Gallery of prints for sale

Thursday 19 May 2016

Three woodcut illustrations with text printed verso from [translated]: “Biblical Scenes from the New Testament, artistically designed by the renowned Virgil Solis, painter and printmaker from Nuremberg, 1565. Printed in Frankfurt a. M. by Johann Wolff.” [Biblische Figuren dess Newen Testaments/ gar künstlich gerissen/Durch den weiberhümpten Vergilium Solis/ Maler vnnd Kunststecher zu Nürnberg. 1565. Getruckt zu Franckfurt am Mayn/ durch Johannem Wolffium].

(Upper image) “Amos as Shepherd Predicts the Lord’s Punishment of Israel (Amos I)”, 1565, (sheet) 11.5 x 15.7 cm. (Bartsch 19 [Part 1]:1.88 [316]).

(Middle image) “Zechariah’s Visions; Christ’s Entry int Jerusalem in the Background (Zech. 1)”, 1565, (sheet) 12.2 x 17.3 cm, with monograms: VS; +9; A.1.96, Ubisch 96. (Bartsch 19 [Part 1]:1.96 [316])

(Lower image) “Aaron as High Priest (Exod. 28)”, 1565, (sheet) 12 x 16.9 cm, with monograms: VS; A.1.26, Ubisch 26. (Bartsch 19 [Part 1]:1.26 [316]).
Condition: all impressions show wear to the plate but the prints are in very good condition for their age (1565).

I am selling all three original woodcut prints for the total cost of only AU$68 (currently US$48.94/EUR43.72/GBP33.53 at the time of posting these prints) including postage and handling to anywhere in the world.
If you are interested in purchasing these original prints from 1565, please contact me ( and I will send you a PayPal invoice to make the payment easy.

These print have been sold

Virgil Solis, “Amos as Shepherd Predicts the Lord’s Punishment of Israel (Amos I)”, 1565

Virgil Solis, “Zechariah’s Visions; Christ’s Entry int Jerusalem in the Background (Zech. 1)”, 1565

Virgil Solis, “Aaron as High Priest (Exod. 28)”, 1565,

In my post about Jost Amman's woodcuts I proposed that Virgil Solis was the most prolific printmaker in 16th century Nuremberg. Although many of his prints were made in collaboration with other artists associated with his workshop (e.g. four artists were involved in the execution of the centre image), there is unmistakable stylistic consistency to his prints suggesting that Solis maintained a strong controlling hand in what was published under his name.

One common feature (i.e. stylistic consistency) of these three prints that is hard to overlook is the use of strap-work borders to frame each illustration. From my research about these visually riveting frames, I understand that Solis employed thirty-one different designs in the illustrations for his "Biblische Figuren dess Newen Testaments". Interestingly, someone" (probably Walter Strauss) must have counted them very carefully as Bartsch asserted that there were only twenty-four variations ... I love academics who really care about such things!

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