Jan Sadeler I’s engraving, “The Transfiguration of Christ”, 1579, after Maerten de Vos

Jan Sadeler I (aka Johannes Sadeler; Johann Sadeler) (1550–1600)

“The Transfiguration of Christ” (La Transfiguration du Christ), 1579, after a drawing dated 1578 by Maerten de Vos (1532–1603) in the Steinmetz-kabinet, Bruges (inv. 0. 1777), plate 2 from the series of twelve engravings, “The Apostles' Creed”, published by Johannes Sadeler I with royal privilege. Isabelle de Ramaix (2001, TIB 70. Part 2) advises that “Copies of this series were published in a small format (130 x 184, plate), by Thomas de Leu”, p. 83). Note also that Nicolas Prévost (fl.1580–1600) executed a series of woodcuts (1590–1600) from the same designs initially published in Paris by Jean Leclerc III (c1525–1599) and later by Jean Leclerc IV (see https://www.britishmuseum.org/collection/object/P_E-9-232).

Engraving on laid paper trimmed along the platemark and backed with a support sheet.

Size: (sheet) 21 x 24.9 cm; (image borderline) 17 x 24.8 cm.

Lettered on plate above the image borderline: “ET RESPLENDVIT FACIES EIVS. SICVT SOL, VESTIMENTA AVTEM EIVS FACTA SVNT ALBA SICVT IX./ ET ECCE APPARVERVNT ILLIS MOYSES ET ELIAS CVM IPSO LOQVENTES. Matthæ: 17.”

Inscribed on plate within the image borderline: (around Christ) “HIC EST FILIVS MEVS …”; (lower centre) “M. d. Vos inuent:/ Johannes Sadeler fecit et excudit, Cum priuilegio regis.”

Lettered on plate below the image borderline in three columns: “SESES TVA DEVS …/ …/ … RECTVM. Psal: 45.// ET IN IESVM …/ …/ …/ MINVM NOSTRVM.// QVI EST IMAGO …/ …/ ATVRÆ Collos: 1.6.15.”

State ii (of ii) with the addition of the text “Cum priuilegio regis.”

TIB 7001.287 S2 (Isabelle de Ramaix & Walter L Strauss [eds.] 1999, “The Illustrated Bartsch: Johan Sadeler I”, vol. 70, Part 2 [Supplement], New York, Abaris Books, pp. 86–86, cat. no. [7001].287.S2); Nagler 1835–52, no. 51; Le Blanc, no. 81; Wurzbach, no. 83; Hollstein 1980, vol. 21, no. 466; Hollstein 1995–96, vol. 44, no. 872.

The Rijksmuseum offers the following description of this print:

(Transl.) “The second article of faith: faith in Christ as the son of God. Christ shows his divine being to his disciples Peter, James the Greater and John. He is surrounded by heavenly rays. Moses (right) and the prophet Elijah (left) appear next to him. The print has a Latin inscription with a Bible quote that refers to the depicted Bible story and a Latin inscription about the apostolic creed. The second print in a twelve-part series about the creed” (http://hdl.handle.net/10934/RM0001.COLLECT.168617).

Condition: a strong and well-printed impression, trimmed along the platemark and laid onto a support sheet of archival (millennium quality) washi paper. The sheet is lightly age-toned with two dot stains on the lower edge, otherwise it is in an excellent condition with no tears, holes, folds, abrasions or foxing.

I am selling this masterwork of engraving showing the radiant and cloud-borne transfigured Christ standing between the prophet Elijah (on the left) and Moses (on the right) with three of Christ’s disciples below them (viz. St Peter, St John the Evangelist and St James the Greater), for AU$372 in total (currently US$285.51/EUR237.13/GBP208 at the time of posting this print) 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 Renaissance period engraving illustrating the Apostles' Creed by one of the most famous of the old-master printmakers, 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

Jean Leclerc's etching, "Rest on the Flight into Egypt”, c.1606–33, after Carlo Saraceni

Jean Leclerc (aka Jean Le Clerc) (1586–1633); formerly attributed to José de Ribera (aka Jusepe de Ribera; Spagnoletto; Espagnolet; Spaniolet; Joseph de Ribeira; Giuseppe de Ribera) (1591–1652)

“Rest on the Flight into Egypt” (aka “Repos en Egypte”), c.1606–33, after the painting of the same composition (1606) in the Eremo dei Camaldolesi, Frascati, executed by Carlo Saraceni (c.1579 – 1620), published by Frans van den Wijngaerde (1614–1679).

Note that the British Museum holds a copy in reverse of this impression published by Jean Vallet (c.fl.1600–1636): https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1481155&partId=1&searchText=Jean+Leclerc&page=1

Etching on laid paper trimmed with tread margins around the image borderline, restored upper left corner and backed with a support sheet.

Size: (sheet) 30.1 x 23.1 cm; (image borderline) 29.8 x 22.8 cm.

Inscribed on plate within the image borderline: (lower left) “Carolus Saracenus Inuent”; (lower centre) [monogram of José de Ribera].

State ii (of ii) with the monogram of Ribera.

TIB 44 (20) [19] (87) (with the former attribution to Giuseppe Ribera) (Paolo Bellini & Mark Carter Leach [eds.] 1983, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 44, New York, Abaris Books, p. 288, cat. no. [19]); Bartsch 19; Le Blanc II.518; Robert-Dumesnil 1835-71 V.1.II (as Leclerc); Brown 1989.20 (as a rejected attribution to Ribera).

The British Museum offers the following description of this print:

“Rest on the Flight to Egypt, after Saraceni: Virgin sitting under a palm tree with Child on her knees, listening to three angels singing, and Joseph leading the donkey by the halter and pointing at a fourth angel picking dates”

(https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1350311&partId=1&searchText=Jean+Leclerc&page=1).

The Rijksmuseum offers the following description of this print:

(transl.) “Mary sitting by a palm tree, the Christ child on her lap. To her left Joseph, he holds the donkey on a rope. To the right of her four angels”

(http://hdl.handle.net/10934/RM0001.COLLECT.42690).

See also the brief description offered by the Yale University Art Museum:

https://artgallery.yale.edu/collections/objects/16687

Condition: very good impression showing minor wear to the printing plate, with restored upper left corner, trimmed with a thread margin around the image borderline and laid upon a support sheet of archival (millennium quality) washi paper.

I am selling this strong etching showing the Holy Family resting on their journey to escape King Herod’s edict to have all newly born male children killed—note the angles singing to them from scored music and gathering dates for a simple meal—for AU$412 (currently US$276/EUR255.41/GBP212.07 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 visually engaging scene involving not only the suggestion of singing and animated gestures, but also the subtle visual device of having the donkey on the left look at the viewer so that the viewer reflexively feels part of this biblical scene, 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 Raphael Sadeler’s “Saint John the Hermit”

Unidentified 17^th century engraver

“Saint John the Hermit”, 17^th century engraving in reverse after the engraving of the same title by Raphael Sadeler I (1560/61–1628/32) , from the series, “Trophæum Vitæ Solitariæ” (see also “Oraculum, Anachoreticum ...”), after a drawing in the Kupferstichkabinett, Berlin (inv. 79B17, pl. 13), by Maarten de Vos (aka Marteen de Vos; Marten de Vos; Maerten de Vos) (1532–1603) published by Jean Leclerc IV (aka Jean Le Clerc) (1560–1621/22)

Engraving on fine laid paper with margins and lined on a conservator’s support sheet.

Size: (sheet) 18.9 x 23.5; (plate) 15.4 x 19.1 cm

Inscribed within the image at lower right: “I. Le Clerc excud”

Lettered within the text box with two columns of Latin: "Dæmone quam ... humo". Numbered below centre "15".

The British Museum offers the following description of Raphael Sadeler I’s engraving of which this is a copy in reverse:

“St Joannis, with long hair and beard, crawling from a hole in the side of a rocky mountain with two dogs sniffing around nearby; at the mouth of the hole are some vegetables; beyond are two hunters with their dogs; plate 15; after Maarten de Vos. 1598” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1548811&partId=1&searchText=de+Vos&page=2)

Bartsch (2006) 7101.121C3 (vol. 71 Part 1 [Supplement], p. 168); Hollstein 1039 (Maarten de Vos); Hollstein 139

Condition: excellent impression with margins in good condition (i.e. there are no tears, holes, stains or foxing but there are very light surface marks) lined on a support sheet of fine washi paper.

I am selling this fascinating engraving for the total cost of AU$147 (currently US$110.79/EUR103.59/GBP90.45 at the time of posting this print) including postage and handling to anywhere in the world.

If you are interested in purchasing this beautifully executed engraving featuring two superbly drawn dogs, 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

Saint John (aka St Joannis) the Hermit died in c.881. For those who may be unfamiliar with this saint, he was sadly separated from his holy companions who had retired to Azogires in Crete (with advice from God), but found a way to catch up with them (with advice from God) by placing his coat on the sea and floated to his friends supported on their prayers. Upon arrival, St John retreated to a cave in the neighbourhood of Koukoustiana. From my understanding, this cave was not entirely suitable and after seeing a vision of the holy plane-tree he moved to a fresh cave at Akrotiri in Gouverneto. Here he performed the miracle of turned two snakes inside his cave into stone.

This print illustrates St John’s final days in his cave when he was too old to walk and had to crawl on all fours. As this scene is about to unfold, St John's evening meal is to be disturbed when he is shot with an arrow by a farmer who mistook him for a predatory animal. The farmer, after realising his mistake, sought St John’s forgiveness, and was forgiven on the proviso that he tells his holy companions that he is dying and that they must die too. Interestingly, when the farmer goes to fulfil his duty of telling the holy fathers that they must die he discovers that they had already died earlier in the day.