Harmen Jansz. Muller's engraving, “Man finds Salvation in the Church of Christ”, 1565

Harmen Jansz. Muller (1540–1617)

“Man finds Salvation in the Church of Christ” (De Mens vindt redding in de kerk van Christus), 1565, plate 4 from the series of five engravings (New Hollstein 445-448), “Christ as the Good Samaritan“, after Maarten van Heemskerck (1498–1574) with lettered verse by classical scholar and Latin poet, Hadrianus Junius (aka Adriaen de Jonghe) (1511–1575), published in Amsterdam.

Engraving on laid paper backed with a support sheet.

Size: (sheet) 23.2 x 28 cm; (plate) 20.3 x 25 cm; (image borderline) 19.2 x 24.8 cm

Inscribed on plate within the image borderline below St Peter’s right foot: “"MHeemskerck In"; entwined initials of the fecit note at the base of the second column on the left: "HML F".

Lettered on plate below the image borderline: “ILLE NOMISMA … ITER,”

State i (of i); early impression (based on the lines showing minimal signs of wear to the printing plate).

New Hollstein (Dutch & Flemish) 448 (Maarten van Heemskerck) (Ilja Veldman [comp.] 1993–94, “The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Maarten van Heemskerck”, Roosendaal, Koninklijke Van Poll, vol. 2, p. 134, cat. no. 448); New Hollstein (Dutch & Flemish) 66 (The Muller Dynasty [Harmen Jansz Muller]) (Ger Luijten et al. [eds.] 1999, “The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: The Muller Dynasty”, Rotterdam, Rijksprentenkabinet, Rijksmuseum Sound and Vision Publ., vol. 1, p. 148, cat. no. 66).

The Rijksmuseum offers the following description of this print:

(Transl.) “Man finds salvation in the church of Christ. He stands with folded hands next to Christ, who hands a Bible to Peter. Two church buildings in the background. At the bottom in the margin a verse in Latin. Variant to the parable of the Good Samaritan.”

http://hdl.handle.net/10934/RM0001.collect.157024

Note: the British Museum holds the first plate of the series, “Christ as the Good Samaritan“, but the museum does not have this engraving (see the BM curator’s comment for 1875,0710.424).

Condition: a crisp, well-printed early impression with margins (approx. 1.5 cm). The sheet is in excellent condition (i.e. there are no holes, folds, abrasions, significant stains or foxing) laid upon an archival support sheet of millennium quality washi paper.

I am selling this superb early engraving from 1565—the year that Pieter Bruegel the Elder painted “Hunters in the Snow” during what is now called Europe’s “Little Ice Age”—for the total cost of AU$305 (currently US$206.89/EUR186.43/GBP170.35 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 iconic 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‘s engraving, “The Sons of God, Satan amongst Them, Present Themselves before Him”, 1563, after Maarten van Heemskerck

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

“The Sons of God [the Angels], Satan amongst Them, Present Themselves before Him” (TIB title) (aka “The Sons of God and Satan before God”) 1563, from the series of eight plates (TIB 5601.018:1–8), "The Story of Job" (aka “Geschiedenis van Job”), after the design of the intermediary draughtsman, Maarten van Heemskerck (1498–1574), with Latin text by Hadrianus Junius (aka Adriaen de Jonghe) (1511–1575), published by Philips Galle in Haarlem.

Note: the Curator of the British Museum advises that a related drawing by Heemskerck for this print is held by the Centraal Museum, Utrecht (inv. 11260) (see BM no. 1949,0709.113).

Engraving fine laid paper trimmed with narrow margins around the image borderline on the top, sides and below the text box, backed with a support sheet.

Size: (sheet) 20.9 x 25.2 cm; (image borderline) 19.7 x 24.9 cm.

Inscribed on plate within the image borderline: (lower centre) “MHEEM. IN. 2.”; (on cloud below God) “PG. F.”

Lettered on plate below the image borderline in two columns of two lines of Latin text: "ALIGERO ... PECTORA DIRIS".

State: i (of ii)

TIB 5601.018:2 (Walter L Strauss & Arno Dolders [eds.] 1987, “The Illustrated Bartsch: Netherlandish Artists: Philips Galle”, vol. 56, Supplement, New York, Abaris Books, p. 74. cat. no. .018:2); New Hollstein Dutch 58-1(2) (Galle) (Manfred Sellink [comp. & ed.] 2001, “The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450–1700: Philips Galle”, Part 1, Rotterdam, Sound and Vision, p. 88, cat. no. 58); New Hollstein Dutch 162-1(2) (Heemskerck) (Ilja M Veldman 1993–94, “The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700: Maarten van Heemskerck”, Roosendaal, Koninklijke Van Poll, p. 140, cat. no. 162); Bartsch LVI.73-80.018:1-8.

The Rijksmuseum offers the following description of this print:

(transl.) “The heaven-dwellers and Satan make their appearance before God. God is holding a globe under his arm. God gives Satan permission to do what he wants with Job's property. Under the representation an explanatory text in Latin.”

(http://hdl.handle.net/10934/RM0001.COLLECT.543353).

See also the description offered by the Metropolitan Museum of Art

(https://www.metmuseum.org/art/collection/search/632507)

and the British Museum

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1531183&partId=1&searchText=Galle+satan&page=1).

Condition: crisp, well-printed impression, trimmed near the image borderline and retaining the text box at the lower edge. The sheet is in excellent condition and is laid onto a support of conservator’s fine archival/millennium quality washi paper.

I am selling this superb lifetime impression of this rare engraving, executed only 22 years after Michelangelo completed “The Last Judgement”, for the total cost of AU$272 (currently US$187.82/EUR167.82/GBP147.98 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 fascinating print illustrating the moment when God gives Satan permission to test Job's virtue (see Job 1:6–12), 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

For those interested in the portrayed scene the following New International Version (NIV) translation of the relevant passage from Job 1:6–12 may be useful:

“6 One day the angels came to present themselves before the Lord, and Satan also came with them.

7 The Lord said to Satan, ‘Where have you come from?’

Satan answered the Lord, ‘From roaming throughout the earth, going back and forth on it.’

8 Then the Lord said to Satan, ‘Have you considered my servant Job? There is no one on earth like him; he is blameless and upright, a man who fears God and shuns evil.’

9 ‘Does Job fear God for nothing?’ Satan replied.

10 ‘Have you not put a hedge around him and his household and everything he has? You have blessed the work of his hands, so that his flocks and herds are spread throughout the land.

11 But now stretch out your hand and strike everything he has, and he will surely curse you to your face.’

12 The Lord said to Satan, ‘Very well, then, everything he has is in your power, but on the man himself do not lay a finger.’

Then Satan went out from the presence of the Lord."

(https://www.biblegateway.com/passage/?search=Job+1%3A6-12&version=NIV) 

Philips Galle‘s engraving, “Salome Receives the Head of John the Baptist”, 1564

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

“Salome Receives the Head of John the Baptist”, 1564, plate 6 from the series of six plates, ”History of John the Baptist”, after Maarten van Heemskerck (1498–1574) with Latin text by Hadrianus Junius (aka Adriaen de Jonghe) (1511–1575), published by Philips Galle in Haarlem.

Engraving fine laid paper, backed with a support sheet.

Size: (sheet) 21.5 x 29.6 cm; (plate) 20 x 26.6 cm; (image borderline) 19.3 x 26.5 cm.

Inscribed on plate within the image borderline along the lower edge: (right of centre) “MHE. IN.”; (right of centre on rock) “.6.”; (right) “.1564.”

Lettered on plate below the image borderline: “NVNC FVNESTA EPVLIS ANIM[M] FERALIBVS EXPLE, INCREPITI INCESTVS REVS EN TIBI CONCIDIT ENSE.”

State: i (of ii)

TIB 5601.125:6 (Walter L Strauss & Arno Dolders [eds.] 1987, “The Illustrated Bartsch: Netherlandish Artists: Philips Galle”, vol. 56, Supplement, New York, Abaris Books, p. 108. cat. .025:6); New Hollstein Dutch 180-1(2) (Galle) (Manfred Sellink [comp. & ed.] 2001, “The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450–1700: Philips Galle”, Part 2, Rotterdam, Sound and Vision, p. 64, cat. 175–180); New Hollstein Dutch 312 (Heemskerck) (Ilja M Veldman 1993–94, “The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700: Maarten van Heemskerck”, Roosendaal, Koninklijke Van Poll, cat. 307–312); Hollstein VII.78.195; Hollstein VIII.244.295; Bartsch LVI.108.025.6.

The Rijksmuseum offers the following description of this print:

(transl.) “Salome receives the head of John the Baptist from the executioner who beheaded him. The head is on a scale. She brings the head to her mother. On the left the decapitated body of John the Baptist in prison. In the background you can see how the body is removed”

(http://hdl.handle.net/10934/RM0001.COLLECT.114698).

See also the description offered by the Metropolitan Museum of Art

(https://www.metmuseum.org/art/collection/search/629588)

Condition: richly inked and near faultless lifetime impression in excellent condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or signs of use). The sheet is trimmed near the plate mark at the upper edge and has larger margins on the sides and lower edge and is laid onto a support of conservator’s fine archival/millennium quality washi paper.

I am selling this superb lifetime impression of this rare engraving, executed only 23 years after Michelangelo completed “The Last Judgement”, for the total cost of AU$260 (currently US$180.53/EUR160.58/GBP139.47 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 fascinating print showing multiple events in a narrative timeline—viz. the beheaded body of John the Baptist at left, the disposal of his body in the far distance, the presentation of his head to Salome on a platter in the foreground and, ultimately, to Salome’s presentation of his head to her mother on the right—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's engraving, “Dangers and Vices Accompanying Wealth”, 1563,

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

“Dangers and Vices Accompanying Wealth”, 1563, plate four from the series of six engravings (New Hollstein 476-481) after Maerten van Heemskerck (1498–1574), “The Unhappy Lot of the Rich” with verses by Hadrianus Junius (1511–1575).

Engraving on laid paper, with wide margins and backed with a support sheet.

Size: (sheet) 28.1 x 30.9 cm; (plate) 17.2 x 23.3 cm; (image borderline) 15.9 x 22.8 cm

Inscribed on plate above the portrayed figures: (from left to right) “Periculum” (danger); “Pavor” (fear); “Latrocinium” (robbery); “Regina Pecunia” (Queen Money); “Stultitia” (foolishness); “Invidia” (envy).

Inscribed on plate below the portrayed figures: (right) “Pandemia” (the world); “Furtum” (thief).

Numbered on plate within the image borderline: (lower left corner) “4.”

Monogrammed on the plate within the image borderline: (lower left of centre) “MVH. In" (Maerten van Heemskerck Invent).

Lettered on plate below the image borderline in two lines of text in two columns: "TE BIIVGI INVECTAM .../ …//…/ … RECVMBIT."

State ii (of iii) with verses by Hadrianus Junius added below the image borderline.

TIB 1987 5601.073:4 (Arno Dolders & Walter Strauss [eds.] 1987, vol. 56, Supplement, p. 285); New Hollstein (Dutch & Flemish) 284 (Philips Galle); New Hollstein (Dutch & Flemish) 479.II (Maarten van Heemskerck).

The British Museum offers the following description of this print;

“Dangers and vices accompanying wealth; A queen ‘Regina Pecunia’ sits in a chariot drawn by ‘Periculum’ (Peril) and ‘Pavor’ (Fear); behind are further labelled figures including ‘Latrocinium’, stabbing a heart, ‘Stultitia’ (Foolishness), a jester, ‘Invidia’ (Envy), ‘Pandemia’ and ‘Furtum’, a thief; after Heemskerck.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1526481&partId=1&searchText=Galle+1563&page=1)

See also the Rijksmuseum’s description of this print:

http://hdl.handle.net/10934/RM0001.COLLECT.114877

Condition: crisp and well-printed impression with wide margins (as published?) in excellent/museum quality condition (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing). The sheet has been laid upon a support sheet of archival (millennium quality) washi paper.

I am selling this allegory about wealth built upon misery, where Queen Money (Regina Pecunia) is shown on a chariot pulled by Fear (Pavor) and Danger (Periculum), while the Queen rests her hand protectively on the head of Robbery (Latrocinium) while he symbolically stabs a heart with his knife, and, following his lead, behind the chariot Thief (Furtum) steals money from the cornucopia of the World (Pandemia) overseen by Foolishnes (Stultitia) and the grim figure of Envy (Invidia) sucking on a heart, for AU$400 (currently US$293.30/EUR256.72/GBP228.69 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 museum quality 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