Raphael
Sadeler I (1560/61–1628/32)
“View of a Harbour with Large Waves” (TIB title), c1590, after a lost
drawing by Pieter Stevens II (c1567–after
1624), published by Raphael Sadeler I (as inscribed on plate).
Etching with engraving on fine laid paper backed with a support
sheet.
Size: (sheet) 21.4 x 28.3 cm; (plate) 21 x 27.9 cm; (image
borderline) 20.1 x 27.7 cm
Inscribed on plate within the image borderline: (lower right) “P.
Stephan. In:/ Raph. Sadeler ex.”
Lettered in Latin on plate below the image borderline in four
columns of two lines: “Fluctiuago …/ …// …/ …// …/ …// …/ …aquas.”
State i (of i) Note: the crisp linework with no sign of wear to
the plate suggests that this is a lifetime or an early impression.
TIB 7102.06 (Isabelle de Ramaix [ed.] 2007, “The Illustrated
Bartsch: Raphael Sadeler I”, vol. 71, Part 2 [Supplement], Abaris Books, p. 215);
Wurzbach, no. 127, 2; Hollstein 1980, vol. 21, no. 55 (Raphael Sadeler II);
Edquist, p. 312, no. 40b.
Condition: richly inked, faultless impression in excellent
condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing) trimmed
close to the platemark. The sheet has been laid onto a support sheet of
archival (millennium quality) washi paper.
I am selling this museum quality impression—shimmering with strong
contrasts of light and dark—that is so rare that it is neither in the
collection of the British Museum nor the Rijksmuseum, for AU$345 in total
(currently US$243.76/EUR212.68/GBP188.04 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 arguably one of the best examples
of a harbour scene rendered with theatrical drama of the period style known as Mannerism,
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
Research for this print was a tad
difficult as it is so rare that reliable information is limited to the
catalogue raisonnés rather than online repositories at major museums like the
British Museum and the Rijksmuseum (neither of which possess a copy of this
print). Making the task even more problematic is that “The Illustrated Bartsch”
attributes the print to Raphael Sadeler I (TIB 7102.06) whereas Holstein
assigns it to Raphael Sadeler II (Hollstein 1980, vol. 21, no. 55 [Raphael
Sadeler II]). Not that even these august authorities are always spot on as TIB
(vol. 71, Part 2 [Supplement], p. 215) describes this print as an engraving,
but close examination reveals that many of the richer black lines are etched.
Interestingly, the proportional amount
of engraving to etching may be a guide to determining who the true printmaker
may be, as when I was reading Isabelle de Ramaix’s introduction to the TIB volume
on Raphael Sadeler I, I discovered the following riveting piece of information:
“Like Johan Sadeler I,
Raphael I always first etched his plates, but he engraved less with the burin
than his elder brother, so that the etched lines remain clearly visible” (TIB, vol.
71, Part 2 [Supplement], p. 1). I also discovered in the same introductory
essay by Isabelle de Ramaix that “Raphael II usually signed himself as Raphael
Junior“ (ibid) and this helps to clarify that the true printmaker is indeed
Raphael Sadeler I.
