Circle of Marco Sadeler, “The Massacre of the Innocents”, c.1660, after Aegidius Sadeler II

Unidentified engraver from the circle of Marco Sadeler (aka Marcus Sadeler; Marc Sadeler) (fl.1660s), “The Massacre of the Innocents” (aka “Infanticide in Bethlehem”), c.1660, copy in the reverse direction after Aegidius Sadeler II’s (aka Ægedius Sadeler; Egidius Sadeler; Gillis Sadeler; Gillis Sadler) (c.1570–1629) engraving of the same composition (TIB 7201.036), that, in turn, is a copy in reverse after (possibly) Philippe Thomassin (1562–1622) reproducing Jacopo Tintoretto’s (aka Jacopo Robusti) (1519–1594) painting at the Scuola of San Rocco, Venice, published by Marco Sadeler.

Engraving on laid paper backed with a support sheet.

Size: (sheet) 24.9 x 29.8cm; (plate) 21.4 x 25.9cm; (image borderline) 19.2 x 25.4cm.

Lettered in plate below the image borderline: (left) “Jacobus Tinctoretus [sic] Ïnuentor.”; (center in three columns of two lines) “Pvgna ardet …/ …// …// …// …/ … inualidos”; (right) “Marco Sadeler excudit.”

TIB 7201.036 C2 (Isabelle de Ramaix [ed.] 1997, “The Illustrated Bartsch: Ægidius Sadeler II”, vol. 72, Part 1 [Supplement]), New York, Abaris Books, p. 59, cat. no. [7201] .036 C2).

Condition: a strong and well-printed impression. There is a wormhole in the text lines at lower right and a replenished hairline printer’s crease in the lower centre, otherwise the sheet is in a good condition with no tears or significant stains and has been laid onto a sheet of archival (millennium quality) washi paper.

I am selling this sensitively executed engraving reproducing Tintoretto’s famous oil painting (see https://www.wga.hu/html_m/t/tintoret/3b/3ground/4massac.html) —interestingly, the engraving portrays the arm of the woman protecting her child in the foreground at centre, whereas her arm in Tintoretto’s painting is cropped at the lower edge of the painting and possibly, as the Web of Art proposes (see URL above), “Tintoretto may have attached an arm made of plaster or stucco to the picture, as many Baroque painters later did”—for the total cost of AU$279 (currently US$177.41/EUR163.06/GBP136.90 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. Note that payment is in Australian dollars (AU$279) as this is my currency.

If you are interested in purchasing this minutely detailed engraving published in the 1660s, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print is still available

Philippe Thomassin’s engraving, “Apotheosis of Mary”, c1615, after Bernardo Castelli

Philippe Thomassin (1562–1622)

“Apotheosis of Mary” (aka “Apothéose de Marie”), 1615, after Bernardo Castelli (aka Bernardino Castelli; Bernard Castelli) (1646–1725), with dedication to the Lieutenant Governor of Rome, Count François Trivulce, published by Philippe Thomassin in 1615 (as inscribed on the plate at lower left).

Engraving on laid paper trimmed slightly unevenly with a narrow margin around the image borderline and backed with a support sheet.

Size: (sheet) 45.4 x 31.3 cm; (image borderline) 43.9 x 31 cm.

Inscribed on plate within the image borderline: (lower left on rock) “Cu priuil. Smi Pontificis/ et Superioru licentia”; (lower left on ground) “Bern. Castellus inuen./ Romæ, Phls Thomassinus Sculps. et excud. 1615.”

Lettered on plate below the image borderline: ”ILL MO. COMITI FRANCISCO TRIVVLTIO. VTRIVSQ[ue] SIGNARÆ. REFERENDARIO ET ILLMI. VICARII IN CIVILIB. LOCVMTETI./ D. meO COLENDO. Phls Thomassinus D.D.”

Lifetime impression of the only state.

Bruwaert 310 191 (Edmond Bruwaert 1915, “La vie et les œuvres de Philippe Thomassin, graveur troyen, 1562–1622”, Paris, Société Académique de l'Aube, p.90, cat. no. 310 191; https://archive.org/details/lavieetlesoeuvre00bruwuoft/page/90/mode/2up).

The Société Académique de l'Aube (1876) offers the following description of this print in “Mémoires de la Société d'Agriculture, Sciences et Arts du Département de l'Aube”:

(Transl.) “Apotheosis of Mary. —According to Bernard Castelli. {… ]1615. The Virgin appears in the middle of Heaven, surrounded by angels, and having the moon under her feet.  On land, between the ocean on the left and a city on the right, various emblematic objects.” (p.124; see: https://gallica.bnf.fr/ark:/12148/bpt6k5509735m/f124.image.r=COMITI%20FRANCISCO%20TRIVVLTIO).

For those unfamiliar with the shenanigans of Phillippe Thomassin in his dedication of this very holy image to the Lieutenant Governor of Rome, Count François Trivulce, along with the dedication of another print (“A Holy Family”, after Paul Véronèse), to the public prosecutor, P. M. Cirocchio; Tomassin’s motivation may not have been driven by a completely pure heart. Afterall, at the time of dedicating the prints, Tomassin was engaged in a libel claim against a sub-tenant—the glove maker, Valérien Tetti—who proposed (in my understanding of the case) that Thomassin was prostituting his “lady friend”, Jerômette, “ with the approval of her husband.” (Yikes!) (see Edmond Bruwaert 1915, “La vie et les œuvres de Philippe Thomassin, graveur troyen, 1562–1622”, Paris, Société Académique de l'Aube, pp, 64–5; https://archive.org/details/lavieetlesoeuvre00bruwuoft/page/64/mode/2up).

Condition: an excellent impression but with many restorations and laid upon a support sheet of fine archival/millennium quality washi paper.

I am selling this large iconic engraving of the Virgin rising from the temporal world to become divine while blessing viewers with her mercifully compassionate (misericodia) hand gestures, for AU$338 (currently US$257.32/EUR216.10/GBP187.16 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 large engraving exemplifying the Baroque Period style, 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