Gaspare Osello’s engraving, “The Annunciation with Prophets”, 1576, after Cornelis Cort and Federico Zuccaro

Gaspare Osello (c.1530–after 1590)

“The Annunciation with Prophets”, 1576, engraving in the same direction after Cornelis Cort’s (1533–1578) engraving (1571) and after the design by Federico Zuccaro (aka Federico Zuccari; Federigo Zuccaro; Federico Zucchero) (c.1542–1609), published by Nicolò Nelli in Venice (fl.1552–1579) in 1576.

Arguably Federico Zuccaro’s design was originally made for a fresco (sadly destroyed in the 1600s) in the church of Santa Maria Annunziata in Rome. There is also an interesting proposal that the design was created specifically for Cornelis Cort’s engraving for which there is a large pen and ink drawing by Federico Zuccaro in the Louvre (Louvre, inv. no.v4539)—an explanation of the two possibilities are offered in the description of Cornelis Cort’s engraving (see https://www.britishmuseum.org/collection/object/P_1917-1208-675-1-2),

Note that other printmakers also made engravings after Cornelis Cort’s engraving which in turn is after Federico Zuccaro’s design; see Girolamo Olgiati’s (fl.1567–1574) engraving (1572) (https://www.britishmuseum.org/collection/object/P_V-8-190) and Raphael Sadeler I’s (1560/61–1628/32) engraving (1580) (https://www.britishmuseum.org/collection/object/P_2002-0127-36).

Engraving on laid paper trimmed unevenly around the platemark with a small margin and backed with a support sheet.

Size: (sheet trimmed unevenly) 32.1 x 49.8 cm; (plate) 30.5 x 48.1 cm; (outer image borderline) 30.4 x 47.8 cm.

Inscribed in plate with fecit note: (right of centre on lower edge) “Gaspar ab Auibus/ Patavinus Fecit.” Note that there are ten other tablets with Latin text.

Lettered in plate in Latin: (along the writing edge at centre) “Opus quod in æde Virginis Deiparæ Annunciaæ Collegii Romani societatis IESV Federicus Zuccarus S. Angeli in Vado ad Ripas Mitauri perfecit æneis tabellis expressum/ Venetiis Nicolaus Nellius ad Archam Noè excud. 1576”.

Condition: a well-printed but slightly grey impression with small margins around the platemark. The sheet has numerous pale stains and is laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this large and rare engraving showing prophets on either side of the annunciation scene, portrayed at lower centre, with God and the descending holy spirit (the dove) represented above this scene surrounded by a host of angels playing music and framed by Adam and Eve resting in the upper corners of the composition, for AU$484 (currently US$323.51/EUR292.71/GBP257.67 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 grand portrayal of the annunciation and heaven—and an interesting representation of blazing light and sound in a static visual image from the late1500s—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles David’s engraving, “Hercules defeats Geryon”, c1623, after Cornelis Cort and Frans Floris

Charles David (aka Charles Dauit; Charles Davit) (c1595–1631/38)

“Hercules defeats Geryon” (aka “Hercules verslaat Geryon”; “Hercule assomme le sanglier d’Arcadie et attaque Géryon”), c1623 (1613/15–1631/38), plate 8 from the series of 10 plates, “The Labours of Hercules” (aka “Werken van Hercules naar Frans Floris”), published in Paris by Pierre Mariette I (c1603–1657), after an engraving in reverse (1620?) by Cornelis Cort (1533–1578) (New Hollstein 172-181) following the design of a now lost painting (1554-55) conceived for the villa of the merchant and art collector, Nicolaas Jongelinck, in Markgravele (outside Antwerp) by Frans Floris (aka Frans Floris de Vriendt; Frans Floris van Vriendt) (1519/20–1570) (see BM’s Curator’s comment for inv. no. F,1.277).

Engraving on laid paper, an early (possibly a lifetime) impression based on the quality of line showing no sign of wear to the printing plate.

Size: (sheet) 24.2 x 33.7 cm; (plate) 22.7 x 28.5 cm; (image borderline) 21.4 x 28.4 cm.

Inscribed in plate within the image borderline: (middle left) “P. Mariette exc.”; (lower left corner) “Franciscus floris/ inuentor/ C David, Sculp,”; (lower right corner) “8”.

Lettered in plate below the image borderline: “STERNITVR ARCAS APER PROCVL ARMENTOQ[UE] OPVLENTO CEDITVB ABDVCTO GERYON ORE TRIPLEX./ Hercule assomme le sanglier d'Arcadie et deffait le cruel Geryon a trois teste”.

State ii (of ii?) with the erasure of details of Charles David as publisher and the addition of the details of Pierrre Mariette I.

IFF 55 (“Inventaire du fonds français: graveurs du XVIIe siècle”, Paris, Bibliothèque nationale de France, vol. 3, p. 331, cat. no. 55).

The British Museum offers the following description of this print: “Hercules attacking three-headed monster Geryon, another man, seen from behind, also with a club (Hercules?), seen to right; another figure, bearded and holding a jar in the air, seen on profile, to right; a two-headed dog, half asleep, at Hercules' feet; beyond, Hercules raises his club at a charging boar; behind, a city landscape with a castle” (https://www.britishmuseum.org/collection/object/P_1948-0410-4-68).

The Rijksmuseum offers the following description of this print: (transl.) “Hercules kills Geryon, the monster with three heads and three bodies, after having slain the herdsman Eurytion, and Orthrus, the two-headed watch-dog” (http://hdl.handle.net/10934/RM0001.COLLECT.102583).

Condition: a strong and near faultless impression in an excellent/near pristine condition for its considerable age with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this event-packed engraving showing Hercules in (arguably) three different positions as he slays the three-headed Geryon and Geryon’s two-headed dog, Orthrus, for the total cost of AU$367 (currently US$252.60/EUR236.13/GBP209.73 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 simply fabulous engraving with its startlingly creative composition—mindful that the original designer of the image, Frans Floris, was famous (as the British Museum advises) “for his heroic feats of drinking” (see https://www.britishmuseum.org/collection/term/BIOG27426)—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 

Engraving after Cornelis Cort & Bernardino Passeri, “Rest on the Flight into Egypt”, c.1588

Unidentified Flemish engraver from the circle of Jan Sadeler I (1550–1600) and Thomas de Leu (c.1555–c.1612)

Compare the print by an unidentified engraver (published by Jan Sadeler I) held by the British Museum (https://www.britishmuseum.org/collection/object/P_1866-0407-836) with the print by Thomas de Leu held by the Rijksmuseum (http://hdl.handle.net/10934/RM0001.COLLECT.139694). Note that the earlier state of the print by Thomas de Leu is dated 1580.

“Rest on the Flight into Egypt” (aka “Le Repos en Egypte”), c.1588 (BM: 1576–1600), copy in reversed and reduced in size after Cornelis Cort’s (1533-1578) engraving (1576) (see https://www.britishmuseum.org/collection/object/P_Nn-7-28-1), after Bernardino Passeri’s (c.1540–c.1590) composition, possibly published by Jan Sadeler I (aka Johannes Sadeler; Johann Sadeler) in Antwerp.

Engraving on fine laid paper trimmed along the image borderline with loss of any lettered text below the borderline and backed with a support sheet.

Size: (sheet/image borderline) 16 x 13.1 cm.

Inscribed on plate on lower edge: “BERNARDINVS / PASSARVS / INVEN.”

Condition: well-printed and strong impression trimmed around the image borderline with loss of the text lines below the borderline. There are replenished losses (restorations) otherwise the sheet is in excellent condition and is laid onto a support sheet of millennium quality washi paper.

I am selling this superb engraving from the late 1500s for AU$323 (currently US$221.69/EUR197.57/GBP179.68 at the time of posting this print) 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 masterwork of engraving, sparkling with light and exemplifying the engraver’s skill in rendering portrayed subjects with great clarity—note the modelling of the apple held by Joseph and the braying donkey in the distance—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Cornelis Cort’s engraving, “Rhetorica”, 1565, after Frans Floris

Cornelis Cort (1533–1578)

“Rhetorica”, 1565, plate 4 from the series of seven engravings, “The Seven Liberal Arts”, after Frans Floris I (aka Frans Floris van Vriendt; Frans Floris de Vriendt) (1519/1520–1570) published by Hieronymus Cock (aka Jérome Cock) (c.1510–1570) in Antwerp.

Engraving on laid paper trimmed unevenly around the platemark and backed by a support sheet.

Size: (sheet) 22.7 x 28.3 cm; (image borderline) 21.4 x 28.3 cm.

Inscribed on plate within the image borderline: (monogram at upper right) “FF”; (numbered at lower right) “4”; (titled books at lower left) “CICERO”; HORTENSIVS, “AESCHINES”; “ISOCRATES”; “DEMOSTHENES”; “QVINTILIANVS”; (titled on banderole at lower centre) “RHETORICA”.  

Lettered on plate below the image borderline in two lines of Latin: (centre) "RHETORICÆ GRATOS SERMONI ASTVTA CÓLORES,/ QVO DVLCIVS FLVAT IS AD AVREIS, ADYCIT." (Artfully she adds the pleasing tones of eloquence to the spoken word, that it may flow more sweetly to the ears.)

State i (of ii) lifetime impression

TIB 52.227–1 (209) (Walter L Strauss & Tomoko Shimura [eds.] 1986, “The Illustrated Bartsch: Netherlandish Artists: Cornelis Cort”, vol. 52, Supplement, p. 260, cat. 227–1 [209]); New Hollstein (Dutch & Flemish) 200 (Cornelis Cort) (Manfred Sellink [comp.] 2000, “The New Hollstein : Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Cornelis Cort”, vol. 3, Part 2, Rotterdam, Rijksprentenkabinet Sound and Vision Publ., p. 95, cat. no. 200); Van de Velde 1975 120 (Carl van de Velde 1975, “Frans Floris [1519/20–1570], Leven en Werken”, 2 vols, Brussels, p. 426–28); New Hollstein (Dutch & Flemish) 133.I (Frans Floris); Bierens de Haan 1948 227 (J.C.J. Bierens de Haan 1948, “L'oeuvre gravé de Cornelis Cort, graveur hollandais 1533–1578”, The Hague); Riggs 1977 81 (Timothy Riggs 1977, “Hieronymus Cock, Printmaker and Publisher”, New York, Garland Press).

The British Museum offers the following description of this print:

“Rhetoric, a seated woman, holding a caduceus, leans over and engages with a seated man writing on a tablet; an elderly man with a long beard places his hands on the shoulder of the younger scholar; two birds, including a parrot, sit on a pile of books labelled ‘CICERO’ etc on the ground; after Floris”

(https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1521722&partId=1&searchText=Cornelis+Cort+Rhetorica&page=1).

See also the description offered by the Rijksmuseum for this print:

(transl.) “Rhetorica sits on a chair and listens to the speech of a young man sitting behind her. An older man looks over the shoulder of the young man to his concept. Through the window you can see the square in front of the building where a grandstand is being built. Rhetorica holds a caduceus in her hand”

(http://hdl.handle.net/10934/RM0001.collect.99114).

For those wondering about the significance of the subject of this print—the personification of Rhetoric—the ability to speak and write well was perceived as a key component of education during the Renaissance period. There was something of an order of priority, however, in the percieved key components underpinning a solid education at that time. The first and third plates, in the series, “Grammatica” and “Dialetica” along with “Rhetorica”, were embraced as the “trivum” of pedagogical constructs, while the remaining plates (“Arithmetica”, “Musica”, “Geometria” and “Astrologia”) were seen the “quadrivium.” (Note: this explanation may be flawed with overly simplistic categorisations and I may have profoundly misunderstood the logic behind medieval and Renaissance learning as discussed by the art historian, Jeffrey Chipps Smith.)

Condition: strong (lifetime) impression timmed unevenly around the platemark and laid onto a support sheet of archival (millennium quality) washi paper. Beyond an area of abrasion under caduceus, the sheet is in excellent condition (i.e. there are no tears, holes, losses, significant stains or foxing). Note that this impression has the curiously wonderful warm undertone to the black ink that I suspect is the result of the addition of red lead to the composition of the ink (see Manfred Sellink 1994, “Cornelis Cort”, Rotterdam, Museum Boymans-van Beuningen, p. 133, cat. no. 45).

I am selling this important engraving from the Renaissance era with a personification of one of the key elements of education of that time, Rhetoric, for AU$448 in total (currently US$295.41/EUR258.51/GBP225.92 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 superb print—a lifetime impression—executed only twenty four years after Michelangelo put down his brushes after working in the Sistine Chapel, 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 Drunkenness of Noah”, 1560, after Maarten van Heemskerck

Cornelis Cort (1533–1578)

“The Drunkenness of Noah” (aka “Dronkenschap van Noach”; “The Mocking of Noah’), 1560, plate 6 from the series of six engravings, “The Story of Noah” after Maarten van Heemskerck (aka Martin Heemskerk; Maarten van Veen) (1498–1574), originally published by Hieronymus Cock (aka Jérome Cock) (c1510–1570) in Antwerp, but this impression was published in 1646 by Claes Jansz. Visscher (II) (aka Piscator; Nicolaes Jansz Visscher) (1587–1652) in Amsterdam.

Regarding the series, “The Story of Noah”, the Curator of the British Museum advises that there “are related drawings in the Statens Museum for Kunst, Copenhagen” (BM No. 1949,0709.36).

Engraving on laid paper trimmed to the image borderline (with loss of text below the image borderline) and backed with a support sheet.

Size: (sheet) 19.6 x 24.6 cm

Inscribed on plate along lower edge: (left of centre) “Cor. Cort. fec.”; (right) "Martinus uan / Hemskerck / inuent. 6”

State iii (of iii) with the addition of fecit note to Cort (of state ii) and the repositioned number “6” on the lower right (of state iii).

Riggs 1977 117 (Timothy Allan Riggs, 1977, “Hieronymus Cock, 1510–1570: Printmaker and Publisher in Antwerp at the Sign of the Four Winds”, London, Yale Uni. Press, p. 339, cat. no. 117); Bierens de Haan 1948 9 (Johan Catharinus Justus Bierens de Haan 1948, “L'oeuvre gravé de Cornelis Cort graveur hollandais 1533–1578”, Leiden, Martinus Nijhoff, cat. no. 9); New Hollstein (Dutch & Flemish) 7.III (Maarten van Heemskerck) (Ilja Veldman [comp.] & Ger Luijten [ed.] 1993/4 “The new Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450–1700: Maarten van Heemskerck”, Roosendaal, Koninklijke Van Poll, cat. no. 7); New Hollstein (Dutch & Flemish) 8 (Cornelis Cort) (Manfred Sellink [comp.] & Huigen Leeflang [ed.] 2000, “The new Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450–1700: Cornelis Cort”, Part 1, Rotterdam, Rijksprentenkabinet Sound and Vision Publ., p. 19, cat. no. 8).

The Rijksmuseum offers the following description of this print:

(transl.) “Noah is lying drunk and half undressed in his tent. On the floor a wine jug and on the table next to him a wine cup. His son Ham points at him and mocks him. Shem and Japeth shield their father with a dress. At the back right, Noah can be seen how he works his vineyard, on a hill stands the ark.”

(http://hdl.handle.net/10934/RM0001.COLLECT.98842)

See also the description offered by the British Museum:

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1522305&partId=1&searchText=Cornelis+Cort+Heemskerck&page=1)

Condition: richly inked impression trimmed along the image borderline and laid upon a support sheet of fine archival/millennium quality washi paper. There are small areas of inconspicuous restoration (infilling of losses with watercolour) in the centre of the hanging drape at upper left and dots of restoration elsewhere, otherwise the sheet is in very good clean condition with no significant stains or foxing.

I am selling this visually arresting engraving layered with mini narratives—viz. drunken Noah exposing his genitals, embarrassed sons walking backwards with a cloak to cover his nakedness; a son admonishing his father; a bevy of concerned women spectators with one carrying a female weapon of control (the distaff); a “flashback” vignette showing Noah tending to his harvest with his ark in the distance—by one of the most famous of the 16^th century engravers, for AU$356 (currently US$250.02/EUR219.79/GBP196.86 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 masterwork of engraving—note how the artist is able to suggest the coarse weave of the curtains, the sheen of skin and texture of the fleece worn by the centre figure (Shem)—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