Hieronymus Wierix, “Landscape with Saint Sebastian”, c,1600

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

“Landscape with Saint Sebastian” (aka “Landschap met de H Sebastiaan”), c.1600 (Rijksmuseum dates: 1563–1619), published in Antwerp by Hieronymus Wierix with privilege from Joachim de Buschere (secretary to the Board of Brabant).

Engraving on laid paper, trimmed around the image borderline with loss of the writing edge and backed with a support sheet providing wide margins.

Size: (sheet) 7.5 x 5.2 cm.

Mauquoy-Hendrickx 1289 (Marie Mauquoy-Hendrickx 1978, “Les Estampes Des Wierix”, vol. 1, Brussels, Bibliotheque Royale Albert, [text] p. 228, [ill.] p. 169); Hollstein Dutch 1637.

The Rijksmuseum offers the following description of this print: (transl.) “Saint Sebastian is tied to a tree. Arrows have pierced into his body. In the background a view of a city. In the margin a Bible quote from Sir. 4 in Latin” (http://hdl.handle.net/10934/RM0001.COLLECT.332189).

Condition: a strong and well-printed impression—a lifetime impression based on the quality of the line showing no sign of wear to the printing plate—trimmed around the image and lines of text and laid onto a support of archival (millennium quality) washi paper providing wide margins. Beyond two restored nicks to the left edge, the sheet is in a very good condition for its considerable age with no significant stains.

I am selling this startlingly fine engraving—a true masterwork of engraving—for AU$256 in total (currently/approximately US$170.62/ EUR157.07/ GBP134.79 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. Note that payment is in Australian dollars (AU$256) as this is my currency.

If you are interested in purchasing this tiny, jewel-like 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

Charles Morel’s engraving, “Mary Intercedes for a Supplicant”, 1879, after Hieronymus Wierix and Hendrik van Balen

Charles Morel (1861–1908)

“Mary Intercedes for a Supplicant” (aka “Frondeo frugis mops..”), 1879, a pencil-signed impression with a dedication to the Mayor of Rouen, Auguste Lebond (1856–1934), after Hieronymus Wierix’s (aka Jerome Wierix; Hieronymus Wierx) (1553–1619) engraving (with variations), “Maria bemiddelt voor een smekeling” (1563–[before]1619) (see http://hdl.handle.net/10934/RM0001.COLLECT.332416), following the design by Hendrik van Balen I (aka Henricus van Baelen) (1575–1632).

Regarding the portrayed subject, the British Museum offers the following description of Wierix’s engraving on which this print is based: “Christ seen next to a tree, about to sound a bell hanging from one of its bran[c]hes; the Virgin, kneeling to right, interceding for the life of a man, seen kneeling next to the tree; Death seen behind to left about to strike the tree with an axe and Satan trying to bring the tree down” (https://www.britishmuseum.org/collection/object/P_1859-0709-3215).

Engraving with an engraved remarque of a head (possibly the Mayor of Rouen? [cf. https://commons.wikimedia.org/wiki/Category:Auguste_Leblond]) on Japanese paper (imitation vellum?) signed in pencil with a dedication to the Mayor of Rouen, Auguste Lebond.

Size: (sheet) 28.3 x 20 cm; (faint platemark); (outer image borderline) 11.8 x 8.9 cm.

Inscribed in plate within the inner image borderline: (lower left) “ch. Morel [S]cu[lp]t  20.10.79”.

Lettered in plate below the inner image borderline in two columns of two lines of Latin: “Frondeo frugis mops/ Iudicis extentam// Si mors secat attrabet orcus,/ Virgo, morare manun”.

Condition: a strong impression. The sheet is in a near pristine condition with no tears, holes, folds, abrasions or significant stains.

I am selling this small artist’s proof engraving that is pencil-signed and with an engraved remarque of a head that (to my eyes) resembles Auguste Lebond (the mayor of Rouen at the time when Monet was painting his famous series of the Rouen Cathedral) and to whom the artist has inscribed a dedication, for AU$237 (currently US$156.50/EUR143.39/GBP122.90 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 rough little nugget of an engraving based on Hieronymus Wierix’s engraving and, in turn, after the design by Hendrik van Balen, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Hieronymus Wierix’s engraving, “Jonah Fleeing the Presence of the Lord”, 1585, after Maarten de Vos

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

“Jonah Fleeing the Presence of the Lord” (aka “Jonah is commanded by God to go to Nineveh”; “Jonas reçoit de Dieu l’ordre d’aller à Ninive”; “Jona's roeping en weigering om naar Nineve te gaan”), 1585, plate 1 from the series of four plates, “History of Jonas” (aka “Geschiedenis van Jona”—mindful that in the second edition Claes Jansz. Visscher (aka Nicolaes Jansz.Visscher; Piscator) (1587–1652) added a fifth plate (plate 4 in the sequence) that is now doubted to be by the hand of Hieronymus Wierix (see Mauquoy-Hendrickx [1978], Part 1, p. 6, cat. nos. 38–41)—after the design by Maarten de Vos (aka Maarten de Vos; Maerten de Vos) (1532–1603), published in Antwerp by Gerard de Jode (aka Geeraert de Jode; Geerart de Jode; Gerardo de Jode; Gheerde de Jode; Gheraerde de Jode; Girard de Jode; Gerard de Jode (1516/17–1591).

Engraving on laid paper watermarked with a double-headed eagle on shield, trimmed with a narrow margin around the image borderline and writing edge.

Size: (sheet) 18.7 x 25.4 cm; (image borderline) 17.7 x 24.9 cm.

Lettered in plate below the image borderline: “Mittitur ad Niniues celeberrima mœnia Jonas, Imperium domini sed tamen ille fugit. Jonas Cap. 1. Leronim⁹. Wierinc fecit.”

State ii (of v) This is a lifetime impression that still retains the lettering guide lines. From what I am able to determine, this impression is from the second of five states, before the plate number “1” is added (third state) and before the representation of God shown at upper-left is erased and replaced with God’s name in Hebrew (fourth state).

Mauquoy-Hendrickx 38 ([Marie Mauquoy-Hendrickx 1978, “Les Estampes Des Wierix”, Part 1, Brussels, Bibliotheque Royale Albert, p. 6, cat. no. 38); Hollstein Dutch 53–2(4); Mielke 41.

The Rijksmuseum offers the following description of this print: (transl.) “Jonah is sent by God the Father to the city of Nineveh. Jonah does not want to and flees to Tarshish in a ship. Jonah already points to the ship he will take. Below the image a reference in Latin to the Bible text in Jonah 1” (http://hdl.handle.net/10934/RM0001.COLLECT.531037).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1877-0811-1118.

Condition: a strong and near faultless impression, trimmed with a narrow margin around the image borderline and writing edge. Beyond a collector’s note in ink beside the fecit note (verso) and minor staining in the harbour view, the sheet is in very good condition with no tears, holes, folds, abrasions or foxing.

I am selling this superb lifetime impression from the Renaissance period executed by one of the major old master printmakers, for AU$337 (currently US$227.63/EUR213.79/GBP189.24 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 strong and beautifully executed 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

Francesco Corsi’s engraving “St Luigi Gonzaga”, early 1800s

Francesco Corsi (fl.1800–1850)

“St Luigi Gonzaga” (aka “S Luigi Gonzaga Angelio in Carne”), early 1800s, interpretative engraving of Saint Aloysius Gonzaga (aka Luigi Gonzaga; St Louis Gonzaga) (1568–1591), possibly after the portrayed head of the saint shown in the same direction in Hieronymus (Jerome) Wierix’s (1553–1619) engraving, “Saint Louis de Gonzague (Saint Aloyius Gonzaga)”, c1610, (Mauquoy-Hendrickx 1219 [Marie Mauquoy-Hendrickx 1978, “Les Estampes Des Wierix”, vol. 2, cat. no. 1219, (text) p. 219, (ill.) p. 161]) after the intermediary design by Luisa Corsi (born 1830). Note that the inscription in the plate at lower left advises: “L'originale existe nel Collegio Romano” (The original exists in the Roman College).

The British Museum offers the following biographical details regarding the portrayed saint: “Jesuit Saint, born from the noble family in Castiglione, near Mantua. Entered the Society of Jesus in Rome 1585. His spiritual director was Roberto Bellarmino. Renowned for his austerity and early vocation. Was beatified by Pope Gregory XV in 1621. Canonised 1726 by Pope Benedict XIII. Died very young and is buried in the Church of Sant'Ignazio, Rome” (https://www.britishmuseum.org/collection/term/BIOG115485). See also the marvellous account of the saint’s life offered by the website “THE JESUITS”: https://www.jesuits.global/saint-blessed/saint-aloysius-gonzaga/.

Engraving on laid paper, a small margin at the top and sides and trimmed along the platemark at the lower edge, backed with a support sheet. Below the image borderline is a dedication to Signor Canonico who I understand is a member of the Florentine Rosselli del Turco family whose patron is the portrayed saint (my apologies if this is inaccurate). I understand that Pier Francesco del Turco was the saint’s teacher when he attended the Roman College (Collegio Romano).

Size: (sheet) 34.1 x 27.4 cm; (plate) 32.2 x 24 cm; (image borderline) 27.2 x 21.5 cm.

Lettered in plate below the image borderline: (left) “Luisa Corsi dis./ L'originale existe nel Collegio Romano”; (centre) “S. LUIGI GONZAGA ANGELIO IN CARNE/ All' Iltimo: e Revmo. [coat-of-arms with motto “IN MEDIO VIRTUS”] Signor Canonico/ Vincenzo Rosselli […] gia Del Turco/ Agnato di Pier […] Francesco Del Turco/ Ajo del medesimo Santo.”; (right) “Franco. Corsi inc./ Francesco Corsi D.D.D.”

Condition: a strong and well-printed impression with a small margin around the top and sides, but trimmed along the platemark on the lower edge. There is a significant restored tear crossing the writing edge, marks in the margin and a minor abrasion below the saint’s nose. The sheet is laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this sensitively and very beautiful engraving of a exemplary young saint—a student of great wealth, privilege and heir to the title of the Gonzagas family famous as patrons of Renaissance artists—who cared for and carried plague victims from the street even though he knew he would die for his selfless sacrifice, for AU$227 (currently US$160.14/EUR152.13/GBP130.10 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 serene study of a young saint, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Hieronymus Wierix’s engraving, “Descent from the Cross”, c1590

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

“Descent from the Cross” (aka “La Descente de Croix”; “The Deposition of Christ” [BM title]), c1590, from the series, “The Passion of Christ”, consisting of either fifteen engravings (including the title plate) as proposed by the British Museum (see inv. no. 1859,0709.3062), or plate 7 in a suite of nine plates as advised in Mauquoy-Hendrickx’s (1978) catalogue raisonné for the Wierx brothers (see vol. 1, p. 31), published by Hieronymus Wierix in Antwerp with privilege granted by Joachim de Buschere.

Engraving on laid paper trimmed slightly within the platemark and backed with a support sheet.

Size: (sheet) 9.7 x 6.3 cm.

Inscribed in plate within the image borderline: (upper right corner) “fol./ 283.”

Lettered below the image borderline: (centre) “Deponentes eum de ligno, posuerunt/ in momumento. Actor. 11./ Hieronymus Wierx fecit et excud. Cum Gratïa et Priuilegio. Buschere”

State ii (of ii) with the addition of text at upper right (“fol./ 283.”).

Mauquoy-Hendrickx 206 (Marie Mauquoy-Hendrickx 1978, “Les Estampes Des Wierix”, vol. 1, [text] p. 32, cat. no. 206, [ill.] p. 24); Hollstein 255 (Wierix).

The British Museum offers the following description of this print:

“Descent from the Cross; St Joseph of Arimathaea and Nicodemus seen lowering the body of Christ from the cross at centre; other figures seen on either side, including Virgin Mary with her hands clasped in prayer, seen to left, and the Magdalen seen on profile; various instruments of the Passion seen on the foreground, to right. Engraving” (https://www.britishmuseum.org/collection/object/P_1859-0709-3062).

Condition: a strong and well-printed impression with restored tears to the upper corners and laid onto a support of archival (millennium quality) washi paper.

I am selling this jewel-like masterwork of engraving for AU$303 in total (currently US$218.55/EUR192.15/GBP160.43 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 engraving by one of the most famous of the old master engravers—note that the incredibly fine detail in this image has been inscribed in a space about half the size of an iPhone screen and that each of the portrayed heads is smaller than a coffee bean!—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