Workshop of Hendrik Goltzius, “Jupiter and the Other Gods Asking Helios to Resume Control of the Chariot”, 1590

Workshop of Hendrik Goltzius (aka Hendrick Goltzius) (1558–1617) and following Goltzius’ design and executed under Goltzius’ direction. Notably, among the distinguished pupils in Goltzius’ workshop were Jacob Matham, Jan Saenredam, Jan Muller, Jacob de Gheyn II, and Pieter de Jode.

“Jupiter and the Other Gods Asking Helios to Resume Control of the Chariot” (TIB title), 1590

Technical Details & Condition:

Engraving on fine laid paper with a small margin around the platemark and backed with a support sheet providing wide margins. It is a rare lifetime impression of plate 5 (numbered on the lower left) from the first state (of two), prior to the addition of the number “25” on the lower right. This print belongs to the series of fifty-two plates (of an originally planned 300), titled “Metamorphoses from Ovid”, first published in Haarlem in 1589 by Hendrik Goltzius and Claes Jansz. Visscher (1587–1652), and later by Hendrik Bosch (fl. 1717–1729) in Amsterdam within “Metamorphoses Book II”. This plate is inscribed in the plate with Latin verses by Franco Estius (fl. 1580s–1594) beneath the borderline.

The impression is strong, crisply detailed with no sign of wear to the printing plate. The sheet shows age-toning with small fractures, tears and abraded areas in the margin, though the image area remains nearly flawless free of holes, folds or significant stains.

Dimensions:

• Sheet: 19.4 x 26.7 cm
• Platemark: 18 x 25.8 cm
• Image borderline: 16.6 x 25.3 cm

Plate lettering below the image borderline

• Left: “5”
• Centre (in two columns of two lines): “Ut Phäethonteos compescuit ignibus ignes/ Tela trisulca vibrans Rex[que] Pater[que] Deûm.// Blanda minis miscens Phebum Titana cöegit/ Ut Solis solitum currus iniret iter.” (Translation: “How Phaethon subdued the fires with his fiery spear, the King and Father of the gods, mixing flattering threats, the Titan compelled Phoebus to take the usual course of the Sun's chariot.”)

References:

• TIB 0302.055 (Walter L. Strauss [ed.] The Illustrated Bartsch: Netherlandish Artists: Hendrik Goltzius”, “vol. 3 [Commentary], 1980, New York, Abaris Books, p. 356, cat. no. [0302].055)
• Hollstein 532 (F.W.H. Holstein, “Dutch and Flemish Etchings Engravings and Woodcuts c. 1450–1700: GOLTZIUS–HEEMSKERCK”, vol. 13, 1953, Amsterdam, Menno Hertzberger, p. 138, cat. nos. 508–559)

• The British Museum: https://www.britishmuseum.org/collection/object/P_1947-0412-3-25
• The Rijksmuseum describes this print: “After Phaeton's death, the sun god wraps himself in mourning and deprives the earth of daylight. The gods, including Jupiter, request him to return to riding across the sky in his chariot. Below the image are two sets of two lines of Latin text. This print is part of a series of 52 prints depicting stories from Ovid's Metamorphoses. This series is divided into three numbered series: two of 20 prints and one of 12 prints. This print belongs to the second series.” (https://id.rijksmuseum.nl/200428507)

Price & Shipping:

AU$366 (approximately US$245.31 / €211.23 / £183.34), including worldwide express shipping. Please note that import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this superb engraving depicting the gods—Jupiter (Zeus) in the centre holding his trident with his eagle beside him, Hercules in the foreground at left wearing his lion skin and resting his club, and Helios (Phoebus Apollo) standing on a cloud at right requested to resume his chariot ride to bring daylight to the world—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 

Nicolas Dorigny, “Hercules”, 1704

Nicolas Dorigny (aka Nicholas Dorigny) (1658–1746)

“Hercules” (aka “Ercole”; “La Medesima Statua dell'Ercole in Altra Veduta. Nel Palazzo Farnese” [The same statue of Hercules from another view. In the Farnese Palace]), 1704, plate L (50) from the series, “Raccolta di Statue Antiche e Moderne” (aka “Raccolta di statue antiche e moderne: data in luce sotto i gloriosi auspici della Santita di N.S. Papa Clemente XI” [Collection of ancient and modern statues: brought to light under the glorious auspices of the Holiness of Our Lord Pope Clement XI]), published and printed in Rome in 1704 by Domenico de’ Rossi (aka Domenico Freddiani; Dominicus de Rubeis) (1647–1729).

Archive.org offer an online view of this print and its context in the publication: https://archive.org/details/gri_33125012605057/page/n219/mode/2up. Note that another view of the same sculpture is shown as plate XLIX: https://archive.org/details/gri_33125012605057/page/n218/mode/1up.

The following extract from the description offered in the publication is interesting as I was not aware of the significance of the draped form that Hercules leans upon: (transl.) “He [Hercules] is naked in the act of pouncing after his labours with a full club, and it is the work of Glycon the Athenian, as can be clearly seen from the ancient Greek reference to him struck in the phallus, against which he rests the club.” (https://archive.org/details/gri_33125012605057/page/n45/mode/1up).

Engraving and etching on heavy laid paper with full margins as published.

Size: (sheet) 46.8 x 34.7 cm; (plate) 34.3 x 21.6 cm; (image) 31.9 x 20.5 cm

Lettered in plate within the image borderline: (upper right corner) “L.”; (lower right) “Nic.Dorigny delin. et Sculp”.

Lettered in plate below the image borderline: (left) “In Roma nella Stamp^a. di Dom^co. de Rossi alla Pace, con Priuil^o.”; (centre) “LA MEDESIMA STATVA DELL'ERCOLE IN ALTRA VEDVTA./ Nel Palazzo Farnese”.

IFF 56–88 (Roger-Armand Weigert 1954, “Inventaire du Fonds Français: Graveurs du XVIIe Sièle: CHAUVEL–DUVIVIER”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 3, p. 499, cat. nos. 56–88 [see https://gallica.bnf.fr/ark:/12148/bpt6k5489228q/f510.double]).

Condition: a strong and well-printed (near faultless) impression in a near pristine condition for its large size and age, with no tears, holes, folds, abrasions or significant stains.

I am selling this large and rare etching of the famous Farnese Hercules from almost the same angle of view as engraved by Hendrick Goltzius (https://www.metmuseum.org/art/collection/search/343588), for a total cost of AU$302 (approx. US$196.67, EUR 167.27, or GBP 146.52). Global express shipping is included. Import duties, if any, are the buyer's responsibility.

If you are interested in purchasing this exceptionally beautiful translation of the famous marble sculpture into line, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print was sold

Jacob Matham, "Fortitude", 1593, after Goltzius

Jacob Matham (1571–1631)

"Fortitude" (aka “La Force”; “Kracht”), 1593, plate 6 from the series of seven engravings, “The Virtues and the Seven Deadly Sins” (aka “The Virtues [in niche]”), after artist’s teacher and stepfather, Hendrik Goltzius (aka Hendrick Goltzius) (1558–1617).

Engraving on laid paper with a thread margin around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 32.6 x 16.7 cm.

Numbered and lettered in plate: (within the image borderline at left) “6”; (within the image borderline at right) “[ligature monogram of Hendrik Goltzius] HG Inue.”; (below the image borderline in two lines of Latin verse) “Strennua in aduersis, et pro iustoq[ué], fideq[ué],/ Dura pati Fortis supero indefessa ferendo. F. E.” (Franco Estius [fl.1580s–1594]—the author of the Latin verse).

TIB 4.130 (164) (Walter L Strauss 1980, “The Illustrated Bartsch: Netherlandish Artists”, vol. 4, New York, Abaris Books, p. 119, cat. no. 130 [164]); New Hollstein (Dutch & Flemish) 45 (George Shepard Keyes [Comp.] 1980, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Jan Saenredam to Roelandt Savery”, vol. 23, Amsterdam, Van Gendt & Co, p. 38, cat. no. 45).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.150596.

The curator of the BM also gives the following information about the series:

“This is one from a series of seven numbered plates by Jacob Matham (New Hollstein 150-156) after Goltzius …. The set was first published by Goltzius in Haarlem; then by Claes Jansz Visscher in Amsterdam (before 1652); and finally, by Jochem Ottens. Seven preparatory drawings by Goltzius are in the Montreal Museum of Fine Arts, inv.nos.Dr.975.2-8 (Reznicek 89-95)” (https://www.britishmuseum.org/collection/object/P_1857-0613-510). 

Condition: a strong and well-printed impression with a thread margin around the image borderline and laid upon a support of archival (millennium quality) washi paper providing wide margins. Beyond a tear on the lower edge and a flattened fold on the left edge, the sheet is in a very good condition for its considerable age with no significant stains.

I am selling this very beautiful engraving showing one of the four Cardinal Virtues (viz. prudence, justice, fortitude and temperance), for the total cost of AU$390 (currently US$250.11/EUR229.17/GBP196.12 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$390) as this is my currency.

If you are interested in purchasing this finely executed engraving showing the personification of strength holding a column, 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

Jacob Matham’s engraving, "Charity", 1593, after Goltzius

Jacob Matham (1571–1631)

"Charity" (aka “La Charité”; “Liefde”; “Caritas”), 1593, plate 3 from the series of seven engravings, “The Virtues and the Seven Deadly Sins” (aka “The Virtues [in niche]”), after artist’s teacher and stepfather, Hendrik Goltzius (aka Hendrick Goltzius) (1558–1617).

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

Size: (sheet) 32.5 x 16.8 cm.

Numbered and lettered in plate: (within the image borderline at right) “3”; (within the image borderline at left) “[ligature monogram of Hendrik Goltzius] HG Inue.”; (below the image borderline in two lines of Latin verse) “Blanda Charis diuina Agape., celestis origo,/ Aethera cum terries nodo constringit aheno.// F. E.” (Franco Estius [fl.1580s–1594]—the author of the Latin verse).

TIB 4 (3).127 (164) (Walter L Strauss 1980, “The Illustrated Bartsch: Netherlandish Artists”, vol. 4, New York, Abaris Books, p. 116, cat. no. 127 [164]); New Hollstein (Dutch & Flemish) 147; Hollstein 265.

See also the descriptions of this print offer by the British Museum and the Rijksmuseum: https://www.britishmuseum.org/collection/object/P_1857-0613-505; http://hdl.handle.net/10934/RM0001.COLLECT.150593.

The curator of the BM also gives the following information about the series:

“This is one from a series of seven numbered plates by Jacob Matham (New Hollstein 150-156) after Goltzius …. The set was first published by Goltzius in Haarlem; then by Claes Jansz Visscher in Amsterdam (before 1652); and finally, by Jochem Ottens. Seven preparatory drawings by Goltzius are in the Montreal Museum of Fine Arts, inv.nos.Dr.975.2-8 (Reznicek 89-95)” (https://www.britishmuseum.org/collection/object/P_1857-0613-510). 

Condition: a well-printed impression, but slightly abraded/stained on the face of the figure, Charity. The sheet is trimmed with a narrow margin around the image borderline and is in a good condition for its considerable age with no tears, holes or folds.

I am selling this very beautiful engraving, for the total cost of AU$390 (currently US$258.57/EUR236.31/GBP201.08 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this finely executed engraving showing the personification of love holding two children in her arms—note also the pelican at upper right (a symbol of the atonement) suckling its chicks on her own blood and on the upper left Christ crucified (symbolising sacrifice and salvation)—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

Jacob Matham’s engraving, "Hope", 1593, after Goltzius

Jacob Matham (1571–1631)

"Hope" (aka “L’Espérence”; “Hoop”; “Spes”), 1593, plate 2 from the series of seven engravings, “The Virtues and the Seven Deadly Sins” (aka “The Virtues [in niche]”), after artist’s teacher and stepfather, Hendrik Goltzius (aka Hendrick Goltzius) (1558–1617).

Engraving on laid paper with a narrow margin around the image borderline and an ink inscription by an old hand in French verso.

Size: (sheet) 32.6 x 17 cm; (image borderline) 32.3 x 16.6 cm.

Numbered and lettered in plate: (within the image borderline at left) “2”; (within the image borderline at right) “[ligature monogram of Hendrik Goltzius] HG Inue.”; (below the image borderline in two lines of Latin verse) “Spes humiles luiquit, terras, ect nubile tranat,/ In [que] Deum rapitur, cęli[que] per atria sertur.// F. E.” (Franco Estius [fl.1580s–1594]—the author of the Latin verse).

Inscribed in ink verso by an old hand in French (with many possible errors in the reading): “

“L'esperence soutient les humbles,

eclaire leur esprit et dissipe tous

les tenebres qui se rependent sur

Lesprit les superbes.”

(Hope sustains the humble,

enlighten their minds and dispel all

the darkness that spreads over

The spirit is superb.)

TIB 4 (3).126 (164) (Walter L Strauss 1980, “The Illustrated Bartsch: Netherlandish Artists”, vol. 4, New York, Abaris Books, p. 115, cat. no. 126 [164]); New Hollstein (Dutch & Flemish) 146; Hollstein 264.

See also the descriptions of this print offer by the British Museum and the Rijksmuseum: https://www.britishmuseum.org/collection/object/P_1857-0613-504; http://hdl.handle.net/10934/RM0001.COLLECT.150592.

The curator of the BM also gives the following information about the series:

“This is one from a series of seven numbered plates by Jacob Matham (New Hollstein 150-156) after Goltzius …. The set was first published by Goltzius in Haarlem; then by Claes Jansz Visscher in Amsterdam (before 1652); and finally by Jochem Ottens. Seven preparatory drawings by Goltzius are in the Montreal Museum of Fine Arts, inv.nos.Dr.975.2-8 (Reznicek 89-95)” (https://www.britishmuseum.org/collection/object/P_1857-0613-510). 

Condition: a well-printed impression trimmed with a narrow margin around the image borderline. The verso has an ink inscription from a previous collector, otherwise the sheet is in a very good condition for its considerable age with no tears, holes or significant stains.

I am selling this marvellous impression of an important and very beautiful engraving, for the total cost of AU$390 (currently US$253.31/EUR235.07/GBP200.74 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this masterwork of engraving showing the female personification of hope holding the anchor of trust/faith sustaining hope (forgive me if my understanding of the symbolism is incorrect), 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