Jan Sadeler I’s engraving, “Saint Priscilla”, c1585, after Maarten de Vos

Jan Sadeler I (aka Johannes Sadeler; Johann Sadeler) (1550–1600)

“Saint Priscilla” (TIB title) (aka “Saint Prisca”; “Heilige Prisca” [Holy Prisca]), c1585, the seventeenth engraving in the series of seventeen prints of female saints and the title plate, “Speculum Pudicitiae” (Mirror of Modesty) (aka “Spiegel van eerbaarheid” [Mirror of Honour]), after a drawing dated 1584 by Maarten de Vos (aka Marten de Vos; Maerten de Vos) (1532–1603) in the Kupferstichkabinett, Berlin (inv. 13579), published by Jan Sadeler I in Antwerp.

See another engraving from this series that I listed earlier, “Saint Justina” (still available at present): https://www.printsandprinciples.com/2020/07/jan-sadeler-is-engraving-saint-justina.html.

Engraving on laid paper trimmed around the image borderline on the top and sides and retaining the lines of text below the borderline.

Size: (sheet) 18.6 x 12.9 cm.

Inscribed on plate within the image borderline: (lower left corner) “Sadler excud./ M. de vos figura.”

Lettered in two lines of Latin text below the image borderline: “PRISCA Deum venerans, precibus Simulacra deorum/ Euertit, varijs supplicijsq[ue] perit.”

State i (of i) Lifetime impression (based on the quality of the line showing no sign of wear to the printing plate).

TIB 7001. 328 (Isabelle de Ramaix 2001, “The Illustrated Bartsch”, vol. 70, Part 2 [Supplement], New York, Abaris Books, p. 136, cat. no. [7001].328); Hollstein 353 (Dieuwke de Hoop Scheffer [comp.] 1980, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Aegidius Sadeler to Raphael Sadeler II: text”, vol. 21, Amsterdam, Van Gendt & Co, p. 142, cat. no. 353); Hollstein (Sadeler) 357 (Dieuwke de Hoop Scheffer [comp.] 1980, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Aegidius Sadeler to Raphael Sadeler II: text”, vol. 21, Amsterdam, Van Gendt & Co, p. 143, cat. no. 357); Hollstein (Vos) 962 (Christiaan Schuckman [comp.] 1996, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Maarten de Vos: text”, vol. 44, Rotterdam, Sound and Vision Rijksprentenkabinet, p. 203, cat. no. 962); Edquist 100 (p. 159).

The Rijksmuseum offers the following description of this print:

(Transl.) “St. Prisca, kneeling before a Bible. On the ground in front of her a rod and an axe. In the background to the right, St. Prisca is beheaded”

(http://hdl.handle.net/10934/RM0001.COLLECT.168533).

Condition: well-printed impression trimmed with a thread margin around the image borderline on the top and sides and retaining the lines of text below the borderline. The sheet is in excellent condition for its considerable age (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this strong impression of a sensitively executed and very beautiful engraving by one of the most famous of the Flemish old masters, for AU$370 (currently US$269.36/EUR228.07/GBP207.12 at the time of posting this print) including Express Mail (EMS) 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 small masterwork of engraving showing the patron saint of married couples, 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

Crayon-manner studies of a bearded head of a man and other studies, c1765

Unidentified 18^th century French engraver (based on the paper and the privilege note)

“Plate 103: Head of a bearded man with studies of ears and an eye” (descriptive title only), c1765 (?), from an instructional manual for drawing (see, for example: https://www.britishmuseum.org/collection/object/P_1872-1012-4734).

Crayon-manner stipple roulette etching on laid paper backed with a support sheet.

Size: (sheet) 24 x 31.5 cm.

Inscribed on plate: (upper right corner) “103”; (lower right corner) “Privilège du Roi.”

Condition: strong and well-printed impression with a narrow margin around the platemark (as published?) and laid onto a support of archival (millennium quality) washi paper. The sheet has chipped corners on the right side and shows signs of handling (e.g. light chalk marks, a flattened crease and general dustiness appropriate to its function as instructional studies for art students).

I am selling this crayon-manner etching of superbly executed academic studies of facial features created as models for art students to copy, for AU$214 in total (currently US$154.81/EUR131.68/GBP119.92 at the time of posting this listing) including Express Mail (EMS) 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 interesting sheet of academic studies—note, for instance the artist’s skill in representing the elderly man’s beard as white hair (as opposed to black hair) and how the upper-left study of an eye references the Renaissance convention of not portraying eyelashes (or showing only minimal eyelashes)—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

Jonas Suyderhoef’s engraving, “Claudius de Salmasia”, 1641, after Nicolaes Van Negre

Jonas Suyderhoef (aka Jonas Zuiderhoef) (1613–1686)

“Claudius de Salmasia”, 1641, after Nicolaes van Negre (fl.1641–), with Latin verses by Kaspar van Baerle (aka Caspar Barlaeus) (1584–1648), published by Johannes Maire (fl.1628–1648) in Leiden.

Engraving on laid paper trimmed around the platemark with many restorations and backed with a support sheet.

Size: (sheet) 41.9 x 30.2 cm; (image borderline) 36.8 x 30.1 cm.

Inscribed on plate within the image borderline: (left of centre [abraded]) “N. Van Negre/ I. Suÿderhoef Sculp.”

Lettered on plate above the image borderline: (centre) “CLAVDIVS DE SALMASIA".

Lettered in on plate below the image borderline in two columns of four lines of Latin followed by a lower line of publication details and the name of the author of the Latin verses: (centre) “GALLIA quo nuper ... / ... Circulus orbis erit.”; (lower edge partially abraded) “[L]UGD. BATAU. EXCUDEB. IOAN MAIRE. [… cl(o?) l(o?) c XLI …] C. BARLAEVS.”

Hollstein Dutch 111 (Dieuwke de Hoop Scheffer [comp.] 1984, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Louis Spirinx to M. Suys”, vol. 28, Blaricum, Van Gendt, p. 249, cat. no. 111); FMP 4676-a (Frederik Muller 1972, “Beschrijvende catalogus van 7000 portretten van Nederlanders en van buitenlanders, tot Nederland in betrekking staande....”, Soest, Davaco, p. 223, cat. no. 4676a).

The Rijksmuseum and the British Museum offer descriptions of this print:

http://hdl.handle.net/10934/RM0001.COLLECT.181553;

https://www.britishmuseum.org/collection/object/P_R-6-247. 

Condition: well-printed impression trimmed around the platemark and laid onto a support of archival (millennium quality) washi paper. There are many replenished holes and other losses along with abrasions, stains, flattened folds and tears. Despite these important issues, the restoration work makes the many faults visually unobtrusive.

I am selling this large lifetime portrait of the French philologist and author, Claudius de Salmasia (aka Claude Saumaise; Claudius Salmasius) (1596–1653), for AU$263 in total (currently US$191.38/EUR162.08/GBP145.72 at the time of posting this listing) including Express Mail (EMS) 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 insightful portrait of a fascinating academic who successfully upset leading scholars of his time—e.g. Daniël Heinsius, the leading scholar of Renaissance literature, was so upset that he stopped Salmasia from accessing the Leiden University Library and even Milton attacked Salmasia in his 1651, “Defensio pro Populo Anglicano contra Claudii Salmasii Defensionem Regiam” [Defense of the English people and contra royal defense] following Salmasia’s praise for Charles I—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Hieronymus Wierix’s engraving, “St Dominic”, c1586, after Philips Galle

Hieronymus Wierix (aka Jerome Wierix; Hieronymus Wierx) (1553–1619)

“St Dominic” (aka St Dominicus; H. Dominicus de Guzmán; Domingo de Guzmán; Dominic of Osma; First Inquisitor; Patron Saint of Inquisition), c1586 (1563–before 1610 [Rijksmuseum dating]), from the series of four plates, “Mannelijke stichters van een religieuze orde” (Male Founders of Religious Orders) (Hollstein 1263–1266), after the design by Philips Galle (aka Philippe Galle; Philippus Gallaeus) (1537–1612) and published by Philips Galle in Antwerp.

Engraving on laid paper, trimmed with a thread margin around the platemark.

Size: (sheet) 16.3 x 12.7 cm; (plate) 16.1 x 12.3 cm; (inner image borderline) 12.5 x 10.4 cm.

Lettered on plate below the image borderline: (centre) S. DOMINICVS”./ ZELO ZELATVS SVM PRO DNO DEO EXERCITVVM. III REG. 19./ Philipp. Galle invent. et excud. […] Hieronymus Wierix Sculpsit.”

State i (of iii) before Collaert’s address as publisher and before the addition of the number “8” of the second state and the erasure of this number in the third state.

Hollstein Dutch 1264 (Zsuzsanna van Ruyven-Zeman [comp.] 2004, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: The Wierix Family: Part VI”, vol. 64, Rotterdam, Sound and Vision Rijksprentenkabinet, p. 127, cat. no. 1264); Mauquoy-Hendrickx 1002 (Marie Mauquoy-Hendrickx 1978, “Les Estampes des Wierix ... Catalogue Raisonné [Part II], Brussels, Bibliotheque Royale Albert, p. 184, cat. no. 1002, ill. p. 137); Alvin 775 (L Alvin 1866, “Catalogue raisonné de l'oeuvre des trois frères Jan, Jérome et Antoine Wierix”, Brussels); Le Blanc 592.

The Rijksmuseum offers the following description of this print:

(Transl.) “Saint Dominic de Guzmán, founder of the Order of the Preachers or Dominicans, in prayer before a crucifix. In the background left along the coastline, the saint greets a sailor who disembarks his boat. In the margin a Bible quote in Latin”

(http://hdl.handle.net/10934/RM0001.COLLECT.332059).

See also the description offered by the British Museum:

https://www.britishmuseum.org/collection/object/P_1859-0709-2945.

Note: Marie Mauquoy-Hendrickx (1978) adds a further insight to the description offered by the Rijksmuseum by advising that the background scene shows St Dominic saving pilgrims from shipwreck—only one pilgrim portrayed in the engraving—going to Santiago de Compostela (Saint-Jacques de Compostelle) (p. 184).

Condition: strong (lifetime) impression trimmed slightly unevenly with a thread margin around the platemark. The sheet shows pale age-toning and there are minor signs of handling, otherwise the sheet is in excellent condition for its considerable age with no tears, abrasions or significant stains.

I am selling this small masterpiece of early engraving—note that the lines rendering the saint’s face and hands are so fine that a magnifying glass is needed to see them clearly!—for AU$310 in total (currently US$225.71/EUR190.87/GBP171.54 at the time of posting this listing) including Express Mail (EMS) 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 superbly executed engraving showing the founder of The Dominican Order (aka The Order of Preachers) almost glowing with the exceptionally fine radiating lines of the nimbus surrounding his head, 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

Bernard Picart’s etching (with engraving), “Allegory of the History of the French Monarchy”, 1724

Bernard Picart (1673–1733)

“Allegory of the History of the French Monarchy” (aka “Portrait de Louis XV, en buste, de 3/4 dirigé à droite dans un médaillon ovale supporté dans les airs par deux figures allégoriques, au-dessous la muse de l'histoire entourée de cinq figures allégoriques redige les ‘Annales de la monarchie françoise’” [“Portrait of Louis XV, bust, 3/4 directed to the right in an oval medallion supported in the air by two allegorical figures, below the muse of history surrounded by five allegorical figures writes the ‘Annales de la monarchy françoise’”]), 1724, frontispiece illustration to Henri-Philippe de Limiers' (–1725) “Annales de la Monarchie Françoise, depuis son établissement jusques à présent”, published by L'Honoré et Châtelain in Amsterdam in 1724.

Etching and engraving on laid paper trimmed around the image borderline and within the borderline at top with loss of some of the image and with loss of the text below the borderline, backed with a support sheet.

Size: (sheet) 34.5 x 22.5 cm.

Dimier 565 (Louis Dimier 1928, “Les peintres français du XVIIIe siècle: histoire des vies et catalogue des oeuvres”, vol. 1, Paris & Bruxelles, p. 392, cat. no. 565); Hennin 7959.

The British Museum offers the following description of this print:

“In the Temple of Memory, decorated with statues of French Kings, History writes about the engagement of Louis XV with Maria Anna of Spain, guided by the personification of Truth; she tramples underfoot Flattery (woman with flute and chameleon) and Satire; on the left old woman crowned with wings and sandglass (Chronology), woman unrolling a family tree (Genealogy) and woman placing medals on a tablet (Metallic Arts); in the upper part, Fame holding a portrait of young Louis XV, which is crowned by allegorical figure of Providence; beside them, Marriage holds the portrait of Maria Anna; in the foreground, a winged Spirit measures distances on a map of France with a pair of compasses”

(https://www.britishmuseum.org/collection/object/P_1895-1031-359).

See also the description offered by the Rijksmuseum:

(Transl.) “History writes in her book about the true history of the French monarchy. She tramples on the allegorical figures of Flattery and Satire that lie at her feet. Next to her is Truth. On the other side of the table the female personifications of Medal, Chronology and Genealogy. In the air, Providence crowns the portrait of Louis XV borne by Fame. Amor holds the portrait of the Infanta Marianne Victoria of Bourbon, the then betrothed of the king. In the foreground a putto that draws the map of France. The company is housed in the temple of memory, which is decorated with the statues of French monarchs”

(http://hdl.handle.net/10934/RM0001.COLLECT.304541).

Condition: strong impression trimmed around the image borderline on the sides and lower edge and within the borderline at top with loss of image. There are small holes and tears (mostly restored) along with a few minor dot stains. The sheet is laid onto a support of archival (millennium quality) washi paper.

I am selling this very beautiful allegorical etching showing the personification of history recording the engagement of Louis XV to Maria Anna of Spain with the hand of truth guiding her account of history within the Temple of Memory, for AU$278 in total (currently US$202.59/EUR171.07/GBP152.58 at the time of posting this listing) including Express Mail (EMS) 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 intriguing visual thesis addressing the various factors underpinning historical truth regarding the French monarchy (e.g. truth overrides flattery and satire, but is underpinned by tangible evidence, genealogy and chronology of events), 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