear God for nothing?’ Satan replied.

10 ‘Have you not put a hedge around him and his household and everything he has? You have blessed the work of his hands, so that his flocks and herds are spread throughout the land.

11 But now stretch out your hand and strike everything he has, and he will surely curse you to your face.’

12 The Lord said to Satan, ‘Very well, then, everything he has is in your power, but on the man himself do not lay a finger.’

Then Satan went out from the presence of the Lord."

(https://www.biblegateway.com/passage/?search=Job+1%3A6-12&version=NIV) 

Lucas Vorsterman's engraving, “Adoration of the Magi”, 1602, after Rubens

Lucas Vorsterman I (aka Lucas Aemilius Vorsterman) (1595–1675)

“Adoration of the Magi” (aka “Adoration with the Torches”), 1620, after Peter Paul Rubens’ (aka Petrus Paulus Rubenius) (1577–1640) painting in the Church of St John, Malines and the modello drawing in the Cabinet du Dessins, Musée du Louvre (Paris) with a Latin dedication by Rubens to Albert, Archduke of Austria, published by Lucas Vorsterman I in Antwerp. This is a later impression.

Note that there is a very close copy of Vorsterman’s engraving by Pieter Nolpe (1613/14–c1652/3) but this copy can be easily distinguished from Vorsterman’s print by the production detail, “Peter Nolpe fecit”, and the lighter tone of the keystone illuminated in the archway above the Holy Family (see Nolpe’s engraving at the British Museum: https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1631634&partId=1&searchText=vorsterman+adoration+&page=1).

Engraving on heavy wove paper, trimmed with small margins around the plate mark and backed with a support sheet.

Size: (sheet) 61.7 x 46.8 cm; (plate) 59.1 x 44.5 cm; (image borderline) 58 x 43.9 cm.

Lettered on plate below the image borderline (left) “SERENISSIMO … CONSECRATOVE. / P.P.Rubens pinxit.”; (centre) “Cum priuilegÿs, Regis Christianissimi, Principum Belgarum, & Ordinum Batauiæ.”; (right) “Lucas Vorsterman sculp. et excud. An.1620."

Schneevoogt 1873 22.84 (C G Voorhelm Schneevoogt 1873, “Catalogue des estampes gravées d'après P.P.Rubens”, Haarlem, p. 22, cat. no. 84); Dutuit.VI.54.44 (Eugène Dutuit 1884, ”Manuel de l'amateur d'estampes”, Paris); Hollstein 8 (Christiaan Schuckman [comp.] & D. de Hoop Scheffer [ed.] 1993, “Hollstein's Dutch & Flemish Etchings, Engravings & Woodcuts, 1450–1700: Lucas Vorsterman I”, vol. 43, Amsterdam, p. 16, cat.no. 8).

The British Museum offers the following description of this print:

“Adoration of the Magi; the Holy Family at right; the Christ child delves His hand into a vessel offered by one of the reverential Magi; the turbaned magi holds open a precious casket and the other holds a censer; behind them a crowd of figures strain for a better view; in the background by some columns two figures bear torches; after Peter Paul Rubens. 1620 Engraving”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3082620&partId=1&searchText=vorsterman+adoration+&page=1)

See also the description at the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.338266

Condition: well-printed faultless but slightly dull later impression with small margins and laid upon a support sheet of archival (millennium quality) washi paper. The sheet is in museum quality/near pristine condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or significant signs of use).

I am selling this very large engraved masterwork by one of the most famous and accomplished printmakers who collaborated with Rubens (until they had an major argument and parted), for AU$525 (currently US$360.87/EUR323.52/GBP285.28 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this major engraving of the Baroque period, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold