Saturday, 31 January 2026

Matthaeus Merian, “Natives Roasting ‘Dragons’” & “Ambush by Native Women”, 1655

Matthaeus Merian (also known as Matthäus Merian I) (1593–1650), or possibly Theodoor de Bry (aka Théodore de Bry, Dietrich de Bry, and Dirk de Bry) (1528–1598)

Recto (page 219): “Ambush by Native Women”, 1655
The text describes a Spanish encounter with the local inhabitants in their village: “… they came across a place which, like Venice [hence the name Venezuela], was built on the water and wooden piles, it had about twenty dwellings, like the bells of a fortress. From which bridges went so that they could come together in and around. … twelve canoes made from whole trees came towards them [the Spanish] … and brought 16 maidens with them … pretending to be their best friends; a great crowd also swam from their houses to the ships, from which they could still not draw any evil suspicion. …the others also moved further away from the ships, and began to shoot violently at the Spaniards with their bows. … others, who had swum from their houses to the ships, carried their spears hidden under the water, from which their treachery could then be sufficiently inferred.”
The page is titled: “Von Erfindung derselben durch underschiedliche Schiffart” (Of the discovery of the same through different navigation).

Verso (page 220): “Natives Roasting ‘Dragons’”, 1655

For those wondering about the seemingly fantastical depiction of winged-serpents (dragons)—the artist’s creative representations of what we now know are iguanas—bound together in the lower left foreground, the German text explains that the Spaniards investigating the local inhabitants’ culture “found many live snakes … tied at the feet with ropes and their mouths bound with cords, so that they could not harm people, just as one is accustomed to muzzle bears, dogs, horses, and other wild animals. They looked so frightening that the Spaniards did not want to touch them. They make their bread from fish, which they first boil, then pound, and then dry again over the coals. And this bread is good to eat and tastes good.”
The page is titled: “West Indianischer Historien Ander Theil” (Second Part of the West Indian Histories).

Technical Details & Condition:

Etchings on fine laid paper with full margins and German letterpress text on recto and verso. This original book-leaf was published in Frankfurt am Main in 1655 by the Merian heirs within Johann Ludwig Gottfried’s “Newe Welt und Americanische Historien”. The two featured etchings (recto and verso) appear on pages numbered 219, and 220. See: https://archive.org/details/neweweltvndameri00gott/page/218/mode/2up.

The etchings are strong, well-printed impressions, showing no signs of wear to the printing plate. The sheet is in excellent condition—free of tears, holes, folds, abrasions, or significant stains.

Dimensions:

  • Sheet: 30.9 x 19.4 cm

Price & Shipping:

AU$251 (approximately US$175.81 / €147.85 / £128.14), including worldwide express shipping. Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this historically important and visually compelling sheet of etchings documenting native Americans and Spanish interactions, please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

This print has been sold 


















Michel Wolgemut, “Saxonia magna germanie provincial”, 1493


Michel Wolgemut (or Michael Wohlgemuth) (1434–1519)—possibly in collaboration with Wilhelm Pleydenwurff (circa 1458–1494)

Saxonia magna germanie provincial” (title as lettered), or in translation, “Saxony, a large province of Germany”, 1493

Technical Details & Condition:

Woodcut with incunabula letterpress Latin text on laid paper, complete with margins as issued. The leaf features a large woodcut and is page 282 (numbered at upper right on the verso, “CCLXXXI” [281]) from Hartmann Schedel‘s (1440–1514) “Nuremberg Chronicle” (Liber Chronicarum), published in Nuremberg by Anton Koberger (1445–1513). The woodcut is a lifetime impression depicting a bird's-eye view of the German region of Saxony. Interestingly, the same image is used as an illustration in descriptions of other locations within the publication. Given this, the scene may lean more towards fantasy than a precise geographical depiction.

The woodcut and its accompanying letterpress text are richly inked and well-printed. There are a few small wormholes, and the sheet exhibits the expected age-toning; otherwise, it is in remarkably fine condition for its age and large size.

Dimensions:

• Sheet: 44.6 x 28 cm
• Image borderline of woodcut: 23.2 x 23 cm

References:

• The British Museum offers a detailed description of the Nuremberg Chronicle (see “Curator’s comments”): https://www.britishmuseum.org/collection/object/P_1870-1008-1938-1-136

Price & Shipping:

AU$426 (approximately US$298.38 / €250.94/ £217.48), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you are interested in acquiring this exceptionally rare and large woodcut—a lifetime impression from 1493, and a true masterpiece of the incunabula period that was printed at the very time Leonardo da Vinci was painting his famous “The Last Supper”—please contact me at oz_jim@printsandprinciples.com. I will be happy to send a PayPal invoice for a smooth and secure purchase.

This print has been sold















Friday, 30 January 2026

Jean Mathieu, “Le Serment d'Amour”, 1786, after Jean Honoré Fragonard


Jean Mathieu (1749–1815)

“Le Serment d'Amour” (The Vow of Love), 1786

Technical Details & Condition:

Etching with engraving on wove paper, hand-coloured with watercolour—possibly from the time of printing. This is a lifetime impression of the second state, prior to the erasure of the word “français” and its replacement with “du Roi” in the third and final state, published in Paris by Jean Mathieu. The design is based on a painting by Jean Honoré Fragonard (1732–1806), now housed at the Villa Musée Jean-Honoré Fragonard in Grasse, France (see: https://commons.wikimedia.org/wiki/File:Fragonard_-_Le_serment_d%27amour_143N09301_7VMK3.jpg).

The impression is strong and well-printed, with margins. The hand-colouring is delicately applied and appears unfaded despite the age of the print. Aside from a few minor bumps and subtle age-toning, the sheet is in excellent condition—free of tears, holes, folds, abrasions, and significant stains.

Dimensions:

• Sheet: 66.3 x 51 cm
• Platemark (soft): 58.8 x 44.3 cm
• Image Borderline: 57.5 x 43.2 cm

Lettering in Plate:

• Lower tablet: “LE SERMENT D'AMOUR/ Gravé par J.Mathieu d'après le Tableau d' h.Fragonard P.tre français/ Paris chez l'Auteur Cloitre St.Benoit Maison de Mr. Demarteau.”

References:

• Portalis 154; Le Blanc 15; Lawrence & Dighton 143
• British Museum: https://www.britishmuseum.org/collection/object/P_1871-0812-3726
• Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/369384
• Art Institute of Chicago: https://www.artic.edu/artworks/30069/le-serment-d-armour-the-sermon-of-love  

Price & Shipping:

AU$343 (approximately US$239.76 / €201.20 / £174.40), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you are interested in acquiring this large and renowned etching—a quintessential French Rococo vision of love, capturing a couple sealing their pledge of devotion by each placing a hand on a sculpted tablet held by putti—please contact me at oz_jim@printsandprinciples.com. I will be happy to send a PayPal invoice for a smooth and secure purchase.

This print has been sold