Dirck Volkertsz. Coornhert’s engraving, “King Francis Taken Prisoner at the Battle of Pavia”, 1555, after Maarten van Heemskerck

Dirck Volkertsz. Coornhert (aka Dirk Volkertsz Coornhert; Dirk Volkertsz Cuerenhert) (1522–1590)

Note: “The Illustrated Bartsch” (1991) catalogue raisonné for Coornhert lists this print as by the hand of Dirck Volkertsz. Coornhert (vol. 55 [Supplement], p. 243), but the Rijksmuseum is more tentative and advises that it is possibly by Coornhert or possibly by Cornelis Bos (c1506/10–1555).

“King Francis Taken Prisoner at the Battle of Pavia” (TIB title) (aka “Captured by Francis I during the Battle of Pavia, 1525” [Rijksmuseum title]), 1555, plate 2 from the series of twelve plates, “The Victories of Charles V (1555–56)” (aka “Divi Caroli. V. imp. opt. max. victoriae, ex multis praecipuae”), after the design by Maarten van Heemskerck (aka Martin Heemskerk; Maarten van Veen) (1498–1574), published by Hieronymus Cock (aka Jérome Cock) (c1517–1570) in Antwerp.

Engraving and etching trimmed around the image borderline (with loss of Latin text below the borderline) and backed with a support sheet.

Size: (sheet) 14.6 x 23.3 cm.

Inscribed on plate within the image borderline: (lower left) “II”; (lower right on shield rim) “MH [ligature letters] eemskerk Inuent.”

State ii or later (of iv) Note: Although this impression is not from the first state, because it has the plate number (“II”), the loss of the text lines below the image borderline make the attribution of the exact state problematic.

TIB 5501.070.2 (Ilja M Veldman [ed.] 1991, “The Illustrated Bartsch: Dirck Volkertsz. Coornhert”, vol. 55 [Supplement], New York, Abaris Books, p. 243, cat. no. [5501].070.2); Hollstein 217 (F W H. Hollstein 1951, “Dutch and Flemish Etchings, Engravings and Woodcuts c.1450–1700: Brun to Coques”, vol. 4, Amsterdam, Menno Hertzbergerp, p. 231, cat. no. 217).

The Rijksmuseum offers the following description of this print:

(Transl.) “The capture of Francis I, King of France, at the Battle of Pavia (1525). The king on horseback is surrounded by three knights, also on horseback. In the foreground is the body of a defeated knight. In the background tents and armies with the city of Pavia in the distance. The print is part of a twelve-part series about the victories of Charles V”

(http://hdl.handle.net/10934/RM0001.COLLECT.98309).

See also the description of this print by the British Museum: https://www.britishmuseum.org/collection/object/P_1868-0208-58.

Condition: a strong and well-printed impression showing very little wear to the plate but there are many small replenished losses and restored tears. The sheet is trimmed around the image borderline with loss of the lower margin and laid onto a support of archival (millennium quality) washi paper.

I am selling this extraordinary (but restored) Renaissance period battle scene for AU$302 (currently US$222.51/EUR186.78/GBP166.54 at the time of 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.

If you are interested in purchasing this remarkable engraving almost shimmering with action and the reflections of shiny armour, 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

Dirk Volkertsz Coornhert's etching, “The Meeting of Isaac and Rebecca”, 1549

(Attrib.) Dirk Volkertsz Coornhert (aka Dirk Volkertsz Cuerenhert) (1522–1590)

“The Meeting of Isaac and Rebecca” (TIB title) (aka “Isaak groet Rebekka” [Rijksmuseum title]), 1549, plate 6 from the series of six engravings, “The Story of Isaac's Search for a Wife” (aka “Isaaks zoektocht naar een vrouw”), after Maarten van Heemskerck (aka Maarten van Veen, Martin Heemskerk) (1498–1574), published in Haarlem.

Etching on fine laid paper trimmed slightly unevenly along the platemark with a narrow margin around the image borderline and backed with a support sheet

Size: (sheet) 25.7 x 20 cm; (image borderline) 25.2 x 19.5 cm.

Inscribed on plate: (tablet on lower right) “6 M [H]eemskerck 1549 13 E 6”.

State i (of i)

TIB 5501.004.6 (Ilja M Veldman 1991, “The Illustrated Bartsch: Dirck Volkertsz. Coornhert”, vol. 55 [Supplement], New York, Abaris Books, p. 21, cat. no. [5501].004.6); Hollstein Dutch 25 (FWH Hollstein 1951, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Brun–Coques”, vol. 4. Amsterdam, Menno Hertzberger, p. 227, cat. no. 25); New Hollstein Dutch 22 (Ilja Veldman [comp.] and Ger Luijten [ed.] 1993-94, “The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Maarten van Heemskerck”, vol. 2, Roosendaal, Koninklijke Van Poll, p. 32, cat. no. 22).

The Rijksmuseum offers the following description of this print:

(Transl.) “Back in Canaan, Eliezer and Rebekah are welcomed by Isaac. Rebekah greets Isaac with a kiss. The print is part of a series about Isaac's search for a wife.”

http://hdl.handle.net/10934/RM0001.COLLECT.485650 and

http://hdl.handle.net/10934/RM0001.collect.98108.

Condition: richly inked early (lifetime?) impression with restored tears (e.g. on the upper left edge and the upper right corner) and an abrasion to the lower right corner; otherwise the sheet is in excellent condition for its considerable age. The sheet is laid upon an archival support sheet of millennium quality washi paper.

I am selling this exceptionally rare and (for me) a graphically memorable image—note how the figure (Abraham’s eldest servant?) standing behind Isaac and Rebekah has his eye cast towards the viewer in a meaningful stare and the slightly comical faces of the distant donkey and camels … not forgetting the fascinating way in which Isaac seems to be about to kiss Rebekah while pulling her hand towards his crotch!—for AU$330 in total (currently US$222.73/EUR202.83/GBP180.84 at the time of 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 final plate in the series illustrating Isaac’s search for the perfect wife (Genesis 24)—viz, a lady who when asked for water from the well (shown in the foreground) will not only give Isaac a drink but will also water his animals—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

Cornelis Cort’s engraving, “The Triumph of Pride”, 1564, after Maerten van Heemskerck

Cornelis Cort (1533–1578)

“The Triumph of Pride”, 1564, plate three from the series of nine engravings featuring “triumphal wagons from the Antwerp Circumcision procession of 1561” (see Rijksmuseum description: RP-P-1963-170) after Maerten van Heemskerck (1498–1574) (New Hollstein 482-490), published by Joannes Galle (1600–1676) (published previously by Joannes’ father, Theodor Galle [1571–1633] and earlier by Hieronymus Cock [c1510–1570]). Note: the related drawings for this and the other prints in the series are in the Statens Museum for Kunst, Copenhagen (see BM No. 1868,0208.49 for the Curator of British Museum’s discussion about the series).

Engraving on laid paper with margins on the bottom and left sides, trimmed to the image borderline at the top and right sides, and backed with a support sheet.

Size: (sheet) 22.5 x 30.2 cm

Inscribed on plate within the image borderline: (lower left) "MHeemskerck inue. / Ioan. Galle exc"; (lower right) "3"; (near each allegorical figure personified from left) “Curiostas”; “Pertinacia”; “Lactantia”; Inobedientia”; “Contemptus”; “Inuidia[m?]; “Superbia”; "Derisio”.

Lettered on plate below the image borderline in two strapwork cartouches with three lines of text in each listing the allegorical figures: “SVPERBIA INVIDIAM  .../ …/ …//…/ …/ …DERISIO".

State iii (of iii) with publication details for “Ioan Galle” (aka Joannes Galle) and reversal/correction of the earlier mirror-image number, “3”.

Riggs 1977 146 (unidentified engraver) (Timothy Riggs 1977, “Hieronymus Cock, Printmaker and Publisher”, New York, Garland Press); New Hollstein (Dutch & Flemish) 149 (Cornelis Cort); New Hollstein (Dutch & Flemish) 484.III (Maarten van Heemskerck); Bierens de Haan 1948 (Coornhert) (J C J Bierens de Haan 1948, “L'oeuvre gravé de Cornelis Cort, graveur hollandais 1533-1578”, The Hague, pp. 213-14).

Note: this print was previously attributed to Dirk Volkertsz Coornhert (1522–1590) but this attribution is now rejected.

The British Museum offers the following description of this print;

“The triumph of Pride; 'Superbia', holding a mirror and peacock feather, sits atop a chariot driven by 'Contemptus', brandishing a whip; the chariot is accompanied by allegorical figures, including 'Derisio', holding two ears; after Heemskerck. 1564”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1526501&partId=1&people=121583&peoA=121583-2-23&page=2)

See also the Rijksmuseum’s description of this print:

(transl.) “The personification of Pride sits on a triumphal car driving through an ancient city. She can be recognized by the mirror and the peacock. The triumphal car is drawn by two horses and controlled by the personification of Contempt. Other vices walk with the car. Print from a series of nine prints with triumphal cars from the Antwerp Circumcision procession of 1561. The personifications on the wagons together depict the cycle of human action.”

(http://hdl.handle.net/10934/RM0001.COLLECT.479941)

Condition: crisp and well-printed impression with small margins around the platemark on the left and lower edge, trimmed along the image borderline on the right and upper edge. The sheet is in excellent condition in terms of being free of holes, creases, abrasions, significant stains, foxing or signs of handling, but there is a closed tear (approximately 1 cm) on the lower edge. The sheet has been laid upon a support sheet of archival (millennium quality) washi paper.

I am selling this allegory set against an townscape of Roman antiquity about the attendant miseries of pride personified in mythological figures—the grim figure of Envy (Invidia) shown sucking on a heart at the feet of Pride (Superbia) portrayed seated on the wagon pulled by the horses Curiosity (Curiostas) and Pertinacity (Pertinatia) that are being driven by whip wielding Contempt (Contempus) accompanied by Ostentatiousness (Jactantia), Insubordination (Inobedientia) and Derision (Derisio)—for AU$430 (currently US$302.99/EUR264.69/GBP238.56 at the time of 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 this remarkable Renaissance period engraving saturated with symbolism, 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