Augustin Hirschvogel, “The Temptation of Christ”, 1548

Augustin Hirschvogel (1503–1553)

“The Temptation of Christ” (TIB title), 1548 (date inscribed in plate), plate 23 (TIB) from the series of 104 plates published in Vienna in 1550 by Aegidius Adler (fl.mid-1500s) in “Vorredt und eingang der Concordantzen alt und news Testaments."

Etching on fine laid paper, trimmed with a narrow margin around the image borderline (with loss of the accompanying letterpress text [see https://www.nga.gov/collection/art-object-page.39380.html]) and backed with a support sheet.

Size: (sheet) 11.7 x 14.8cm; (image borderline) 11.5 x 14.5cm.

Inscribed in plate within the image borderline: (lower right corner) “1548”.

TIB 18.1.23 (Jane S Peters [ed.] 1982, “The Illustrated Bartsch: German Masters of the Sixteenth Century”, Abaris Books, New York, vol. 18, p. 117, cat. no. 1.23); Schwarz 22.

The British Museum offers the following description of this print: “Temptation of Christ; Christ at left, facing Satan in cloak and cane, seen from behind, smaller scene with Christ and Satan at cliff in background, accompanied by German biblical verse to Matthew 4 in letterpress; printed to face the antetype of Adam and Eve; illustration to Peter Perenyi and Augustin Hirschvogel, 'Vorredt und eingang der Concordantzen alt und news Testaments, durch Pereny Petri... Und nachuolgents durch Augustin Hirßfogel... erweytert' (Vienna, Aegidius Adler: 1550). 1548” (https://www.britishmuseum.org/collection/object/P_1926-0617-13-23 [BM inv.no. 1926,0617.13.23]).

The Curator of the British Museum advises that Adler’s publication features “[t]wo etchings to a page with German letterpress above and below with relevant biblical passages” (op. cit.). TIB notes that this print is paired with the etching “The Fall of Man” (TIB 18.1.22 [https://www.britishmuseum.org/collection/object/P_1926-0617-13-21])

Condition: a strong and well-printed lifetime impression (based on the line quality with no sign of wear to the printing plate), trimmed around to the image borderline and laid onto a support sheet of archival (millennium quality) washi paper. Beyond a few marks, the sheet is in a very good condition for its considerable age with no tears, folds or significant stains.

I am selling this very early and extremely rare etching illustrating an Old Testament scene from Matthew 4, for AU $310 in total (currently/approximately US $193.09/ EUR 186.25/ GBP 154.56 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. Note that payment is in Australian dollars (AU$310) as this is my currency.

If you are interested in acquiring this Renaissance period print executed in Michelangelo’s lifetime by the artist who arguably popularised the great Albrecht Altdorfer’s somewhat panoramic approach to landscape, 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

Albrecht Altdorfer, “St Christopher Bearing the Christ Child”, 1513 (2nd copy)

Albrecht Altdorfer (1482/5–1538)

“St Christopher Bearing the Christ Child” (aka. “S. Christophe portant l’enfant Jésus”), 1513, a later impression—note that Baron Hans Albrecht von Derschau printed an edition of this print between 1808 and 1816 on a greyish paper and further impressions were taken from the original block, now in the Kupferstichkabinett (Berlin), between 1922 and 1963.

Woodcut on wove (Japanese?) paper trimmed with a narrow margin around the image borderline.

Size: (sheet) 17.4 x 12.7 cm; (image borderline) 16.5 x 12.1 cm.

Dated and signed in the block with the artist’s monogram: (on tree at right) “1513/ [monogram with ligature initials] AA”.

TIB 14(6).53(79) (Robert A Koch 1980, “The Illustrated Bartsch: Early German Masters; Albercht Altdorfer; Monogrammists”, vol. 14, New York, Abaris Books, p. 159, cat. no. 53 [79]); New Hollstein w.56 (Ursula Mielke [comp.] 1997, “The New Hollstein German Engravings, Etchings and Woodcuts 1400-1700: Albrecht and Erhard Altdorfer”, Rotterdam, Sound and Vision Interactive, p. 130, cat. no. w.56).

The Rijksmuseum offers the following description of this print: (transl.) “Saint Christopher wading through the river with the Christ Child on his back. He bends under the weight of the child and holds on to his staff” (http://hdl.handle.net/10934/RM0001.COLLECT.30781).  

The Curator of the British Museum offers the following insights about this print (note that the numbers in brackets reference the BM’s inv. nos.): “Altdorfer has reduced the amount of hatching normally seen in his woodcuts to a minimum, restricting it to the areas of deepest shade, so that the outlines of the woodcut are firmly emphasised. Like Baldung's 'St Christopher' of c.1511 (1895,0122.227), it is conceivable that it was designed with a tone block in mind, so that parts of the sheet were left intentionally blank to receive the coloured areas. But no such colour print is known, and the small size of this woodcut would seem to argue against this idea; colour prints of the period, such as Altdorfer's 'Beautiful Virgin' of Regensburg (1909,0612.3), were usually of larger dimensions. It is possible that Altdorfer was attempting to reproduce the outline effect of a pen drawing or an etching in the medium of woodcut with not altogether successful results, in much the same way as he aspired to mimic the effects of small, finely detailed engravings in his accomplished woodcut series of the 'Fall and Redemption of Man' (1837,0616.225-226; 1845,0809.1191-1192; 1837,0616.229; 1845,0809.1194; 1837,0616.231 and 1845,0809.1196)” (https://www.britishmuseum.org/collection/object/P_1895-0122-363 [BM inv. no. 1895,0122.363]).

Condition: a very strong impression trimmed with a narrow margin around the image borderline in a near pristine condition.

I am selling this magnificent late impression of a Renaissance period woodcut by one of the founders of landscape painting, Albrecht Altdorfer, for AU$368 in total (currently US$254.09/EUR227.51/GBP189.99 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. Note that payment is in Australian dollars (AU$368) as this is my currency.

If you are interested in purchasing this amazing woodcut—note Altdorfer’s inventive use of bold diagonals and the subtlety of his portrayal of the infant Christ advising St Christopher as the saint struggled to wade across a river with increasing weight on his shoulders that he was carrying not only the king of world but also the weight of the world—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that this is the second copy of this woodcut that has been listed. The previous impression has been sold.

This print has been sold

Augustin Hirschvogel’s etching, “The Betrayal of Christ”, 1547

Augustin Hirschvogel (1503–1553)

“The Betrayal of Christ” (TIB title) (aka “The Kiss of Judas”, 1547 (date inscribed in plate), from the series of 104 illustrations published in Vienna in 1550 by Aegidius Adler (fl.mid-1500s) in “Vorredt und eingang der Concordantzen alt und news Testaments."

Etching on fine laid paper trimmed around the image borderline (with loss of the accompanying letterpress text [see https://www.nga.gov/collection/art-object-page.39407.html]) and backed with a support sheet.

Size: (sheet) 11.6 x 14.4 cm.

Inscribed in plate within the image borderline: (lower right-of-centre) “1548”.

TIB 18 (9).1.47 (171) (Jane S Peters [ed.] 1982, “The Illustrated Bartsch: German Masters of the Sixteenth Century”, vol. 18, Abaris Books, New York, p. 141, cat. no. 1.47 [171]); Paisey 306; Hollstein 134b; Schwarz 44.

The British Museum offers the following description of this print: “Betrayal of Christ; Christ at center, Judas kissing his cheek, Roman soldiers advancing from right, apostles at left; accompanied by German biblical verse to Lucas 22 in letterpress; printed to face the antetype of Gideon slays Zebah and Zalmunna; illustration to Peter Perenyi and Augustin Hirschvogel, 'Vorredt und eingang der Concordantzen alt und news Testaments, durch Pereny Petri... Und nachuolgents durch Augustin Hirßfogel... erweytert' (Vienna, Aegidius Adler: 1550). 1547” (https://www.britishmuseum.org/collection/object/P_1926-0617-13-40).

The Curator of the British Museum advises that Adler’s publication features “[t]wo etchings to a page with German letterpress above and below with relevant biblical passages” (see BM no. 1926,0617.13.55). TIB notes that this print is paired with the etching “Jacob Betrays Abner” (see TIB 18 [9].1.46 [171]).

Condition: a strong and well-printed lifetime impression (based on the line quality with no sign of wear to the printing plate), trimmed around to the image borderline and laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in a very good condition with no tears, folds or significant stains.

I am selling this very early and extremely rare etching illustrating an Old Testament scene from Luke 22, for AU$310 in total (currently/approximately US$205.75/EUR189.56/GBP161.48 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. Note that payment is in Australian dollars (AU$310) as this is my currency.

If you are interested in acquiring this Renaissance period print executed in Michelangelo’s lifetime by the artist who arguably popularised the great Albrecht Altdorfer’s somewhat panoramic approach to landscape—note, for example, the treatment of the foreground trees set against the distant mountains and the group of advancing soldiers at right that are shown as not only spatially stacked with in diminishing sizes, but also portrayed with aerial perspective in the blurred details of the men further away—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

Albrecht Altdorfer’s woodcut, “St Christopher Seated on the Bank” (2nd impression), c.1517

Albrecht Altdorfer (1482/5–1538)

“St Christopher Seated on the Bank” (TIB title) (aka. “S. Christophe Assis sur le Rivage”; “St Christopher Stooping to Raise the Christ Child”; “Saint Christopher Seated with the Infant Christ”), c.1517 (c.1515–c.1520). According to the reputable dealer from whom I purchased this woodcut, the impression is from the Baron Hans Albrecht von Derschau edition printed between 1808 and 1816. My understanding of the Derschau editions, however, is that the editions were printed on a greyish paper (see https://www.britishmuseum.org/collection/term/BIOG178440), whereas this impression is on a pale cream paper. Note that further impressions were taken from the original block now in the Kupferstichkabinett (Berlin) in 1922 and in 1963.

Woodcut on wove (Japanese?) paper trimmed around the image outline with a narrow margin. Note that the lower borderline has been “completed”/filled in by a previous collector.

Size: (sheet) 12.6 x 9.8 cm; (image borderline) 12.4 x 9.5 cm.

Signed in the block with the artist’s monogram: (upper centre on tree trunk) “[monogram with ligature initials] AA”.

TIB 14(6).54(79) (Robert A Koch 1980, “The Illustrated Bartsch: Early German Masters; Albercht Altdorfer; Monogrammists”, vol. 14, New York, Abaris Books, p. 160, cat. no. 54 [79]); New Hollstein w.57 (Ursula Mielke [comp.] 1997, “The New Hollstein German Engravings, Etchings and Woodcuts 1400-1700: Albrecht and Erhard Altdorfer”, Rotterdam, Sound and Vision Interactive, p.130[?], cat. no. w.57).

See also the description of this print offered by the Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/429686.

The Curator of the British Museum offers the following insights about this print: “The moment from the legend of St Christopher that Altdorfer has chosen to depict is highly unusual. Normally St Christopher is shown carrying the Christ Child on his shoulders but here they are shown before they cross the river. The Child steps on to a stone, about to climb on to Christopher's back. Choosing an unusual moment of a well-known narrative is typical of Altdorfer.
From M. P. McDonald, Ferdinand Columbus: Renaissance Collector, British Museum, London, 2005” (https://www.britishmuseum.org/collection/object/P_1895-0122-362).

Condition: a very strong impression trimmed with a narrow margin around the image borderline. There are previous collectors’ pencil notations (verso), otherwise the sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains. Note, however, that a previous collector has filled in with ink breaks in the lower borderline.

I am selling this magnificent late impression of a Renaissance period woodcut by one of the founders of landscape painting, Albrecht Altdorfer, for AU$368 (currently US$241.41/EUR223.35/GBP191.36 at the time of posting this listing) including 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 amazing woodcut—note Altdorfer’s sensitive rendering of the background trees (mindful that around the time of executing this print Altdorfer was to create the first prints focused entirely on landscape features without reference to a narrative involving figures)—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that this is the second impression of the marvellous woodcut that I have listed (the previous impression has been sold).

This print has been sold

Albrecht Altdorfer’s woodcut, “St Christopher Seated on the Bank”, c.1517

Albrecht Altdorfer (1482/5–1538)

“St Christopher Seated on the Bank” (TIB title) (aka. “S. Christophe Assis sur le Rivage”; “St Christopher Stooping to Raise the Christ Child”; “Saint Christopher Seated with the Infant Christ”), c.1517 (c.1515–c.1520). According to the reputable dealer from whom I purchased this woodcut, the impression is from the Baron Hans Albrecht von Derschau edition printed between 1808 and 1816. My understanding of the Derschau editions, however, is that the editions were printed on a greyish paper (see https://www.britishmuseum.org/collection/term/BIOG178440), whereas this impression is on a cream paper. Note that further impressions were taken from the original block now in the Kupferstichkabinett (Berlin) in 1922 and 1963.

Woodcut on cream wove (Japanese?) paper trimmed around the image outline with a narrow margin.

Size: (sheet) 13.1 x 9.7 cm; (image borderline) 12.4 x 9.5 cm.

Signed in the block with the artist’s monogram: (upper centre on tree trunk) “ [monogram with ligature initials] AA”.

TIB 14(6).54(79) (Robert A Koch 1980, “The Illustrated Bartsch: Early German Masters; Albercht Altdorfer; Monogrammists”, vol. 14, New York, Abaris Books, p. 160, cat. no. 54 [79]); New Hollstein w.57 (Ursula Mielke [comp.] 1997, “The New Hollstein German Engravings, Etchings and Woodcuts 1400-1700: Albrecht and Erhard Altdorfer”, Rotterdam, Sound and Vision Interactive, p. 130[?], cat. no. w.57).

See also the description of this print offered by the Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/429686.

The Curator of the British Museum offers the following insights about this print: “The moment from the legend of St Christopher that Altdorfer has chosen to depict is highly unusual. Normally St Christopher is shown carrying the Christ Child on his shoulders but here they are shown before they cross the river. The Child steps on to a stone, about to climb on to Christopher's back. Choosing an unusual moment of a well-known narrative is typical of Altdorfer.
From M. P. McDonald, Ferdinand Columbus: Renaissance Collector, British Museum, London, 2005” (https://www.britishmuseum.org/collection/object/P_1895-0122-362).

Condition: a very strong impression trimmed with a narrow margin around the image borderline. There are scattered pale spots and previous collectors’ pencil notations (verso), otherwise the sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this magnificent late impression of a Renaissance period woodcut by one of the founders of landscape painting, Albrecht Altdorfer, for AU$368 (currently US$245.97/EUR222.55/GBP195.91 at the time of posting this listing) including 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 amazing woodcut—note Altdorfer’s sensitive rendering of the background trees (mindful that around the time of executing this print Altdorfer was to create the first prints focused entirely on landscape features without reference to a narrative involving figures)—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