Johannes Wierix’s engraving, “Antiochus' Army Killing the Jews during the Sabbath”, 1579

Johannes Wierix (aka. Jan Wierix) (1539–1620 [BM dates])

“L’épreuve du sabbat au desert” (Mauquoy-Hendrickx [cat. raisonné] title) (aka. “Antiochus' Army Killing the Jews during the Sabbath” (Met. title) 1579, plate 3 from the series of 8 plates, “Histoire des Machabées” (Mauquoy-Hendrickx title), after Gerard van Groeningen (fl.1550–1599), published by Gerard de Jode (1509/17–1591) in “Thesaurus Sacrarum Historiarum veteris testamenti, elegantissimis imaginabus expressum excellentissimorum in hac arte virorum opera: nunc primum in lucem editus” (Google Transl. “Treasure holy history of the Old Testament elegant imaginabor expressed in this excellent works of art, now for the first time to light”)

Engraving on fine laid paper printed in a warm-grey (brownish) ink with small margins.

Size: (sheet) 21.9 x 30.2 cm; (plate) 20.4 x 28.5 cm

Inscribed below the image borderline: “Ne sabatum violent abstinent praelio et munitionibus  Iacobitae: satius ducentes in simplicitate mori. quam praecepta dei sui transgredi / Machab: i. Cap: 2.” (Google transl. “Do not violate the Sabbath they abstain from the battle, and the strong holds, Iacobitae: leading us on to his integrity is better to die. How to go beyond the rules of its own”)

Numbered below the image borderline at right: “3”.

Note: only two plates in this series of eight engravings are signed: Plate 2 and Plate 8.

Lifetime impression; state i (of ii) before the addition of “38” in the verse (see Mauquoy-Hendrickx vol. 1, p. 8, no. 48 ii)

Mauquoy-Hendrickx 48 (Marie Mauquoy-Hendrickx 1978, “Les Estampes Des Wierix”, vol. 1, [ref.] p. 8, [Illustr.] p. 5); Hollstein 64.I (Wierix) (F W H Hollstein 1949, “Dutch and Flemish etchings, engravings and woodcuts c.1450-1700”, Amsterdam); NH (Groeningen) I.84.53 i/ii

See also the description of this print at the Metropolitan Museum of Art: https://metmuseum.org/art/collection/search/654220?sortBy=Relevance&who=Wierix%2c+Jan+(Johannes)%24Jan+(Johannes)+Wierix&ft=*&offset=40&rpp=20&pos=43     

       

Condition: crisp, well-printed, slightly silvery impression with small margins (varying between 5–10 mms). The lower left corner has an additional tab of paper attached and the sheet has signs of wear (i.e. there is a light surface patina of dust and age toning and there are minor chips, pencil marks at the top left and thin areas in the margin) otherwise the sheet is in good condition for its age (i.e. there are no significant tears, holes, folds, stains or foxing).

I am selling this masterpiece of early engraving for the total cost of AU$286 (currently US$223.58/EUR186.28/GBP165.59 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this exemplary image of 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

Should anyone be searching for an image that exemplifies extreme/“over-the-top” action, then this engraving would fit the description perfectly.

Johannes Wierix, who made the print, was as wild a man—I described him in a previous post as a “disorderly drunk who had a penchant for upsetting his employer by ‘losing’ himself at the local tavern and by pawning his engraving tools.” Indeed, mindful of his leaning towards disorderly behaviour, this very Baroque composition with its layering of convoluted rhythms seems very appropriate.

What I find especially interesting about all of the turmoil that he portrays is that within the disarray are recurrent themes that are arguably a part of Netherlandish interests at the time:

- the theme of vanitas (note the regenerating shoots arising from the “dead” tree in the foreground);

- the notion of Weltlandschaft/“World Landscape” (note the elevated panoramic viewpoint and fascination with caves); and,

- a love of rugged terrain (note the incredibly sharp pointy mountains in the distant left).

Johannes Wierix’s engraving, “The five heavenly warriors in the war against Timotheus”, 1585, after Gerard Groenning

Johannes Wierix (aka Jan Wierix) (1539–1620)

“The five heavenly warriors in the war against Timotheus” (BM title) / “L’intervention céleste au cours de la bataille contre Timothée” (Google Transl. “The heavenly intervention during the battle against Timothy”) (Mauquoy-Hendrickx title), 1585, after Gerard Groenning (fl.1550–1599), published by Gerard de Jode (1516/17–1591), from the series of 8 plates, “Histoire ders Machabées” (Mauquoy-Hendrickx title) Note: the British Museum offers the following title which may be more of a general title for the collective of many small series of the Old Testament plates rather than the title for this specific series of eight plates: “Thesaurus Sacrarum Historiarum veteris testamenti, elegantissimis imaginabus expressum excellentissimorum in hac arte virorum opera: nunc primum in lucem editus” (Google Transl. “Treasure holy history of the Old Testament elegant imaginabor expressed in this excellent works of art, now for the first time to light”)

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

Size: (sheet) 21.8 x 30.5 cm; (plate) 20.2 x 29.2 cm

Lettered beneath the image borderline in with two lines of Latin text with the first word abraded: “[Machabeo] pugnanti...defendant/Machab: 2.cap.10.”

Numbered below the image borderline at left: “7”.

Note: only two plates in this series of eight engravings are signed: Plate 2 and Plate 8.

Mauquoy-Hendrickx 52 (Marie Mauquoy-Hendrickx 1978, “Les Estampes Des Wierix”, vol. 1, [ref.] pp. 7-8, [Illustr.] p. 5); Hollstein 68.I (Wierix) (F W H Hollstein 1949, “Dutch and Flemish etchings, engravings and woodcuts c.1450-1700”, Amsterdam)

Condition: crisp, well-printed, slightly silvery impression with small margins. The sheet is laid onto a support sheet of fine washi paper. The lower left corner has an additional strip of paper and is slightly abraded otherwise the sheet is in very good condition (i.e. there are no holes, folds, stains or foxing).

I am selling this masterpiece of early engraving for the total cost of AU$286 (currently US$219.61/EUR189.48/GBP167.51 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this exemplary image of 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

Although Johannes Wierix was a wild man in terms of being a disorderly drunk who had a penchant for upsetting his employer by “losing” himself at the local tavern and by pawning his engraving tools, he was also a divine engraver as may be seen in this masterpiece of Baroque composition. No doubt the wild nature of the man is unambiguously captured in the complex layering of rhythms seen here. What I find particularly interesting about the portrayed turmoil is that there are very few (if any) flat surfaces in this image.

Hieronymus Wierix’s engraving, “Portrait of Jan Cornelisz. Vermeyen”, c1572

Hieronymus Wierix (1553-1619) or Jan Wierix (aka Johannes Wierix) (1549–c1620)

“Portrait of Jan Cornelisz. Vermeyen”, c1572, plate 15 in the series of 23 engraved plates in “Pictorum aliquot celebrium Germaniae inferioris Effigies”, published by Theodoor Galle (1571–1633), 1572, in Antwerp. This impression is from the 1694 fourth edition published by D and T Browne (fl.1694) in London as illustrations to Sebastiano Resta's "The True Effigies Of The Most Eminent Painters And Other Famous Artists"

Engraving on fine laid paper with margins.

Size: (sheet) 27.5 x 18.6 cm; (plate) 20.4 x 12 cm

Lettered at top: "Obijt Bruxellis 1559. ætat 59. ad D. Gaugerici conditus. / 15.". Lettered with title in lower margin, followed by ten lines of Latin verse: "Quos homines, quæ ... / ... / ... ad vsque pedes.". Lettered with monogram within image in lower right corner: "IHW". Lettered with publisher's address in the lower left corner: "Th. Galle excud.". Numbered in pen and ink before title: "15".

State iv (of iv)

Mauquoy-Hendrickx 1979 1743; Hollstein 2027.IV (Wierix); Alvin 1866 2047; Riggs 1977 269; van Someren 1888 5774d

The British Museum offers the following description of this print:

“Plate 15: Portrait of Jan Cornelisz. Vermeyen, three-quarter length, turned to the left, head turned to face the viewer; with moustache and very long beard, seated and holding a book in his right hand while writing in it with his left hand, an exotic landscape seen behind him with a group of figures to right, a man menacing another figure with a sword; fourth state with an extra numbering of '15' before name; from the fourth edition of the series used as illustrations to Sebastiano Resta's 'The True Effigies Of The Most Eminent Painters And Other Famous Artists' (D. and T. Browne: London, 1694). c.1572"

(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3543690&partId=1&searchText=Galle+Ioanni+Maio,+Pictori&page=1)

Condition: crisp and near faultless, well-printed impression with wide margins in excellent condition for the age of the print (i.e. there are no tears, abrasions, holes, folds, significant stains—but there is a dot stain on the upper left and light handling marks on the right—or foxing). This print is in an extraordinary state of preservation.

I am selling this visually riveting portrait of an artist drawing in an exotic landscape with a murder occurring beyond his left shoulder for [deleted] at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this psychologically engaging portrait from the Baroque age, 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

To be honest, when I first saw this portrait of Jan Cornelisz Vermeyen (aka Jan Mayo; Barbalonga) (c1500–1559), I knew nothing about the "sitter" other than that he must be Dutch based solely on his name.  I was curious to find out why he is shown he seated drawing with his sketch book resting on his knee in what is clearly not a Dutch countryside. Well, I now know … or I think that I have found an explanation for the exotic palm tree and sand dune setting: he was a companion of Emperor Charles V at the Conquest of Tunis. This also helps to explain the somewhat gruesome scene of murder/battle featured beyond the artist’s left shoulder. I guess wars are always horrible and so long as the grim details are behind your left shoulder all is well in the world when drawing out-of-doors.

Hieronymus Wierix’s engraving, “Allegory on the Mercy of Christ”, 1581

Hieronymus Wierix (aka Hieronymus Wierx; Jerome Wierix) (1553–1619)

“Allegory on the Mercy of Christ”, 1581, published by Hans Liefrinck II (fl1581–88)

Note: some authorities propose that the publisher is Hans Liefrinck I (1518?–73) but this is not possible mindful that Lierinck (the elder) had already passed away before this print was executed. According to the BM there is another Hans Liefrinck “who was the son of Cornelis Liefrinck and worked in Leiden” but again the date that he died, 1599, confirms that he could not be the publisher either and this leads me to attribute Hans Liefrinck II as the publisher.

Engraving on laid paper trimmed to the image borderline and slightly within the borderline on the left side.

Size: (sheet) 33.9 x 25.8 cm

Lettered above the image borderline: “MISERICORDIARUM DOMINI EFFIGIES” (Images of Kindness)

Inscribed within the image borderline at lower left upon a stone: “Jeroninmus. Wi. / fecit. 1581”

Inscribed below the image borderline in two columns of three lines: “[E]n Deus ad veniam pronus … // … in imagine serunt.”; with publication details at centre between the two columns: “Johannes / Lifrinck / Excud”.

Condition: crisp impression trimmed along the borderline and within it on the left side and lined upon a support sheet of laid paper. The sheet is slightly age-toned with light restoration of small areas of minor abrasion and there is a closed tear (approximately 1 cm) on the lower edge towards the right.

I am selling this of magnificently rendered large engraving that is so rare that it is not in the collection of the British Museum, the Rijksmuseum or the Metropolitan Museum of Art and executed by one of the major printmakers of the Renaissance era for the total cost of AU$468 (currently US$371.78/EUR311.63/GBP288.50 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this very beautiful print—mindful that prints of this rarity are virtually never seen on the market place—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

While I was closely examining this spectacular engraving—one that is so rare that none of the major museums (viz. The British Museum, the Rijksmuseum and The Metropolitan Museum of Art) appear to possess a copy—I found myself becoming more and more involved in trying to decipher the symbolic meanings of the print. For example, my brain was slow to realise that the cow that Christ stands upon was not a reference to his birth in a manger—a cow’s feeding trough. Instead the cow is a symbolic attribute of Saint Luke, but this realisation only occurred once I had pieced together the idea that the combination of the three animals surrounding Christ (viz. cow, lion and eagle) and the angel on his left were actually the symbolic attributes of the four evangelists: Mathew, Mark, Luke and John. Moreover that my initial quandary over the awkwardness of the Christ shown raising his left foot rather than his right one—a pose that right-handers like myself find very unnerving to look at—was nothing at all about physical movement but rather about spiritual transcendence to a heavenly realm filled with adoring fat folk.

To be honest, however, I had to do a quick Google to find the significance of Christ shown with a square halo rather than a round one. The reason is surprisingly simple: the square halo symbolises that Christ is still in the temporal world and the shape of the halo will change to a round one once he transcends the world of the mortals.

Regarding this notion of spiritual transcendence, note how Christ’s arms are arranged to suggest an arrowhead and how the leaning pose of St John and the Virgin extend the angle of this arrowhead pointed to heaven.

Johannes Wierix’s engraving, “Christ before Pilate”, 1571

Johannes Wierix (aka Jan Wierix) (1539–1620)

“Christ before Pilate”, 1571, book illustration from “Humanae Salutis Monumenta” (Antwerp), after the design by Pieter van der Borcht (c.1535–1608)

Note that I have listed a print from Hieronymus Wierix (Johannes’ brother), “Christ before Caiaphas”, also from “Passion of Christ” series of illustrations in the same publication (“Humanae Salutis Monumenta”) as this print. To be honest I do not understand why this print is attributed by the BM to Johannes rather than to Hieronymus as the plate is inscribed with the “H” of Hieronymus’ initials … but I have chosen to believe the BM’s determination.

Engraving on fine laid paper with text (recto and verso).

Size: (leaf) 15.7 x 9.8 cm; (plate) 11.5 x 7.4 cm

Signed on plate with initials: “P.B.” and “I.H.W''

Alvin 1866 1626 (L Alvin 1886, “Catalogue raisonné de l'oeuvre des trois frères Jan, Jérome et Antoine Wierix”, Brussels); Mauquoy-Hendrickx 1979 2205 (Marie Mauquoy-Hendrickx 1978, “Les Estampes des Wierix ... catalogue raisonné”, 4 vols., Brussels, Bibliotheque Royale Albert Ier); Hollstein 3.32.I.(33) (Wierix; Book Illustrations) (F W H Hollstein 1949, “Dutch and Flemish etchings, engravings and woodcuts c.1450-1700”, Amsterdam)

The British Museum offers the following description of this print: “Christ before Pilate; Christ seen standing to right, with his hands tied; soldiers seen pushing him before Pilate; Pilate standing by a temple's threshold, to left, wearing a turban …” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3054937&partId=1&searchText=Johannes+Wierix+christ+before+pilate&page=1)

See also a copy of this print and its description at the Fine Arts Museums of San Francisco: https://art.famsf.org/hieronymus-wierix/christ-pilate-19633015056 (Note that the museum has incorrectly attributed this print to Hieronymus Wierix (Johannes’ brother).

Condition: rich and crisp impression with margins (varying from 1.1–2.4 cm) in excellent condition (i.e. there are no stains, foxing, tears, holes, folds or abrasions and age toning is minimal).

I am selling this small treasure from the Renaissance period for AU$218 (currently US$164.35/EUR145.95/GBP126.81 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this example of engraving of the highest order, 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

Presuming that the British Museum is correct in its attribution of this print to Johannes rather than Hieronymus (despite the “H” in the inscribed initials on the plate) than this opens the tantalising prospect of finding differences in the stylistic traits of both brothers.

From a personal standpoint, my eye is first struck by the difference in the way that both brothers use light and shade. In the case of Hieronymus, he leans towards the use theatrical lighting as seen exemplified in the engraving, “The Flagellation” (see http://www.printsandprinciples.com/2016/06/hieronymus-wierix-aka-heronymous-jerome.html). With this very dramatic type of lighting—what is termed “chiaroscuro”—Hieronymus draws attention to the key subjects portrayed. By contrast, Johannes’ use of light in this print is more evenly spread. In fact, the light is so evenly distributed over the portrayed figures that my eyes are not assured what they should be focusing upon.

This visual confusion is also driven by the arrangement of the figures. In Hieronymus’ compositions the viewer is fairly certain what is important in a scene as a result of size differences in the figures. For example, in Hieronymus’ “Christ before Caiaphas” (see http://www.printsandprinciples.com/2017/05/hieronymus-wierixs-engraving-christ.html) Christ is the tallest figure and the seated Caiaphas is presented as the smallest figure. By showing these extremes of size, the principal figures stand out from the crowd. In the case of Johannes’ print, the figures are virtually all the same height and are all on the same level requiring the viewer to study the scene closely to determine who is important and who is not.

Hieronymus Wierix’s engraving, “Christ before Caiaphas”, 1571

Hieronymus Wierix (aka Hieronymus Wierx; Jerome Wierix) (1553–1619)

“Christ before Caiaphas”, 1571, book illustration from “Humanae Salutis Monumenta” (Antwerp), after the design by Pieter van der Borcht (c.1535–1608)

Engraving on fine laid paper with text (recto and verso).

Size: (leaf) 15.5 x 9.6 cm; (plate) 11.5 x 7.3 cm

Alvin 1866 1625 (L Alvin 1886, “Catalogue raisonné de l'oeuvre des trois frères Jan, Jérome et Antoine Wierix”, Brussels); Mauquoy-Hendrickx 1979 2204 (Marie Mauquoy-Hendrickx 1978, “Les Estampes des Wierix ... catalogue raisonné”, 4 vols., Brussels, Bibliotheque Royale Albert Ier); Hollstein 3.21.I.(32) (Wierix; Book Illustrations) (F W H Hollstein 1949, “Dutch and Flemish etchings, engravings and woodcuts c.1450-1700”, Amsterdam)

The British Museum offers the following description of this print: “Christ before Caiaphas; Christ seen standing to right, with his hands tied; soldiers seen pushing him before Caiaphas, seen seated under a canopy to left” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3054925&partId=1&searchText=wierix+Caiaphas&page=1)

Condition: rich and crisp impression with margins (varying from 1.1–2.1 cm) in near pristine condition (i.e. there are no stains, foxing, tears, holes, folds or abrasions and age toning is minimal).

I am selling this small treasure from the Renaissance period for AU$218 (currently US$162.16/EUR144.90/GBP126.20 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this example of engraving of the highest order, 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

Most printmaking folk already know about the Wierix brothers (Hieronymus, Johannes and Anton II) as they are celebrated for the fine quality of their prints—as exemplified in this remarkably sensitive engraving. What may not be so well known is that despite their sublime skills and exceptional discipline needed to craft prints of the highest order, they were fundamentally what might be described as “bad boys.” To clarify what I mean by this derogatory label, according to Carl Van de Velde (see entry for "Wierix" in Grove Art Online) in 1569 Hieronymous’ employer and famous publisher of the time, Christophe Plantin, “complained to the Jesuit priest Ferdinand Ximenes that whoever wanted to employ the Wierix brothers had to look for them in the taverns, pay their debts and fines and recover their tools, since they would have pawned them.” Moreover, Plantin also wrote that “after having worked for a few days the brothers would return to the tavern.” Bad boys to be sure!! If this behaviour wasn’t bad enough, in a drunken stupor Hieronymus even killed a woman in 1578—unforgivable!

Beyond the reputation for trouble that the brothers seem to have acquired, trouble also lurked in Hieronymus’ intimate family as well. According to Erik Duverger (1985) in “Antwerp Art Inventories of the Seventeenth Century”, his daughter, Christina, married the engraver Jan-Baptist Barbé, who had his “other” daughter Cecilia (his sister-in-law) declared insane in order to claim her inheritance—a set of Dürer drawings (see https://en.wikipedia.org/wiki/Hieronymus_Wierix).

Antonius Wierix’s engraving, “Jonah cast on shore by the fish”, 1585

Antonius Wierix (1555/1559–1604)

“Jonah cast on shore by the fish”, 1585, from a series of four plates (by the Wierix family) after Maarten de Vos (1532–1603), published by Gerard de Jode (1516/17–1591) in “Thesaurus Sacrarum Historiarum veteris testamenti, elegantissimis imaginabus expressum excellentissimorum in hac arte virorum opera: nunc primum in lucem editus” (Treasure holy history of the Old Testament elegant imaginabor expressed in this excellent works of art, now for the first time to light). The curator of the BM advises that the related drawings for the four plates are in the Musée du Louvre, Paris (Lugt 1968, 401-402).

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

Size: (sheet) 23.3 x 29.3 cm; (plate) 19.3 x 25.3 cm

Lettered beneath image in Latin: 'Euomit absorptum caeco de gutture caetus, Redditur et terre qui modo praeda fuit. Ionas Cap. 2. Anto. Wierinc fecit  3“.

Alvin 1866 112 (L. Alvin 1866, “Catalogue raisonné de l'oeuvre des trois frères Jan, Jérome et Antoine Wierix”, Brussels);Hollstein 160 (Maarten de Vos); Mauquoy-Hendrickx 1979 40 (Marie Mauquoy-Hendrickx 1978, ”Les Estampes des Wierix ... catalogue raisonné”, 4 vols., Brussels, Bibliotheque Royale Albert Ier);Hollstein 55.I (Wierix)

The British Museum offers the following description of this print:

“Jonah cast on shore by the fish; a monstrous fish seen to left vomiting the unharmed Jonah on shore, to right; behind, a rocky landscape with a castle and other buildings” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1655175&partId=1&searchText=wierix+Jonah&page=1)

Condition: crisp and well-printed impression with margins and laid onto a conservator’s support sheet. There is a central crease mark and flattened fold marks at the upper right corner.  There are also small losses and repaired tears in the margins.

I am selling this exceptionally rare engraving by arguably the most famous of the Wierix family of engravers for the total cost of AU$378 (currently US$288.11/EUR266.91/GBP230.96 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this visually riveting print, 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

For those unfamiliar with the story of Jonah, be advised that the Latin text lettered below the image may be unhelpful and misleading if one copies it into Google Translate: “'Virus has been absorbed dark throat assembly is returned to the earth which are now prey.” I must admit that I thought Jonah was swallowed by a whale rather than a “fish” but after consulting biserica.org I found the relevant text in “Iona” (Jonah) (chapter 2), “Prayer for deliverance of Jonah” with no mention of a whale, again based on Google’s translation:

“1. God has commanded a great fish to swallow up Jonah. And Jonah was in the belly of the fish three days and three nights. 

2. Where the fish's belly Jonah prayed to the Lord his God, saying: 

3. "I Called Lord in my distress, and he heard me; out of the belly of Sheol I cried to him, and he hearkened to my voice! 

4. Thou hast cast into deep within the sea waves surrounded me; all your waves and your billows passed over me. 

5. and thought: thrown are before your eyes but you see the holy temple again thine 

6. the waters surrounded me on the whole, the deep surrounded me, sea grass coiled around my head 

7 I went down to the bottoms of the mountains, the earth bars were pulled on me forever, but you took my life from corruption, O Lord my God! 

8. When I finally my spirit to the Lord I remembered, and my prayer came to thee, in thy holy temple! 

9 Those who serve worthless idols despise Your grace; 

10. But I I will bring thee offerings voice of praise and all my promises will fulfil them, for salvation is of the Lord!

11. And the Lord commanded the fish and the fish threw up Jonah ashore!"

(http://www.biserica.org/Biblia/VT/Iona/02_index.html)