Thomas de Leu’s engraving, “Les Presens Rvstiqves”, c1614, after Anthoine Charon

Thomas de Leu (c1555-c1612) or (less likely) Jaspar Isaac (aka Gasper Isac; Jaspar Isac; Gaspard Isac; Jaspar Isacsz; Jasper de Isaac) (fl.1585–1654) or Léonard Gaultier (aka Léonard Gautier) (c1561–c1635)—note that all of these engravers supplied illustrations for the same publication in which this print was published, but Jaspar Isaac and Léonard Gaultier signed the engravings they worked on, and the style (to my eyes) leans more to Thomas de Leu than Léonard Gaultier (compare the engraving of Thomas de Leu [https://www.britishmuseum.org/collection/object/P_1872-0511-1258] with an engraving by Léonard Gautier [https://www.britishmuseum.org/collection/object/P_1871-0708-359]).

“Les Presens Rvstiqves” (The Rustic Present), c1614, after the design by Anthoine Charon (1521–1599)—the son-in-law of Jaspar Isaac—illustration to page 265 of Philostratus the Athenian’s (c170–245) et al., “Les Images Ou Tableaux De Platte Peinture Des Deus Philostrates Sophistes Grecs Et Les Statues De Callistrate Mis en Francois par Blaise de Vigenere Bourbonnois Enrichis d'Arguments et Annotations Reveus et corrigez sur l'original par un docte personnage de ce temps en la langue Grecque Et Representez En Taille Douce en cette nouvelle edition Avec des Epigrammes sur chacun d'iceux par Artus Thomas Sieur d'Embry”, published in Paris by Mathieu Guillemot (fl.1614–1652) in 1614.

This print and its context in the publication (1614) may be viewed online (or downloaded free-of-charge) at Archive.org: https://archive.org/details/lesimagesoutable00phil/page/262/mode/2up.

Engraving on laid paper with letterpress text recto and verso and a woodcut ornamental panel verso backed with a support sheet (with window cut in the support for viewing the verso panel).

Size: (sheet) 32.1 x 22.1 cm; (plate) 23.9 x 19.3 cm; (image borderline) 23.7 x 19.1 cm.

Letterpress French text: (upper centre margin) “LES PRESENS RVSTIQVES.”; (lower margin in two columns of six lines: “Estime qui voudra les choses magnifiques:/ Les beaux presens rustiques/ Contentent plus les coeurs,/ Que toutes ces grandeurs:/ Vne vaine peinture/ Est moins que la nature.// Tous ces dons enrichis d'or et d'orfebuerie,/ Ne sont que tromperie:/ S'ils ont  de la beauté,/ C'est en desloyauté:/ Rarement l'artifice/ Se trouue sans malice.”

([transl.] “Esteem who will want magnificent things:/ The beautiful rustic present/ No longer satisfy hearts,/ That all these sizes:/ A vain painting/ Is less than nature./ All these gifts enriched with gold and goldsmith's work,/ Are only deception:/ If they are beautiful:/ It is in disloyalty;/ Rarely artifice/ Is found without malice.”)

Condition: a strong and well-printed impression. The sheet has age-toning (i.e. darkening) on the left side and there is an abraded area in the upper right margin where the page number should be. The verso of the sheet has been laid onto a support of archival (millennium quality) washi paper with a “window” left to allow the woodcut panel printed verso to be seen.

I am selling this exceptionally fine engraving of what I would like to call a “fruitscape” showing in the foreground at left what I assume must be a date palm with a curious root system and a grapevine entwining its trunk, while in the middle distance arranged in mini-mounds are fruits such as pears, oranges, grapes and a few others that I am hesitant to propose, for the total cost of AU$232 (currently US$179.58/EUR150.51/GBP129.52 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 strangely wonderful engraving with an equally interesting woodcut panel printed verso featuring mascarons, snails, monkeys, rabbits, snakes and rinceau ornamentation, 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 

Woodcut printed verso

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

Engraving by an unidentified artist from the circle of Jan Sadeler I, “Saint Antiochus”, c1610

Unidentified artist (possibly Thomas de Leu [c1555–1612] or Edme Charpy [fl.1600–1620]) from the circle of Jan Sadeler I (aka Johannes Sadeler; Johann Sadeler) (1550–1600)

“Saint Antiochus” (Isabelle de Ramaix [2001] advises that St Antiochus is a “monk in the seventh century, the saint was martyred and died at the monastery of St. Sabas near Jerusalem. He is celebrated on 16^th July” [TIB, vol. 70, Part 2 [Supplement], p. 250]), 1598–1614, in reverse to the engraving by Jan Sadeler I, plate 3 from the series of 26 engravings including the title plate, “The Virtuous Life of Hermits” (aka “Trophaeum Vitae Solitariae”), after a drawing by Maarten de Vos (aka Maarten de Vos; Maerten de Vos) (1532–1603), published by Thomas de Leu.

Engraving on laid paper with a small margin around the platemark.

Size: (sheet) 18.5 x 22.4 cm; (plate) 17.1 x 20.4 cm; (image borderline) 15.1 x 20.4 cm.

Lettered and numbered on plate below the image borderline: “Vectus equo .../ …ANTICHVS.// 3// …/ … volat.”

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

TIB 7001.395 C1/C3 (Isabelle de Ramaix 2001, “The Illustrated Bartsch: Johan Sadeler I”, vol. 70, Part 2 [Supplement], New York, Abaris Books, p. 251, cat. no. [7001] .395 C1 or C3).

See also the description offered by the Rijksmuseum: https://www.rijksmuseum.nl/nl/collectie/RP-P-1965-393.

Condition: well-printed early impression showing no sign of wear to the printing plate with a small margin around the platemark. The sheet is in near pristine condition for its considerable age (i.e. there are no tears, holes, folds, losses, abrasions, significant stains, foxing or signs of handling).

I am selling this very beautiful lifetime impression in reverse to Jan Sadeler’s engraving of the same composition for the total cost of AU$196 (currently US$206.53/EUR120.41/GBP156.46 at the time of 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.

If you are interested in purchasing this sensitively executed and very luminous engraving from the early 1600s, 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.

Jaspar Isaac’s engraving, “Ajax le Locrien, ou les Gyres”, c1609

Jaspar Isaac (aka Gasper Isac; Jaspar Isac; Gaspard Isac; Jaspar Isacsz; Jasper de Isaac) (fl.1585–1654)

Note: attribution of this engraving to Jaspar Isaac rather than the other engravers featured in the same publication—viz. Léonard Gaultier (1561–1635) and Thomas de Leu (1560–1620)—is based on the stylistic treatment of the portrayed subject (cf. “Evadne”, signed by Isaac that I have listed earlier and is currently available: https://www.printsandprinciples.com/2019/04/jaspar-isaacs-engraving-evadne-c1609.html).

“Ajax le Locrien, ou les Gyres”, c1609, after Antoine Caron (aka Antoine Charon) (1521–1599), illustration to Blaise de Vigenère’s (1523 –1596) translation of Lucius Flavius Philostratus (aka “the Athenian”) (c.170 – 247/250) and/or his son-in-law, Philostratus of Lemnos’ “Les images ou tableaux de platte peinture des deux Philostrates …”, first published in Paris in 1609 by Claude Cramoisy, followed by the edition by Abel l'Angelier's widow in 1614 or 1615. Also issued in 1637 by Mathieu Guillemot, Sebastien Cramoisy and C. Sonnius in Paris.

Archive.org offers an online view (and free-of-charge download) of the 1637 edition (see this print on page 384):

https://archive.org/details/gri_33125008279552/page/n405/mode/2up/.

The mythological episode illustrated in this print matches the description offered by the Finnish Thesaurus and Ontology Service (finto):

‘… the return of Ajax the Lesser (the Locrian) after the fall of Troy > Ajax the Lesser shipwrecked; while he is scrambling ashore Neptune splits the rocks with his trident”

(http://finto.fi/ic/en/page/94K31).

I understand that the Neptune was unhappy with Ajax’s “sacrilegious behaviour”—to borrow a phrase from Wikipedia—and his fury extended beyond making Ajax fall; he also whipped up wild ocean currents—the gyres.

Engraving on laid paper with letterpress text verso, trimmed with a small margin and backed with a support sheet,

Size: (sheet) 26.2 x 21.3 cm; (plate) 23.6 x 19 (image borderline) 23.3 x 18.6 cm.

Condition: richly inked, near faultless early impression. There are past collectors’ pencil and pale ink notations in the lower margin recto and the letterpress text printed verso is partly visible recto. The sheet is laid onto a support of archival (millennium quality) washi paper and is in excellent/museum-quality condition.

I am selling this superb engraving from c.1609 —a visually arresting late Renaissance masterpiece—for AU$320 (currently US$196.45/EUR180.94/GBP159.60 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 remarkable engraving with its fascinating treatment of lightning represented by castellated white lines—a visual device that I understand is symptomatic of artists who suffer from migraines—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