Albrecht Dürer, “The Virgin and Child with a Monkey”, c.1498

Albrecht Dürer (1471–1528)

“The Virgin and Child with a Monkey”, c.1498, a 19^th century impression from the original plate. Note that this is NOT an Armand Durand heliogravure.

Engraving with pale plate tone on buff wove paper.

Size: (sheet) 21.3 x 15.4 cm; (plate) 18.9 x 12.3 cm.

Inscribed in plate with the artist’s monogram at lower centre: “AD”.

Condition: a strong impression showing very little wear to the printing plate with small margins. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

State i (of i)

TIB 1001.042 (Walter L. Strauss [ed.] 1980, “The Illustrated Bartsch: Sixteenth Century German Artists: Albrecht Dürer”, vol. 10 [Commentary], New York, Abaris Books, pp.99–102, cat. no. [1001].042 [B.42(60)]); Meder 30 (Joseph Meder 1932, “Dürer-Katalog: Ein Handbuch über Albrecht Dürers Stiche, Radierungen, Holzschnitte, deren Zustände, Ausgaben und Wasserzeichen”, Vienna, cat. no. 30); Hollstein 30 (F.W.H Hollstein 1954–, “German Engravings, Etchings and Woodcuts, c1400–1700”, vol. VII, Amsterdam, M. Hertzberger, cat. no. 30); Schoch, Mende, and Scherbaum 20 (Rainer Schoch, Matthias Mende, Anna Scherbaum 2001–04, “Albrecht Dürer, Das druckgraphische Werk”, vol. 1, Munich, Prestel cat. no. 20).

The Cleveland Museum of Art offers the following insightful description of this print: “Like his earliest engraving of the subject, Dürer portrayed the Madonna and Child within an enclosed garden. In addition to the garden, which refers to Mary’s virginity, the artist included other elements that reference each figure’s religious significance. The bird held by the Christ Child represents the souls that will be saved by his sacrifice while the chained monkey, a symbol of lust and greed, is tamed under the Madonna’s influence, thus reinforcing her purity and virtue. Done only a few years later than his Holy Family with Butterfly, the difference in the sculptural modelling of the figures and the skilful handling of the background show Dürer’s quick development as an engraver as well as the impact of his first visit to Italy in 1495-96” (https://www.clevelandart.org/art/1964.29).

See also descriptions of this print offered by the Metropolitan Museum of Art; British Museum and Rijksmuseum: https://www.metmuseum.org/art/collection/search/391053; https://www.britishmuseum.org/collection/object/P_E-4-68; http://hdl.handle.net/10934/RM0001.COLLECT.33142.

I am selling this original impression of one of Albrecht Dürer’s most famous engravings—note that it is not a copy after Dürer or heliogravure, but rather a genuine impression taken from Dürer’s original plate in the nineteenth century—for the total cost of AU$3000 (approx. US$1951.52, EUR 1659.77, or GBP 1434.02), including express worldwide shipping.  Import duties, if applicable, are the buyer's responsibility.

If you are interested in purchasing this acknowledged masterwork of 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

Michel Wolgemut and/or Wilhelm Pleydenwurff or workshop of Wolgemut’s double-sided woodcut leaf, 1491

Michel Wolgemut (aka Michael Wohlgemuth) (1434–1519) and/or Wilhelm Pleydenwurff (c1458–1494) or from the workshop of Michel Wolgemut—mindful that Albrecht Dürer (aka Albrecht Duerer) (1471–1528) was an apprentice in Wolgemut’s workshop from 1486

“The Glory of the Twenty-One Elders” (aka “Die einvndsibentzigist figure” [The one and seventh figure] [published title; see https://digital.blb-karlsruhe.de/blbihd/content/pageview/5952634]) and “Christ Washing the Disciples’ Feet” (aka “Die sechsvndviertzigist figur zum andern mal” [the forty-sixth figure for another time] [published title; see https://digital.blb-karlsruhe.de/blbihd/content/pageview/5952635], 1491, a double-sided leaf of woodcuts from a series of ninety-one woodcuts by Michael Wolgemut, Wilhelm Pleydenwurff and other unidentified artists as illustrations to Stephan Fridolin’s (1430–1498) “Schatzbehalter, oder Schrein der waren Reichtümer des Heils unnd ewyger Seligkeit” (Treasure chest of the true riches of the saints and eternal salvation), published and printed in Nuremberg by Anton Koberger (c1445–1513) in 1491.

See this double-sided woodcut leaf in its context in the publication offered by Archive.org: https://archive.org/details/dasbuchderschatz00frid/page/n277/mode/2up.  

Double-sided leaf of woodcuts on laid paper trimmed on, or slightly within, the image borderline.

Size: (sheet) 25 x 17.5 cm.

Paisey 8 (2002, Catalogue of German printed books to 1900); Dodgson I.237 and 241 (1903–11, Catalogue of Early German and Flemish Woodcuts in the BM, 2 vols).

See also the description of this book offered by the British Museum: (scroll at lower edge for these plates) https://www.britishmuseum.org/collection/object/P_1904-0206-1-1-96.  

Condition: strong and well-printed, lifetime impressions (based on the quality of line showing no sign of wear to the printing plate) trimmed on, or slightly within, the image borderline. I may be wrong but I believe that the lower borderline on the image of the twenty-one elders is a very dark blue—the handiwork of an earlier collector? —and there are traces of pencil, otherwise, the sheet is in an excellent condition for its considerable age with no tears, holes, folds, stains or foxing.

I am selling this double-sided leaf of two remarkably beautiful and large woodcuts published in 1491, for AU$373 in total (currently US$249.96/EUR229.29/GBP200.50 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 marvellous double-sided woodcut leaf, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This leaf of woodcuts has been sold

Marcantonio Raimondi’s engraving, “The High Priest Refuses Joachim's Sacrifice”, 1510–1515, after Albrecht Dürer’s woodcut

Marcantonio Raimondi (aka Marcantonio) (1470/82–1527/34)

“The High Priest Refuses Joachim's Sacrifice” (aka “Joachims offer wordt geweigerd”; “Le Prêtre Refusant le Présent de Saint Joachim”), 1510–1515, plate 1 from the series of seventeen prints with the Life of Mary as subject, “The Life of the Virgin”, after the woodcuts by Albrecht Dürer (aka Albrecht Duerer) (1471–1528) (see a view and description of Dürer’s woodcut offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.33300).

This print features in one of history’s pivotal points regarding copyright, as Dürer famously printed a stark warning in the colophon for the 1511 edition of his series of woodcuts, “The Life of the Virgin”: “Beware you envious thieves of the work of invention [Laboris et inguenii] of others, keep your thoughtless hands from these works of ours. We have received a privilege from the famous Emperor of Rome, Maximilian, that no one shall dare to print these works in spurious forms, not sell such prints within the boundaries of the Empire …” (see Lisa Pon 2004, “Raphael, Dürer, and Marcantonio Raimondi: Copying and the Italian Renaissance Print”, New Haven, Yale University press, p.39). Although Dürer was rightly enraged by the copying of his prints, this print was engraved and published before the colophon warning was circulated.

Engraving on laid paper trimmed around the image borderline with a narrow margin.

Size: (sheet) 29.3 x 21.4 cm; (image borderline) 29 x 21.1 cm.

Lettered in plate in the style of Albrecht Dürer’s monogram on tablet at lower centre: “AD”; numbered in plate (lower centre) “I”.

Lifetime impression (based on the line quality showing no sign of wear to the printing plate).

TIB 27. 621 (Konrad Oberhuber [ed.] 1978, “The Illustrated Bartsch: The Works of Marcantonio Raimondi and of his School”, Part 2, vol. 27, New York, Abaris Books, p. 307, cat. no. 621 [406]); Bartsch 406; Delaborde 235.

The Metropolitan Museum of Art, The Rijksmuseum and The Fine Art Museums of San Franscisco offer descriptions of this print: https://www.metmuseum.org/art/collection/search/342705; http://hdl.handle.net/10934/RM0001.COLLECT.34809; https://art.famsf.org/marcantonio-raimondi/high-priest-refuses-joachims-sacrificepl-1-series-life-virgin-after-woodcuts.

Condition: a strong, near faultless, impression, trimmed with a narrow margin around the image borderline. There is a small tear at upper left and there is a curious spread of glue verso, otherwise the sheet is in a remarkably good condition for its size and age with no holes, folds, significant stains or foxing.

I am selling this rare masterwork of engraving for the total cost of AU$448 (currently US$290.33/EUR288.38/GBP250.29 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 exceptionally fine engraving that is also an historical marking point in the change of copyright restrictions in 1511, 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

Lambrecht Hopfer’s etching, “The Crucifixion”, c1530, after Dürer

Lambrecht Hopfer (aka Lambert Hopfer) (fl.c1525–1550)

“The Crucifixion” (TIB title) (aka “Jésus Christ attaché à la Croix”), c1530, from the series of fifteen plates, “Passion of Christ”, after Albrecht Dürer’s (aka Albrecht Duerer) (1471–1528) engraving in the same direction executed in 1507, with Hopfer’s monogram and with the Funck number, 182, inscribed by the publisher, David Funck (fl.1682–1709), at the lower centre.

Etching from an iron plate with pale plate tone on laid paper with watermark and small margins.

Size: (sheet) 18.2 x 13 cm; (plate) 13.8 x 9 cm.

Inscribed in plate with the artist’s monogram on tablet at lower right and the Funck number, “182”, at lower centre.

State ii (of ii) with the addition of the Funck number.

TIB 17(8).12(527) (Walter L Strauss & Robert A Koch [Eds.] 1981, “The Illustrated Bartsch”, vol. 17, p. 283, cat. no. 12 [527]); Hollstein 12.II (Hollstein, F W H, “German engravings, etchings and woodcuts c.1400-1700”, Amsterdam, 1954); Bartsch VIII.527.12 (Bartsch, Adam, “Le Peintre graveur”, 21 vols, Vienna, 1803).

The British Museum offers the following description of this print: “The Crucifixion; after Dürer (Meder 13); Christ on the cross at centre; the Virgin at left, two Maries behind her; St John standing at left, a soldier behind him; from a series of fifteen etchings after Dürer's Small Passion. Etching” (https://www.britishmuseum.org/collection/object/P_1845-0809-1514).

Condition: a strong and well-printed impression with small margins (approx. 2 cm) in superb (museum quality) condition with no tears, holes, folds, abrasions, significant stains (there is a pale mark on upper margin), foxing or signs of handling.

I am selling this remarkably strong image from the son of the acclaimed first printmaker to create an etching (Daniel Hopfer), for a total cost of AU$498 (currently US$335.17/EUR334.30/GBP283.47 at the time of this listing) including postage and handling to anywhere in the world.

If you wish to purchase this rare print in superb condition from the Renaissance era, 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 

Aegidius Sadeler II’s engraving, “Virgin and Child”, c1597 after Albrecht Dürer

Aegidius Sadeler II (aka Ægedius Sadeler; Egidius Sadeler; Gillis Sadeler; Gillis Sadler) (1568–1629)

“Virgin and Child” (aka “The Virgin and Child in a Landscape”), c1597, after Albrecht Dürer’s (1471–1528) watercolour, “Madonna with a Multitude of Animals”, c1503, in the Graphische Sammlung Albertina, Vienna (inv. 3066).

Etching and engraving on laid paper trimmed close to the image borderline with partial loss of the writing edge, backed with a support sheet.

Size: (sheet) 33.3 x 24.4 cm; (image borderline) 32.4 x 24.1 cm.

Inscribed in plate within the image borderline: (lower left) “cum priuil S.C. M.^tis”.

Lettered in plate below the image borderline: (centre) “ALVERTVS DVRER ALMANVS INVENTOR”.

State ii (of iv [TIB]) with the addition of lettering but before the reworking of the plate of state iii.

TIB 7201.075 S2 (Isabelle de Ramaix 1997, “The Illustrated Bartsch: Ægedius Sadeler II”, vol. 72, Part 1 [Supplement], New York, Abaris Books, p. 121, cat. no. [7201].075 S2); Holstein Dutch 72-ii (Dieuwke de Hoop Scheffer [comp.] 1980, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450-1700: Aegidius Sadeler to Raphael Sadeler II : text”, vol., 21, Amsterdam, Van Gendt & Co, p. 23, cat. no. 72 ii); Wurzbach (vol. 4) 16; LeBlanc 35; Nagler 92

The British Museum offers the following description of this print: “Landscape with the Virgin and child seated at centre, several animals in foreground (e.g. dog, beetle, slug, butterfly, dragonfly, fox on a leash, frog, owl in tree trunk, spider crab), an angel addressing a group of shepherds in background at right, a bay with a city in background at left; second state with engraved privilege; after Albrecht Dürer” (https://www.britishmuseum.org/collection/object/P_1845-0809-621).

See also the descriptions of this print offered by the Metropolitan Museum of Art; the National Gallery of Art; the Rijksmuseum: https://www.metmuseum.org/art/collection/search/396823; https://www.nga.gov/collection/art-object-page.156072.html; http://hdl.handle.net/10934/RM0001.COLLECT.167835.

Condition: a strong impression (possibly a lifetime/early impression based on the quality of the line showing no sign of wear to the printing plate), trimmed close to the image borderline with partial loss of the lower line of text in the writing edge. There are restored tears and a replenished loss of the lower left corner. Beyond these issues, there are no significant stains or foxing and the sheet has been laid onto a support of archival (millennium quality) washi paper.

I am selling this large and important masterwork of engraving by one of the major Flemish old master printmakers for AU$652 in total (currently US$464.10/EUR441.64/GBP370.93 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 magnificent 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