Circle of Lucas van Leyden’s engraving, “Betrayal of Christ”, c1521

Unidentified engraver from the circle of Lucas van Leyden (aka Lucas de Leyda Hollandus; Luca Dolanda; Lucas Hugensz; Lucas Jacobsz) (c1494–1533)

“Betrayal of Christ” (aka “La Prise de Jésus Christ”; “The Capture of Christ”; “Gevangenneming van Christus”), c1521, plate 3 in the series of fourteen plates, “The Passion of Christ”, published in Antwerp by Maarten Peeters (Petri) (aka Martinus Petri; Marten Peters; Marteen van Gheele Peeters) (c1500–1566 [or shortly before]). I believe that this impression is from an edition published c1620, based on the “Arms of Wurtemburg” watermark of the paper (see W. A. Churchill 1935, “Watermarks in Paper …”, Amsterdam Menno Hertzberger , p. 78, cat. no. 275, [ill.] p. CCXXXIII [233]).

Note: Jan Harmensz. Muller (1571–1628) made a copy of this engraving (see https://www.britishmuseum.org/collection/object/P_1845-0809-946), but from close comparison I do not believe that this engraving is by Muller.

Engraving on laid paper with partial watermark of the “Arms of Wurtemburg” and wide margins.

Size: (sheet) 19.5 x 12.4 cm; (plate) 11.7 x 7.5 cm.

Lettered in plate: (lower left corner) “[Van Leyden’s monogram] L 1421/ [ligature initials] MPetri ex”.

References to Van Leyden’s print: TIB 12(7).45(363) (Walter L Strauss et al. [eds.] 1981, “The Illustrated Bartsch”, vol. 12, New York, Abaris Books, p. 117, cat. no. 45 [363]); New Hollstein (Dutch & Flemish) 45 (Piet Filedt Kok [comp.] 1996, “The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Lucas van Leyden”, Amsterdam, Rijksprentenkabinet, Rijksmuseum Sound and Vision, p. 72, cat. no. 45); Bartsch 45.

The British Museum offers the following description of Van Leyden’s engraving: “Betrayal of Christ; Christ stands in centre facing right; around him crowd soldiers and armed men; Judas leans toward him to kiss his cheek. 1521 (https://www.britishmuseum.org/collection/object/P_1849-1027-22). See also the description offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.33696.

Condition: a very strong and well-printed impression showing no sign of wear to the printing plate. The sheet has surface dustiness, two printer’s creases in the margins (not affecting the image) and the lower right corner has a flattened fold; otherwise, the sheet is in a good condition for its age with no tears, holes, abrasions, significant stains or foxing.

I am selling this superb engraving after one of the major old masters for AU$621 (currently US$415.97/EUR389.80/GBP341.68 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 exceptionally beautiful engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Nicolas de Larmessin II’s engraving, “Portrait of Lucas van Leyden”, 1682, after Van Leyden’s self-portrait

Nicolas de Larmessin II (Père) (c1645–1725 [BM dates])

“Portrait of Lucas van Leyden” (aka “Lvcae Leidano, Pictori” [as titled in plate]; “Lucas de Leyde”; “Luca Dolanda”; “Lucas de Leyda Hollandus”), 1682, engraved translation in reverse direction to the painted self-portrait (1525/6) by the painter and printmaker, Lucas van Leyden (c1494–1533) (see https://commons.wikimedia.org/wiki/File:Self-portrait,_by_Lucas_van_Leyden.jpg), and in the reverse direction to Andries Jacobsz. Stock’s (c1580-1648?) engraving of the same portrait (see https://www.britishmuseum.org/collection/object/P_1876-0708-115), published in 1682 in Brussels as an illustration to the second volume of Isaac Bullart’s (1599–1672) “Académie des sciences et des arts, contenant les vies et les éloges historiques des hommes illustres qui ont excellé en ces professions depuis environ quatre siècles” (Academy of Sciences and Arts, containing the lives and historical eulogies of illustrious men who have excelled in these professions for about four centuries), page 395. Note that this publication is available free of charge for reading on Google Play: https://play.google.com/store/books/details?id=uj0_AAAAcAAJ&rdid=book-uj0_AAAAcAAJ&rdot=1.

Engraving with etching on laid paper trimmed with narrow margins with French text verso (as published in 1682).

Size: (sheet) 19.4 x 14.2 cm; (plate) 13.4 x 18.8 cm; (image borderline) 17.1 x 13.2 cm.

Inscribed with the artist’s monogram in plate within the image borderline at lower left: (ligature initials) “DNL”.

Lettered in plate below the image borderline: (left) “De, Larmessin Scul”; (centre) “LVCAE LEIDANO, PICTORI,”

Le Blanc 8 (Charles Le Blanc 1856, “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations: ouvrage destiné à faire suite au Manuel du libraire par J.Ch. Brunet”, vol. 2, p. 493, cat. no. 8).

See also the brief description offered by the Austrian National Library: http://data.onb.ac.at/rec/baa3707749

Condition: a richly inked and well-printed lifetime/early impression showing no sign of wear to the printing plate, trimmed with narrow margins. Beyond remnants of mounting verso, the sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this very strong engraving capturing what I see as a living spirit in Lucas van Leyden’s self-portrait —note how the rendering of his eyes seem convincingly “alive” and link in well with the dimple near the mouth—for AU$235 (currently US$152.36/EUR153.23/GBP133.60 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.

If you are interested in purchasing this powerful and historically significant engraving showing the likeness of one of the most famous of the old master artists, 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

Lucas van Leyden’s engraving, “St John”, c1511

Lucas van Leyden (aka Lucas de Leyda Hollandus; Luca Dolanda; Lucas Hugensz; Lucas Jacobsz) (c1494–1533)

“St John” (aka “De apostel Johannes”; “S. Jean l’évangéliste”), c1511 (TIB dating), plate 5 in the series of fourteen plates, “Christ, Paul and the Twelve Apostles.”

Engraving on laid paper trimmed with a thread margin around the image borderline and stamped verso with the collector’s mark of Alfred Morrison (1821–1897) (Lugt 151). Frits Lugt (2002) in “Les Marques de Collections de Dessins & d’Estampes” offers the following insights about this collector: (Transl.) “Alfred Morrison was one of the most ardent collectors of his time; his mansions at Fonthill, and at the Carlton House Terraces in London, were filled with works of art. … [the works that he collected] were generally of exceptional quality” (p. 27).

Size: (sheet) 11.9 x 7.4 cm.

Lettered in plate with the letter "L" at lower left next to the saint's feet

TIB 12 (7). 90 (388) (Walter L Strauss et al. [eds.] 1981, “The Illustrated Bartsch”, vol. 12, New York, Abaris Books, p. 223, cat. no. 90 [388]); New Hollstein (Dutch & Flemish) 90 (Piet Filedt Kok [comp.] 1996, “The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Lucas van Leyden”, Amsterdam, Rijksprentenkabinet, Rijksmuseum Sound and Vision Interactive, p. 103, cat. no. 90); Bartsch VII.388.90.

The British Museum offers the following description of this print:

“St John the Evangelist; holding a chalice with a serpent in his left hand and raising his right hand in blessing. c.1510 Engraving” (https://www.britishmuseum.org/collection/object/P_Kk-6-106).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.33738.

Condition: a well-printed silvery impression, trimmed along the platemark with a thread margin around the image borderline and a collector’s stamp verso. The upper left and right corners have restoration work and there are are areas of thinness (visible when the print is held to the light); otherwise, the sheet is in an excellent condition with no significant stains or foxing.

I am selling this early engraving by one of the major old masters for AU$446 (currently US$342.36/EUR298.70/GBP254.86 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 sensitively executed and important 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

Jan Harmensz Muller’s reproductive engraving (1615-20) of Lucas van Leyden’s, “The Bearing of the Cross” (1521)

Jan Harmensz Muller (aka Jan Muller; Jan Harmensz. Muller) (1571–1628)

“The Bearing of the Cross” (Le portement de croix), 1615-20, after Lucas van Leyden’s (aka Lucas de Leyda Hollandus; Luca Dolanda) (c1494–1533) plate 9 of the same subject dated 1521 from the series of 14 plates, “The Passion after Lucas van Leyden”.

Note the BM holds Muller’s series of prints, “The Passion after Lucas van Leyden”; see: http://www.britishmuseum.org/research/collection_online/search.aspx?searchText=1845,0809.944

Engraving on fine laid paper trimmed along or within the platemark.

Size: (sheet) 11.8 x 2.8 cm; (image borderline) 11.4 x 7.5 cm

Lettered with the letter "L" and date 1521 in lower right corner on a tablet

TIB (1981) 12 (7). 51-A (368) (p. 183); New Hollstein (Dutch & Flemish) 50.II (The Muller Dynasty [Jan Harmensz Muller]); Hollstein (Dutch & Flemish) 51 (Lucas van Leyden; copy); Bartsch III.279.50

The British Museum offers the following description of this print:

“Christ carrying the cross; Christ at centre buckled to his knees under the weight of the cross as he walks to the right; Veronica kneels beside him to the left raising a cloth to wipe his face; St John and the Virgin Mary walk behind him and a crowd gathers beyond” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1487548&partId=1&searchText=leyden&page=5)

Condition: crisp and well-inked impression trimmed along or within the platemark, slightly aged-toned/yellowed with a chipped lower-left corner and attached at the top of the sheet to a support (wove) card.

I am selling this important engraving by one of the major Flemish old masters, Jan Harmensz Muller, reproducing in minute detail the engraving of the same subject by the almost legendary German printmaker, Lucas van Leyden, for the total cost of AU$430 (currently US$346.66/EUR288.77/GBP256.01 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this masterpiece of early 17^th century reproductive 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

Although I fully understand the mindset of some collectors who would never consider acquiring prints reproducing other artist’s artworks, but I do not share this prejudice. After all, I originally purchased this print by the great Flemish master printmaker, Jan Harmensz Muller, who reproduced line-by-line the engraving by the great German printmaker, Lucas van Leyden, who originally composed the image.

Mindful that such a choice to collect reproductive prints might be deemed an unusual passion, I thought I might try to explain very briefly why some—and I need to stress the word “SOME”—reproductive prints are worthy of respect and close examination. Regarding this print, for example, a cursory glance may not distinguish between van Leyden’s print and Muller’s copy. They are almost identical. Close examination, however, reveals that van Leyden’s print has the searching authenticity of an artist finding appropriate ways to render the portrayed subject matter in the scene, whereas Muller’s copy offers a pictorially resolved and visually lucid representation of the same forms. For instance, note the difference in the representation of contour strokes rendering the detail of the metal plate protecting the ear of the figure on the far right. In van Leyden’s print the strokes are slightly ambiguous—sketchy—in describing this polished piece of armour. In Muller’s hands the phrasing of the lines is more resolved giving a pictorially clear representation of the metal plate’s concave contours.

My way of looking at the difference between a masterwork of reproductive engraving (such as this print) and the original is all about the way that the reproductive printmaker “feels” form in each line and gives clarity to visual expression. The best way that I can explain what I mean by this curious comment is to compare the approach to drawing a chair using the principles of perspective and drawing the same chair based on the knowledge that someone should be able to sit in the chair. Both drawings may be of the same subject but the drawing executed with the notion that someone should be able to sit in the chair will be invested with that special magic of authenticity and clear communication.

Balthasar Moncornet’s engraving, “Lucas van Leyden at the Age of 39”, c1640

Balthasar Moncornet (1600–68)

“Lucas van Leyden at the Age of 39”, c1640, after a self-portrait by van Leyden (1494–1533), published by Balthasar Moncornet as inscribed on the plate.

Engraving on laid paper with minute ink notations by an old hand in the two lower corners.

Size: (sheet) 18.1 x 13.9 cm; (plate) 15.7 x 11.5 cm

Inscribed with three lines of descriptive Latin text about van Leyden followed by publication details and privilege (copyright) details: “B. Moncornet excudit, Avec privilege du Roy.”

Van Someren 3353

Condition: richly inked and crisp impression with margins. The sheet is in very good condition (i.e. there are no tears, holes, folds, abrasions or significant stains) with minor age-toning and a few spots of light foxing.

I am selling this fascinating and well-executed early engraving of the great German printmaker’s self-portrait for [deleted] at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this splendid example of the engraver’s art from the mid 17^th century, 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

When artists draw themselves in a mirror a curious phenomenon occurs: their pupils dilate (i.e. the black dot in the centre of the eye becomes bigger than usual). This phenomenon tends not to occur when artists take a “selfie” photograph. Consequently, drawn or painted self-portraits evolved from artists studying themselves in mirrors will always be different to those executed from photographs.

What I love about this engraving is not only that van Leyden’s pupils are clearly dilated, but there is another attribute that only great masters know about: the principle of ensuring that the two eyes are different. Or to express this in a different way: great artists know that one eye must be dominant over the other and that poor portraits allow both eyes to compete for our attention. One interesting principle that illustrators sometimes employ is to use a squared reflection in the dominant eye and a round reflection in the other. In this portrait, the reflections are different even though the technique employed is more about changing the size and tone of the strong and weaker eyes. As a result, van Leyden’s “intuitive” eye (on our left) looks kindly towards us while his “analytical” eye (on our right) studies us with sharp pragmatic intelligence. 

Lucas van Leyden’s engravings of four apostles, c. 1510

Lucas van Leyden (aka Lucas de Leyda Hollandus; Luca Dolanda; Lucas Hugensz; Lucas Jacobsz) (c.1494–1533)

UPPER-LEFT IMAGE: “St Bartholomew”, c.1510, the ninth in the series of fourteen plates, “Christ, Paul and the Twelve Apostles.” Engraving on early laid paper. Size: (sheet) 11.8 x 7.2. TIB (1981) 12 (7). 94 (389). Condition: good impression, trimmed to the platemark, age-toned in good condition The British Museum offers the following description of this print:

“St Bartholomew; holding a knife in his right hand and a rosary in his left; facing left but turning his head to the right. c.1510 Engraving” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1335974&partId=1&people=117232&peoA=117232-2-60&page=1)

This print has been sold

LOWER-LEFT IMAGE: “St Thomas” [St Jude], c.1510, the seventh in the series of fourteen plates, “Christ, Paul and the Twelve Apostles.” Engraving on early laid paper. Size: (sheet) 11.8 x 7.1 cm. TIB (1981) 12 (7). 92 (388). Condition: crisp impression, trimmed to the platemark, age-toned in excellent condition The British Museum offers the following description of this print:

“St Thomas; facing right, holding a book within his cloak in his right hand and a staff in his left. c.1510 Engraving” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1336936&partId=1&people=117232&peoA=117232-2-60&page=2)

This print has been sold

UPPER-RIGHT IMAGE: “St Paul”, c.1510, the third in the series of fourteen plates, “Christ, Paul and the Twelve Apostles.” Engraving on early laid paper. Size: (sheet) 12 x 7.4 cm. TIB (1981) 12 (7). 88 (388). Condition: crisp impression, trimmed to the platemark, age-toned and with faint foxing otherwise in excellent condition The British Museum offers the following description of this print:

“St Paul; holding a book in his left hand and a sword with tip on ground in his right. c.1510 Engraving” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1336951&partId=1&people=117232&peoA=117232-2-60&page=2)

This print has been sold

LOWER-RIGHT IMAGE: “St Mathew”, c.1510, the seventh in the series of fourteen plates, “Christ, Paul and the Twelve Apostles.” Engraving on early laid paper. Size: (sheet) 11.8 x 7.3 cm. TIB (1981) 12 (7). 98 (389). Condition: crisp impression, trimmed to the platemark, age-toned in excellent condition The British Museum offers the following description of this print:

“St Matthew; with a halberd in his right hand. c.1510 Engraving” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1336929&partId=1&people=117232&peoA=117232-2-60&page=2)

This print has been sold

I am selling each of these original early engravings by one of the major old masters for AU$446 (currently US$337.92/EUR318.85/GBP270.10 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing one (or all) of these graphically powerful and important engravings, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.