Workshop of Thielman Kerver, “Maria says Goodbye to Her Mother”, circa 1505–1508

Workshop of Thielman Kerver (also known as Thielman I Kerver) (–1522)

“Maria says Goodbye to Her Mother”, circa 1505–1508

Technical Details & Condition:

A premium vellum leaf from the French Book of Hours “Horae B. Mariae Virginis — Hore dive virginis Marie secundum verum usum Romanum” (Hours of the Blessed Virgin Mary according to the true Roman custom) printed by Thielman Kerver in Paris.

The recto features a central woodcut—or possibly a metalcut, based on the extreme fineness of the line—surrounded by a pictorial woodcut border and Latin letterpress text printed in black and red. Initials are brilliantly highlighted with liquid gold leaf over hand-coloured red and blue backgrounds. The verso contains Latin letterpress text printed in striking black and red inks, framed within late-medieval woodcut marginalium panels. Initial letters in the main text are also hand-coloured in red and blue.

The finely executed illustration is a strong, crisp lifetime impression showing only minor signs of wear to the printing plate. The hand-painted initial letters present very minor, expected rubbing, and the vellum shows a beautiful natural age-toning. The leaf remains in excellent condition for its 500+ year age, entirely free of tears, holes, folds, or distracting stains.

Note: The attached angled photograph demonstrates the leaf's excellent structural integrity, catching the light to show the smooth, lustrous surface finish characteristic of premium, polished late-medieval Parisian vellum.

Context of the Relief Print:

This exceptional leaf captures an unusual iconographic scene drawn from the Apocryphal narrative of the Life of the Virgin Mary—her tender farewell to her mother, Saint Anne, prior to departing for the Temple or her betrothal to Joseph. Unlike standard, widespread scenes like the Annunciation or the Nativity, this intimate domestic moment highlights the late-medieval artistic shift toward humanising holy figures.

Produced at the absolute peak of the Parisian print Renaissance, Thielman Kerver’s workshop was globally celebrated for its complex geometric border panels and crisp typography. This specific leaf exemplifies early French book illustration at its finest, masterfully balancing dense letterpress text against vibrant, hand-illuminated capitals.

Dimensions:

• Sheet: 16.4 x 10.5 cm
• Image borderline: 12.4 x 7.9 cm

Letterpress Lettering & Translations:

• Recto: “Deus in adiutoriu[m] meu[m] intende. Domine / ad adiuvand[u]m me festina. Gloria patri & fi / lio[.] Sicut erat i[n] pri[n]cipio. an. Assu[m]pta e[st]. ps[almus]”
(Translation: “O God, come to my assistance. O Lord, make haste to help me. Glory be to the Father, and to the Son. As it was in the beginning. Antiphon: She has been assumed [The Assumption]. Psalm.”)
• Verso (upper text): “...tuum verum: & vnicum [filium]. Sanctum [quoque paraclitum spiritum] … In te, Domine, speravi: non confundar in aeternum. / Ad laudes.”
(Translation: “...Thy honorable, true, and only Son; Also the Holy Ghost, the Comforter... In thee, O Lord, have I trusted: let me never be confounded. / To Lauds.”)
• Verso (two side border panels): “Surge et acci / pe pueru[m] & ma / tre[m] ei[us] & fuge i[n] // egyptu[m]: et esto / ibi usq[ue] dū di / cā tibi Mat. 2”
(Translation: “Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee. Matthew 2.”)
• Verso (lower two base panels): “Ecce esau frater tu / us minatur ut occi / dat te. Genesis. [2]7 // Nisi saluaueris te / nocte hac cras mo / rieris. I. regum. 19.”
(Translation: “Behold, your brother Esau threatens to kill you. Genesis 27. // If thou save not thy life this night, tomorrow thou shalt be slain. 1 Kings 19 [Modern 1 Samuel].”)

References:

• Marie Berthail, “The First French Engravers: A Nascent Art of Book Illustration”, 1986, Nantes, Loire-Atlantique Departmental Museums, p. 88, cat. no. 33
• Chase Shepard, “08, Comparison of Two Books of Hours Printed by Thielman Kerver” (2018): https://archives.pdx.edu/ds/psu/31078
• Rijksmuseum: Object number RP-P-OB-21.165 (https://id.rijksmuseum.nl/200130040)

Price & Shipping:

AU$544 (approx. US$375.43 / €329.63 / £284.46), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this jewel of a double-sided vellum leaf from a Book of Hours—featuring a remarkably fine relief print depicting Mary holding the hand of her kneeling mother, Saint Anne—please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth, protected transaction.

This leaf has been sold 

Mariano Fortuny, “Tangiers, a Group of Men Seated Near an Arch”, circa 1861

Mariano Fortuny (also known as Mariano Fortuny y Marsal) (1838–1874)

“Tangiers, a Group of Men Seated Near an Arch” (also known as “Tánger” or “Arabes Assis”), circa 1861

Technical Details & Condition:

Etching on fine buff-coloured laid paper. Rare proof-state impression before the published edition. This early proof state is a scarce example printed before the addition of the published plate number (“17”), title lettering (“Tanger”), and ink-stamped signature seen on the standard edition held by the British Museum: https://www.britishmuseum.org/collection/object/P_1932-0312-105.

Features a historical pencil inscription by an unknown early collector's hand below the platemark: “Arabes accroupis devant une porte. / (première eau-forte de Fortuny.)” (Translated: “Arabs squatting in front of a door / Fortuny's first etching.”).

The impression is richly inked with inky plate edges and strong tonal contrast. The sheet is in pristine, museum quality condition—entirely free of tears, holes, folds, abrasions, stains, or handling marks.

Dimensions:

• Sheet: 24.1 x 14.7 cm
• Platemark: 9.6 x 7.1 cm

In-Plate Lettering:

• Signed within the image borderline at lower right: “Fortuny”

References:

• Vives 17 (Rosa Vives i Piqué, “Fortuny, gravador. Estudi catàleg raonat”, 1994)
• Páez 1981-85: Repertorio de Grabados Españoles en la Biblioteca Nacional (770.19)
• Prado 1992: Museo del Prado, catálogo de estampas (175)
• British Museum: Museum No. 1932,0312.105 (https://www.britishmuseum.org/collection/object/P_1932-0312-105)
• Metropolitan Museum of Art (MET): Object No. 19.18.16 (https://www.metmuseum.org/art/collection/search/656777)

Price & Shipping:

AU$288 (approx. US$198.76 / €174.51 / £160.90), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this exceptionally rare proof impression capturing an intimate scene of 19th-century Moroccan everyday life—depicting a group of local men clad in traditional hooded djellabas and wrapped headwear conversing before a Moorish horseshoe gateway—please contact oz_jim@printsandprinciples.com. I’m happy to provide a secure PayPal invoice for a smooth, protected transaction.

Maxime Lalanne, “Dans un Parc”, 1869

Maxime Lalanne (also known as François Antoine Maxime Lalanne) (1827–1886)

“Dans un Parc” (In a Park), also known as “Park met Bomen en Ruïne” (Park with Trees and Ruin), 1869

Technical Details & Condition:

Etching with plate tone on fine laid paper (“Glaslan” watermark) with generously wide margins as issued. This is an impression before lettering for publication from the fourth state (of seven), printed before the addition of the artist’s monogram in the upper right and the lower publication lettering (which includes the final title, artist’s name, and publisher details).

The etching is from the rare early series of twelve plates titled “12 Croquis à l'Eau-forte par Maxime Lalanne” (12 Etchings by Maxime Lalanne), also known as “Divertissements sur Cuivre” (Improvisations on Copper [Plates]), published in Paris in 1869.

The impression is richly inked and flawlessly printed. The sheet is in pristine condition, free of tears, holes, folds, abrasions, stains, or handling marks.

Dimensions:

• Sheet: 37.6 x 27.3 cm
• Platemark: 26.6 x 18.9 cm

References:

• Villet 58 IV (Jeffrey M Villet, “The Complete Prints of Maxime Lalanne”, 2010, Washington, D.C., art@home fine prints, n. p., cat. no. 58 state IV/VII)
• Beraldi 60 (Henri Beraldi, “Les Graveurs du Dix-Neuvième Siècle: LAEMLEIN – MÉCOU”, 1889, vol. IX, Paris, Librairie L. Conquet, p. 20, cat. no. 60)
• National Gallery of Art (Washington): Accession No. 2009.72.33 (https://www.nga.gov/artworks/154069-dans-un-parc)
• British Museum: Museum No. 1872,0511.35 (https://www.britishmuseum.org/collection/object/P_1872-0511-35)

Price & Shipping:

AU$282 (approximately US$194.90 / €171.43 / £147.71), inclusive of worldwide express shipping. Please note that import duties and taxes (if any) are the buyer’s responsibility.

If you are interested in acquiring this rare proof state etching in pristine condition featuring a romantic parkland view to what is possibly a ruined abbey in the distance—a scene designed to arouse a viewer’s poetic spirit—please contact me at oz_jim@printsandprinciples.com. I will gladly send you a PayPal invoice for an easy and secure purchase.

This print has been sold