Pieter van der Heyden, “Autumn”, 1566

Pieter van der Heyden (also known as Pietro Martini, Petrus Merecinus, Petrus á Merica, and Peter Mericenys) (c. 1530–1584)

“Autumn”, 1566

Technical Details & Condition:

Engraving on laid paper, trimmed around the image border and backed with a support sheet. This is a lifetime impression—evidenced by the quality of line and the absence of any wear to the printing plate—from the series “The Four Seasons” (also known as “Compartimentorum quod vocant multiplex genus lepidissimis historumque fabellis ornatum”), published in Antwerp by Hieronymus Cock (c. 1517/18–1570). The Rijksmuseum describes this series as: “Depictions of the four seasons: autumn (Bacchus). One sheet from a series consisting of a title page and 15 of the 16 sheets with cartouches depicting biblical and mythological scenes in a frame of scrollwork and grotesques” (inv. no. RP-P-1952-428). It follows the design by Frans Floris (also known as Frans Floris de Vriendt, 1519/20–1570).

The impression is strong, well-printed, and nearly faultless. The sheet is in pristine condition, free of tears, holes, folds, or stains.

Dimensions:
• Sheet: 6.5 x 9.9 cm

References:
• The Rijksmuseum: https://id.rijksmuseum.nl/200455012
• Hollstein 120–136 (Dutch and Flemish etchings, engravings, and woodcuts c. 1450–1700)
• Riggs 101 (Hieronymus Cock, Printmaker and Publisher)
• Title page of the series held by the British Museum: https://www.britishmuseum.org/collection/object/P_1950-0520-398

Price & Shipping:
AU$316 (approximately US$220.45 / €186.95 / £162.24), including worldwide express shipping. Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this small, rare, and jewel-like engraving—a superb example of Northern Renaissance grotesque and strapwork ornamentation—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

Johannes and Lucas van Doetecum, “Portal with Barrel Vault and a City Gate in the Background”, c.1560

Johannes van Doetecum I (aka Johannes van Doetechum the Elder; Joannes Doedecum; Joannes van Duetecum; Joannes van Doetecum) (fl.1551–1605), and/or his brother, Lucas van Doetecum (aka Lucas van Duetecom; Lucas van Duetecum; Lucas van Doetechum) (fl.1554–1572)

“Portal with Barrel Vault and a City Gate in the Background”, c.1560, plate 7 (as inscribed at lower right corner) from the series, “Architectural Perspectives in Oval Frames for Intarsia” (aka “Variae Architecturae Formae”) after the design by Hans Vredeman de Vries (1527–1606?). Initially published in Antwerp by Hieronymus Cock (aka Jérome Cock) (c.1517/8–1570) and later (as with this impression) by Theodoor Galle (aka Theodor Galle; Dirck Galle) (1571–1633), also in Antwerp. I understand that this and the other plates in the series were designed for wood inlay (intarsia) in panelling and furniture. 

Etching on laid paper with watermark.

Size: (sheet) 18.3 x 23.6 cm; (plate) 16.2 x 21.5 cm.

Inscribed on plate on entablature to the left and right of the barrel vault: (left) “VRIESI^. INVENT^.”; (right) “GALIE. EXCVD.”

State ii (of ii) with Theodoor Galle inscribed as the publisher.

Hollstein Dutch 58; New Hollstein Dutch 190.

Condition: a strong and well-printed impression showing minor signs of wear to the printing plate. Beyond a few pencil notations, the sheet is in an excellent condition with no tears, holes, folds or significant stains.

I am offering this exceptional etching from Michelangelo’s lifetime, originally conceived as a design for wood inlay. Priced at AU$348 (approximately US$224.04 / EUR192.14 / GBP165.98 at current exchange rates), this price includes worldwide express postage and handling. Please note that any applicable import duties or taxes imposed by the destination country are the buyer’s responsibility.

If you are interested in acquiring this remarkable Renaissance-era etching, which depicts a one-point perspective view through an architecturally intricate portal featuring a sprung arch with an oculus, leading to a distant building complex adorned with sculpted Hermes pilasters, please contact me at oz_jim@printsandprinciples.com. I will gladly send you a PayPal invoice for a smooth and secure transaction.

This print has been sold

Philips Galle, “Cyrus showing Daniel the Bel Idol”, 1565, after Maarten van Heemskerck

Philips Galle (aka Philippus Gallaeus: Philippe Galle) (1537–1612)

“Cyrus showing Daniel the Bel Idol”, 1565, the second plate from the series of ten engravings, “The Story of Daniel, Bel and the Dragon” (New Hollstein 226–235) after the design by Maarten van Heemskerck (aka Martin Heemskerk; Maarten van Veen) (1498–1574), initially published in Antwerp by Hieronymus Cock (aka Jérome Cock) (c1517/18–1570) and later (as is the case with this impression) by Theodoor Galle (aka Theodor Galle; Dirck Galle) (1571–1633).

Engraving on fine laid paper trimmed along the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 20.7 x 25.3 cm; (image borderline) 19.7 x 25.1 cm.

Inscribed in plate within the image borderline: (right of centre) “Martinus van heemskerck inuentor”; (right) “Theodor. Galle excu. 2”.

Lettered in plate below the image borderline: (centre) “Rex Danielem ad Belum ducit ostendens quam multa comedat bibatq[ue]” (The king takes Daniel to Bel, showing him how much he eats and drinks).

New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (227.II); Riggs 1977 / Hieronymus Cock, Printmaker and Publisher (140)

The British Museum offers the following description of this print: “Cyrus showing Daniel the Bel idol; before the statue is a banquet table and a line of servants carry food and drink; after Heemskerck. 1565” (https://www.britishmuseum.org/collection/object/P_D-5-86).

Condition: a strong and well-printed (near faultless) impression trimmed along the platemark and laid upon a support of archival (millennium quality) washi paper providing wide margins. The sheet is in a near pristine condition for its considerable age with no tears, holes, folds, abrasions or stains.

I am selling this marvellously strong impression for the total cost of AU $298 (currently US $185.13/ EUR 179.89/ GBP 151.79 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 $298) as this is my currency.

If you are interested in purchasing this remarkably fine engraving, 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

 

Philips Galle, “Daniel Refuses to Worship Bel”, 1565, after Maarten van Heemskerck

Philips Galle (Philippus Gallaeus; Philippe Galle) (1537–1612)

“Daniel Refuses to Worship Bel”, 1565, the first plate from the series of 10 plates, “The story of Daniel, Bel and the Dragon” (New Hollstein 226–235) after the design by Maarten van Heemskerck (aka Martin Heemskerk; Maarten van Veen) (1498–1574)—a related drawing is in the collection of the Rijksmuseum—initially published in Antwerp by Hieronymus Cock (aka Jérome Cock) (c1517/18–1570) and later (as is the case with this impression) by Theodoor Galle (aka Theodor Galle; Dirck Galle) (1571–1633).

Engraving on fine laid paper trimmed along the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 20.6 x 25.2cm; (image borderline) 19.8 x 25cm.

Inscribed in plate along the lower edge: (left) “Martinus van heemskerck/ inuentor/ Theodorus Galle excudeba”; (centre) “Daniel Regi suo Cijro declara se simulachra manufacta non coler” (Daniel declared to his king Cyrus that he would not worship man-made images); (right) “^.1^.”.

New Hollstein 93 (Manfred Sellink & Marjolein Leesberg [comp.] 2001, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Philips Galle”, Rotterdam, Sound and Vision, cat. no. 93).

The Rijksmuseum offers the following description of this print: (transl.) “King Cyrus accuses Daniel of not honouring the god Bel. He asks his priests to prove that Bel does indeed eat the food that is laid out for him every night. In front of the throne, two jesters are playing on the ground. On the right are the priests, on the left is Daniel, who points to the temple of Bel.” (https://id.rijksmuseum.nl/200384738).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_D-5-85 (inv. D,5.85).

Condition: a strong and well-printed (near faultless) impression trimmed along the platemark and laid upon a support of archival (millennium quality) washi paper providing wide margins. The sheet is in a near pristine condition for its considerable age with no tears, holes, folds, abrasions or stains.

Note that an earlier backing sheet supporting this impression (since replaced) had the collector’s stamp of the Veste Coburg (Castle of Coburg) collection.
Based on information about this stamp offered by the British Museum (see https://www.britishmuseum.org/collection/term/BIOG180134), I understand that this particular print was sold at the C G Boerner's auction of 10 May 1929.

I am selling this marvellously strong impression for the total cost of AU $343 (currently US $213.11/ EUR 204.78/ GBP 169.77 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 $343) as this is my currency.

If you are interested in purchasing this remarkably fine engraving, 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

Hieronymus Cock, “Flight into Egypt”, c.1555

Hieronymus Cock (aka Jérome Cock) (c.1517/18–1570)

“Flight into Egypt”, c.1555 (c.1551–before 1558 [Rijksmuseum]), intermediary design by Hieronymus Cock’s elder brother, Matthijs Cock (aka Matthys Cock; Matthys Cock; Matthias Cock; Matthijs Wellens de Cock; Matthijs Kock) (c.1510/15–1548), from the series of twelve plates, “Landscapes with Biblical and Mythological Scenes”, published in 1558 by Hieronymous Cock.

Etching on laid paper trimmed around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 21.8 x 30.8cm.

Inscribed in plate: (lower left corner) “H COCK FE./ Deipara uirgo in Aegptum fugit”.

Hollstein 40 (F.W.H. Hollstein 1951, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Brun–Coques: text”, vol. 4, Amsterdam, Menno Hertzberger, p. 179, cat. no. 40); Riggs 11 (Timothy Allan Riggs 1977, “Hieronymus Cock: Printmaker and Publisher”, New York, Garland Publishing, pp. 273–279, cat. no. 11).

The Rijksmuseum offers the following description of this print: (transl.) “Landscape with a watermill by a river. On the left on the path Mary and Joseph fleeing into Egypt. Mary holds Christ in her arm and rides on a donkey. Joseph wears a hat and a stick and holds Mary's hand” (http://hdl.handle.net/10934/RM0001.COLLECT.96307).

See also an interesting essay regarding the series in which this print features (but not reproduced) in the exhibition catalogue from the Royal Library of Belgium: Joris van Grieken et al. 2013, “Hieronymus Cock: The Renaissance in Print", New Haven and London, pp. 344–47.

At the time that this etching was executed, artists leaned towards two different approaches to portraying the landscape.

The first approach—as employed here—is to portray a largely imagined landscape from a great height as if it were an exemplary extraction of the cosmos with allegorical and religious narratives being played out. This first approach is known by the German world, “Weltlandschaft”, or “World Landscape” (see https://en.wikipedia.org/wiki/World_landscape), initiated by Joachim Patinir (c1480–1524). Joris van Grieken et al. (2013) propose that this approach to landscape was “… to stimulate the imagination, sometimes at the expense of all visual plausibility” (p. 343).

The second approach, which also plays a role in this etching, but to a lesser extent, is driven by the idea of a “Lady Landscape”—a not so politically correct mindset in which the landscape’s natural forces are perceived as femininely evil with a façade of beauty (see Udo Becker 2000, “The Continuum Encyclopedia of Symbols”, Continuum, p. 169). Artists who approach the landscape with this mindset tend to employ focal points in the landscape where the veil of external appearance is stripped bare, such as the underground watercourse leading to the watermill inviting a viewer to contemplate the subterranean depths of a landscape where natural forces interact with everyday activities.

Condition: a strong lifetime impression (based on the quality of line showing no sign of wear to the printing plate and even the lightly scratched guides to lettering before etching are still clear). Beyond a clipper upper corner, the sheet is in an excellent condition for its considerable age with no tears, folds or significant stains. The sheet has been laid onto a support of archival (millennium quality) washi paper.

I am selling this exceptionally rare lifetime impression of a magnificent etching by one of the most important 16th century printmakers, for the total cost of AU$672 (currently US$448.63/EUR413.41/GBP345.57 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$672) as this is my currency.

If you are interested in purchasing this important Renaissance period etching from the start of the Western landscape tradition, 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