Tuesday, 27 September 2016

Egbert van Panderen’s engraving after Abraham Janssens

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Egbert van Panderen (c.1581–1637)
“Christ’s entombment”, c.1600, after Abraham Janssens (c.1575–1632), published by Pieter de Jode I (1573 - 1634)
Engraving on laid paper, trimmed on or within the plate mark and lined on a support sheet.
Size: (sheet) 40.5 x 26.8 cm
Inscribed within the image (lower left): “Abraham IanSSens invent. / Egbert van Panderen Sculp. / Pet. De Iode excud.”
Lettered below the image borderline in two lines of verse: (lower left) “Felicem tumulum Sacros qui condidit artus! / Non fuit in toto Sanctior orbe Specus” (Google translation: ”Felix, who founded the sacred tomb of the frame! / And there was no more holy than in the whole of the world of the Cave”); (lower right) “Huc amor, huc pietas, lacrymaru huc currite fontes: / ISta Sibi  fieri balSama Christus amat.” (Google translation: “To this love, I love, tears run hither springs / is meant to be the balm of Christ loves.”); (lower centre) “CL. V. ET DNO D. IOANNI DV BERON OMNIS ELEGANTLAE ADMIRATORI, / ABRAHANVS IANSONIVS VAN NUSSEN PICTOR L.M.D.D.

The Rijksmuseum offers the following description of this print (Google translated from Dutch):
“Christ is laid in the tomb by Joseph of Arimathea and Nicodemus. On the right a group of grieving women including Mary and Mary Magdalene. Left in the foreground lie Arma Christi in a basket. In the margin a four-line team, in two columns, in Latin. Underneath a two-line caption in Latin.” (https://www.rijksmuseum.nl/en/search/objects?q=Egbert+van+panderen&p=1&ps=12&st=OBJECTS&ii=6#/RP-P-H-M-76,9)

Hollstein Dutch 1 (Hollstein, F W H, Dutch and Flemish etchings, engravings and woodcuts c.1450-1700, Amsterdam, 1949); Nagler 6 (Nagler, G K, Die Monogrammisten, 5 vols, Munich, 1858)

Condition: strong impression trimmed at, or within, the platemark. The print is lined on the support sheet and is in good condition for its age (i.e. there are no evident tears, holes, losses, foxing, or abrasions but there is very light toning and a few marks).

I am selling this engraving of the highest order of technical accomplishment for AU$183 in total (currently US$140.22/EUR124.68/GBP108.08 at the time of posting this listing) including postage and handling to anywhere in the world. If you are interested in purchasing this impressive print exemplifying the Mannerist spirit at the time of its execution, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.


At the time that this engraving was executed (circa 1600), Egbert van Panderen, like many of his fellow artists in Holland, was swayed towards the exuberant energy of Northern Mannerism. This leaning towards a theatricality of expression is seen in the spiralling compositional arrangement of this print—a sweeping movement that makes Christ appear almost weightless—along with the use of strong lighting and displays of technical virtuosity in the use of the burin that renders the portrayed clothes as shimmery as satin. This enthusiasm for a mannered mode of expression led some of his colleagues to even greater heights of exaggeration, such as the legendary Hendrick Goltzius (1558–1617) whose adoption of the Mannerist style of Bartholomeus Spranger (1546–1611) led to the term “Sprangerism” being coined for excessive exaggeration.





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