Sigismund Feyerabend / Monogrammist SF’s woodcut, “Delilah Betrays Samson”, c1565

 

Sigismund Feyerabend (aka Sigmund Feyerabend; Sigmund Feierabend; Sigismund Feyrabend) (1528–1590) / Monogrammist SF

Note that the British Museum proposes the argument that as Feyerabend “began as a wood-engraver in the workshop of Virgil Solis in Nuremberg in the 1550s, … he might be the Monogrammist SF who produced prints designed by Solis during that period (see https://www.britishmuseum.org/collection/term/BIOG27037).

“Delilah Betrays Samson”, c1565 (1550–1580), after the design by either Jost Amman (aka Jost Ammon) (1539–1591) (see https://gallica.bnf.fr/ark:/12148/btv1b105511026/f53.item#) or Johann Melchior Bocksberger (aka Johann Melchior Bocksperger) (1525/35–1587) (see https://www.worldcat.org/title/neuwe-biblische-figuren-dess-alten-vnd-neuwen-testaments/oclc/83989735) or possibly Virgil Solis (1514-1562)—mindful that Solis added woodcut borders to the 220 woodcut plates in the series—published 1562 (BM ed.) and 1564 (Gallica ed.) in Frankfurt am Main by Sigismund Feyerabend and printed by David Zöpfel (aka David Zephelius) (fl.c1555–1563) and Johann Rasch (aka Johann Rasch (fl.1556–1562) (see https://www.britishmuseum.org/collection/object/P_1870-0625-191-411) in “Neuwe biblische Figuren dess Alten und Neuwen Testaments …”.   

Woodcut on laid paper with letterpress German text verso, trimmed with a narrow margin around the image borderline and backed with a support sheet.

Size: (sheet) 11.5 x 16.1 cm; (image borderline) 11 x 15.5 cm.

Monogrammed on plate at lower right: “SF”.

Condition: richly inked strong early impression showing little or no sign of wear to the printing plate with a narrow margin and laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this very strong impression of a 16th century woodcut showing Delilah and a servant cutting a substantial lock of hair from Samson as he sleeps, for the total cost of AU$259 (currently US$197.08/EUR167.59/GBP142.45 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 fascinating woodcut with its invitation to contemplate the sequence of events in the narrative of Samson and Delilah—viz. (from left) the bed and beverage; the slumped Samson being shorn; soldiers arriving at the Delilah’s beckoning; soldiers shearing Samson of his hair—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 

Cornelis Visscher’s engraving (with etching), “Young Shepherd and Shepherdess Near a Tree”, c1648, after Pieter van Laer

Cornelis Visscher II (aka Cornelis Vischer) (1628/9–1658)

“Young Shepherd and Shepherdess Near a Tree” (aka “Jonge herder en herderin bij een boom”), c1648 (1638–1658 [Rijksmuseum attrib.), after Pieter van Laer (aka Pieter Bodding van Laer; Pieter Boddingh; Bamboccio; Pieter Jacobsz van Laer Bamboccio) (1592/9–c1642) and a companion piece to Cornelis Visscher’s “The Robbery of Horses” also after Van Laer (see http://hdl.handle.net/10934/RM0001.COLLECT.191149).

Engraving and etching on laid paper trimmed around the platemark and backed with a support sheet.

Size: (sheet) 36.8 x 29.5 cm.

Inscribed on plate below the image borderline: (left) “P. D. Laer pinx.”; (centre) "Corn. Visscher fecit.”

Hollstein Dutch 55 (Christiaan Schuckman 1992, Dutch and Flemish Engravings, Etchings and Woodcuts, ca. 1450–1700: Cornelis de Visscher, Cornelis Visscher, Hendrick Jansz Visscher, Lambert Visscher”, vol. 40, Roosendaal, Koninklijke Van Poll, pp. 68–70, cat. no.55).

The British Museum offers the following description of this print:

“A resting herd; A young shepherd, peasant girl and resting animals; the boy stands by a tree and points towards two cows; after Pieter van Laer” (https://www.britishmuseum.org/collection/object/P_1839-0413-201).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.191148.

Condition: a strong and well-printed impression, trimmed along the platemark and laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this large pastoral engraving (with etching) from the 17^th century possibly promulgating the idea fostered by the gentry that shepherds are idle folk (see John Barrell’s [1980] “The Dark Side of the Landscape”), for the total cost of AU$267 (currently US$203.27/EUR172.72/GBP146.99 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 romantic image of rural bliss—note how the standing cow’s eye-contact with us (the viewers) subliminally acknowledges that we too are quiet participants in this scene—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 

William Lee-Hankey’s drypoint, "The Fish Wife”, c1915

William Lee-Hankey (1869–1952)

"The Fish Wife”, c1915

Drypoint on cream laid paper (watermarked “ ENGLAND”), hand-signed and annotated with title in pencil and stamped on lower-right corner “MADE IN ENGLAND”, with full margins.

Size: (sheet) 27.3 x 21.5 cm; (plate) 14 x 12.6 cm.

Signed in pencil below platemark: (centre) “W Lee-Hankey inv et del.”

Hand-written in pencil along the lower edge of the sheet: (left) “The Fish Wife”.

Stamped in ink on lower edge of the sheet: (right) “MADE IN ENGLAND.”

The Toledo Museum of Art offers a brief description of this print: http://emuseum.toledomuseum.org/objects/50888/the-fish-wife

Condition: a well-printed, near faultless, pencil-signed impression with full margins. Beyond slight rumpling in the lower margin, the sheet is in excellent condition with no tears, holes, losses, abrasions, significant stains or foxing.

I am selling this sensitively executed portrayal of an elderly woman—note how the 3-D treatment of the woman’s face enlivens the largely 2-D background forms to create (at least to my eyes) a dynamic illusion of reality—for the total cost of AU$336 (currently US$255.81/EUR217.36/GBP184.97 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 superb drypoint by one of the influential printmakers at the beginning of the 20^th century—note how the velvety burr of the drypoint lines are used to create spatial distance between the woman’s arm and the background—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Hendrik Goltzius’ engraving, “The Martyrdom of Saint Philip the Apostle”, c1580, after Maarten de Vos

Hendrik Goltzius (aka Hendrick Goltzius)  (1558–1617)

“The Martyrdom of Saint Philip the Apostle” (aka “The martyrdom of Saint Philippe”; “Het martelaarschap van Filippus”), 1577–1582, plate 7 from the series of 12 engravings, “The Martyrdom of Christ and the Apostles” (aka “Het martelaarschap van Christus en de apostelen”), after the design by Maarten de Vos (aka Maarten de Vos; Maerten de Vos) (1532–1603), published in Antwerp by Aux Quatre Vents (To the Four Winds)—a firm established by Hieronymus Cock (1505-1575) in 1548, but this print was published when the firm was taken over by Cock’s widow, Volcxken Diercx, until her death in 1600.

Regarding the number of plates in the series, according to the Rijksmuseum there are 13 engravings in the series, but the TIB catalogue advises that there are 12 plates in the series [see 0301.294a]) and cites the numbers inscribed on the plates. The anomaly with the Rijksmuseum's count of 13 in the series may have arisen because the inscribed number (“11”) on plate 11, “The Martyrdom of Saint Paul”, was altered to “13” in the second state.

Engraving on laid paper trimmed around the image borderline (with loss of the margin text) and backed with a support sheet.

Size: (sheet) 19.9 x 28.9 cm.

Inscribed on plate: (upper right) “ S. Philippus.”; (almost completely erased below shovel at lower left): “[Aux.4.vents]”.

TIB 0301.295b (Walter L Strauss [ed.] 1982, “The Illustrated Bartsch: Netherlandish Artists: Hendrik Goltzius”, vol. 3 [Commentary], Abaris Books, New York, p. 330, cat. no. [0301].195b); Hollstein Dutch 356

The Rijksmuseum offers the following description of this print:

(Transl.) “Philip is crucified; to the right of the scene of his martyrdom he is depicted again, with a cross in one hand and a book in the other. Two lines of Latin underneath the depiction. This print is part of a series of 13 prints of Christ (unnumbered) and the apostles (numbered), more specifically of the torture they underwent” (http://hdl.handle.net/10934/RM0001.COLLECT.450857).

Condition: a strong and well-printed impression, trimmed around the image borderline (with loss of the text in the lower margin) and laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in an excellent condition with no tears, holes, folds, significant stains or foxing.

I am selling this exceptionally rare engraving—note that the British Museum does not hold a copy of this print—executed at the very beginning of Goltzius’ career as one of the most important of the old master printmakers, for the total cost of AU$512 (currently US$390.72/EUR331.69/GBP282.29 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 early work by one of history’s most important printmakers, 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 

Claudine Bouzonnet Stella’s etching (with engraving), “Shepherds Resting on a Seesaw”, 1667, after Jacques Stella

Claudine Bouzonnet Stella (aka Claudia Bouzonnet-Stella; Claudine Bouzonnet; Claudia Stella) (1636–1697)

“Shepherds Resting on a Seesaw” (aka “Rustende herders spelend op een wip”), 1667, after a painting by Claudine’s uncle, Jacques Stella (1596–1657), plate 11 from the series of 16 plates and an engraved frontispiece, “Pastorales”, published in Paris by Claudine Bouzonnet Stella with royal privilege (Louis XIV [King of France]).

Jamie Mulherron’s (2008) journal article in Print Quarterly (vol. 25, no. 4), “Claudine Bouzonnet, Jacques Stella and the Pastorales”, raises an interesting connundrum regarding this print and the others in the series:

“The prints are conventionally described as engraved by Claudine Bouzonnet Stella (1636-97) after a set of paintings by her uncle Jacques Stella (1596-1657) … . But it has long been suspected that the situation was more complicated than this—there may never have been a set of paintings, and perhaps the designer was Claudine rather than Jacques” (p. 393; see https://www.jstor.org/stable/41826919).

Etching and engraving on laid paper trimmed around the platemark on three sides and slightly within the platemark on the right side and backed with a support sheet.

Size: (sheet) 24.9 x 31.6 cm.

Inscribed on plate along the lower edge: (right of centre) “J. Stella p.”; “Claudia Stella Sculp.”; “cum priuit. Regis”; “[11]”.

IFF 17e siècle 111 (Département des estampes [verzamelaar] 1939–, “Inventaire du Fonds Français: Graveurs du XVIIe Siècle”, vol. 2, Paris, Bibliothèque Nationale, p. 88, cat. no. 111); LeBlanc 20 (Ch. Leblanc 1854[–1889], “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. 3, Paris, p. 589, cat. no. 20).

The Rijksmuseum offers the following description of this print:

“Landscape with a group of shepherds on a tree trunk that they use as a seesaw. Next to it a woman playing the flute” (http://hdl.handle.net/10934/RM0001.COLLECT.749376).

Condition: a strong and well-printed impression, trimmed close to the image borderline and laid onto a support sheet of archival (millennium quality) washi paper. There are several restored tears along the lower edge; otherwise the sheet is in a good condition with no significant stains or foxing.

I am selling this important etching (with engraving) by one of the major female printmakers of the 1600s whose portrayal of rural folk was so influential that Jamie Mulherron (2008) proposes that without the series of which this print is a part, “the profusion of pastoral imagery in the eighteenth century would be almost unthinkable” (op. cit., p.393), for the total cost of AU$298 (currently US$224.99/EUR191.76/GBP163.48 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 major print by a Renaissance female printmaker, 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