Bolognino Zaltieri, “Sirens”, c.1571

Bolognino Zaltieri (fl.1555–1576)

“Sirens”, c.1571 (see https://www.christies.com/en/lot/lot-5698355), printed by Guichard Lullieron (fr.1574–1607) and published by Stephanum Michaelem in Lugduni (now Lyon, France), in the 1581 Latin edition translated by Antoine du Verdier of Vincenzo Cartari’s (1520/31–1569/71) “Imagines deorum, qui ab antiquis colebantur: in quibus simulacra, ritus, caerimoniae, magnaq[ue] ex parte veterum religio explicatur” (Images of the gods who were worshipped by the ancients: in which the images, rites, ceremonies, and great religion of the ancients are explained), as a woodcut illustration to page 167.

Archive.org offers an online view of this print in this publication; see https://archive.org/details/ARes63505/page/n177/mode/2up. Although this impression is from the Latin edition, the woodcut was also published in the same year (1581) in an Italian edition by Barthélemy Honorat (aka Bartholomeo Honorati) (c.1550–1589) on page 205; see https://archive.org/details/McGillLibrary-rbsc_imagini-antichi_BL720C21581a-16006/page/204/mode/2up.

Woodcut on laid paper, trimmed with a narrow margin and backed with a support sheet.

Size: (sheet) 13.5 x 10cm; (image borderline) 13.3 x 9.7cm.

Condition: a well-printed early impression (based on the line quality showing no sign of wear to the printing plate) in an excellent condition with no significant stains, trimmed around to the image borderline with a narrow margin and laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this remarkable woodcut showing a bevy of sirens from the legendary island of Anthemoessea (or Anthemusa) in the waters near Capri (Italy) making music to bewitch beguilable sailors to their doom—note the bones of soft-eyed sailors who succumbed to the sirens’ charms—for AU $253 in total (currently/approximately US $158.18/ EUR 151.60/ GBP 125.86 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 $253) as this is my currency.

If you are interested in acquiring this finely executed woodcut from the late Renaissance period, 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

Augustin Hirschvogel, “The Temptation of Christ”, 1548

Augustin Hirschvogel (1503–1553)

“The Temptation of Christ” (TIB title), 1548 (date inscribed in plate), plate 23 (TIB) from the series of 104 plates published in Vienna in 1550 by Aegidius Adler (fl.mid-1500s) in “Vorredt und eingang der Concordantzen alt und news Testaments."

Etching on fine laid paper, trimmed with a narrow margin around the image borderline (with loss of the accompanying letterpress text [see https://www.nga.gov/collection/art-object-page.39380.html]) and backed with a support sheet.

Size: (sheet) 11.7 x 14.8cm; (image borderline) 11.5 x 14.5cm.

Inscribed in plate within the image borderline: (lower right corner) “1548”.

TIB 18.1.23 (Jane S Peters [ed.] 1982, “The Illustrated Bartsch: German Masters of the Sixteenth Century”, Abaris Books, New York, vol. 18, p. 117, cat. no. 1.23); Schwarz 22.

The British Museum offers the following description of this print: “Temptation of Christ; Christ at left, facing Satan in cloak and cane, seen from behind, smaller scene with Christ and Satan at cliff in background, accompanied by German biblical verse to Matthew 4 in letterpress; printed to face the antetype of Adam and Eve; illustration to Peter Perenyi and Augustin Hirschvogel, 'Vorredt und eingang der Concordantzen alt und news Testaments, durch Pereny Petri... Und nachuolgents durch Augustin Hirßfogel... erweytert' (Vienna, Aegidius Adler: 1550). 1548” (https://www.britishmuseum.org/collection/object/P_1926-0617-13-23 [BM inv.no. 1926,0617.13.23]).

The Curator of the British Museum advises that Adler’s publication features “[t]wo etchings to a page with German letterpress above and below with relevant biblical passages” (op. cit.). TIB notes that this print is paired with the etching “The Fall of Man” (TIB 18.1.22 [https://www.britishmuseum.org/collection/object/P_1926-0617-13-21])

Condition: a strong and well-printed lifetime impression (based on the line quality with no sign of wear to the printing plate), trimmed around to the image borderline and laid onto a support sheet of archival (millennium quality) washi paper. Beyond a few marks, the sheet is in a very good condition for its considerable age with no tears, folds or significant stains.

I am selling this very early and extremely rare etching illustrating an Old Testament scene from Matthew 4, for AU $310 in total (currently/approximately US $193.09/ EUR 186.25/ GBP 154.56 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$310) as this is my currency.

If you are interested in acquiring this Renaissance period print executed in Michelangelo’s lifetime by the artist who arguably popularised the great Albrecht Altdorfer’s somewhat panoramic approach to landscape, 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

Jan Both, “Two Cows by the Water”, c.1645

Jan Both (aka. Jan Dirksz Both) (1618/22–1652)

“Two Cows by the Water” (TIB title) (aka “Vue de Tivoli”), c.1645 (1636–1652 [BM]) from the series of six plates, “Six Horizontal Landscapes” (TIB title) (aka “Views of Rome and its Surroundings”).

Etching on fine laid paper trimmed with a thread margin around the platemark and backed with a support sheet.

Size: (sheet) 20.4 x 28.2cm; (plate) 20.3 x 28.1cm; (image borderline) 19.8 x 27.6cm.

Inscribed in plate: (lower left corner) “Both fe”.

The British Museum offers the following description of this print: “View of Tivoli with two cowherds in conversation. Landscape with also two cows standing on the banks of the river at right, buildings in left middle distance, and ruins of Hadrian's Villa in right background; from a series of six plates” (https://www.britishmuseum.org/collection/object/P_F-2-80 [BM inv.no. F,2.80]).

See also the description offered by the Rijksmuseum: https://id.rijksmuseum.nl/200127138.

TIB 7.8 (Otto Naumann [ed.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, New York, Abaris Books, vol. 7, p. 14, cat. no. 8 [209]); Hollstein 8.

Condition: a strong and well-printed impression, trimmed along the platemark and laid upon a support of archival (millennium quality) washi paper. Beyond minor darkening (possibly the intrinsic colour of the paper and ink?), the sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this exceptionally fine etching showing the Aniene River with travellers and cows close to Hadrian’s Villa that is around 6 to 7kms from Tivoli—interestingly, today’s travellers are advised not to walk from Hadrian’s Villa to Tivoli despite the reasonably manageable distance because of traffic dangers—for AU $349 in total (currently US $217.42/ EUR 209.46/ GBP 172.71 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 $349) as this is my currency.

If you are interested in purchasing this remarkable 17th century print by an artist that Clifford S Ackley (1981) in “Printmaking in the Age of Rembrandt” (Boston Museum of Fine Arts cat.) proposes was “searching for the black and white equivalent of the golden haze of southern light that vaporises or makes the forms of the landscape translucent …” (p. 176), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Giuseppe Longhi & Pietro Anderloni, “The Vision of Ezekiel”, 1808, after Raphael

Giuseppe Longhi (1766–1831) and Pietro Anderloni (1785–1849)

“The Vision of Ezekiel” (aka “Visione D'Ezechiello”), 1808, published in Milan in 1811, engraving after Raphael’s (1483–1520) painting (c.1518) that is the same size as the engraving (see https://commons.wikimedia.org/wiki/File:Raphael_-_Ezekiel%27s_Vision.jpg), in the Galleria Palatina, Palazzo Pitti in Florence.

Engraving on fine wove paper, trimmed with a small margin around the image borderline and writing edge.

Size: (sheet) 46.8 x 32.6cm; (image borderline) 39.2 x 29.7cm.

Lettered in plate below the image borderline: (left) “Raffaello Sanzio inv.”; (centre) “Anderloni inc./ VISIONE D'EZECHIELLO/ L'originale di Raffaello d'Urbino esiste nel. Museo/ Imperiale di Parigi./ Pubblicata in Milano 1811 (right) “Longhi dir, ^ee term^ó.”

Interestingly, Giuseppe Longhi must have executed an earlier version of this engraving in the reverse direction to this copy, as GK Nagler (1839) in “Neues allgemeines Künstler-Lexicon oder Nachrichten von dem Leben und den Werken der Maler, Bildhauer, Kupferstecher, Formschneider, Lithographen”, Munich, EA Fleischmann. vol. 8, p. 41, cat. 40, offers the following description to a print by Giuseppe Longhi: (transl.) “The Vision of Ezekiel, after Raphael, 1803. Musee Napoleon. Rare. P. Anderloni copied this sheet in reverse under Longhi's direction”.

Louis Fagan 1876, “Handbook to the Department of Prints and Drawings in the British Museum”, London, George Bell & Sons, p. 37, cat. no. 3 (https://upload.wikimedia.org/wikipedia/commons/d/d9/Handbook_to_the_Department_of_prints_and_drawings_in_the_British_museum_%28IA_handbooktodepart00britiala%29.pdf).

The British Museum offers the following description of this print: “The vision of Ezechiel who is airborne supported by two putti, a winged lion, bull and an eagle, after Raphael. c. 1808/ Engraving” (https://www.britishmuseum.org/collection/object/P_1854-0211-72 [BM inv.no. 1854,0211.72]).

Condition: a strong and near faultless impression with small margins. Beyond restoration to the margin corners, the sheet is in a very good condition for its size and age with no holes, folds or significant stains.

I am selling this large and superbly executed engraving showing the prophet Ezekiel's vision of God borne above the clouds by the symbols of the four Evangelists and angels, for the total cost of AU$271 (currently US $171.40/ EUR 163.21/ GBP 134.91 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$271) as this is my currency.

If you are interested in purchasing this visually arresting and magnificent engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jan Sadeler I, “Saint Landelinus”, 1595–1600, after Maarten de Vos

Jan Sadeler I (aka Johannes Sadeler; Johann Sadeler) (1550–1600)

“Saint Landelinus” (TIB title)—aka Landelin of Crespin; Lando; Landolin; Landolinus of Lobbes (c.1625–c.686), monastery founder and abbot in Hainaut (see https://de.wikipedia.org/wiki/Landelin_von_Crespin), 1595–1600, after a lost drawing by Maarten de Vos (aka Maarten de Vos; Maerten de Vos) (1532–1603), plate 17 in the series, “Oraculum Anachoreticum” (aka “Hermits”), published by Jan Sadeler in Venice with privilege from Rudolf II of Habsburg.

Engraving on fine laid paper, trimmed around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 16.8 x 20.9cm.

Inscribed in plate within the image borderline: (lower left) "Ioa[n] Sadeler fe. vos fi.”; (lower right) “Cum priuil. Su[m]mi Pont. et Sac. Cæs. Maies.”

Lettered in plate below the image borderline: “LANDELINVS …/ …// 17// …/ …/ …aquas.”

State i (of ii) before the erasure of the number “17”.

TIB 7001.417 SI (Isabelle de Ramaix 2001, “The Illustrated Bartsch: Johan Sadeler I”, vol. 70, Part 2 [Supplement], New York, Abaris Books, p. 290, cat. no. [7001].417); Hollstein 447 (1980, vol. 21, cat. no. 447); Hollstein 1067 (1995–96, vol. 44, cat. no. 1067).

The British Museum offers the following description of this print:

“St Landelinus praying before a water spring in a cliff with monks constructing a hut above; a hillside with various dwellings and a chapel; plate 17; after Maarten de Vos” (https://www.britishmuseum.org/collection/object/P_1958-0712-237 [BM inv.no. 1958,0712.237).

Condition: a strong and near faultless lifetime impression, trimmed around the platemark and laid upon an archival support sheet of millennium quality washi paper. The sheet is in an excellent (near perfect) condition for its considerable age with no tears, holes or stains.

I am selling this incredibly beautiful engraving executed with great subtlety—note how the engraver has darkened the immediate background around the lit side of the saint and lightened the background on the saint’s shadow side—for the total cost of AU$340 (currently US $216.53/ EUR 205.72/ GBP 170.60 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$340) as this is my currency.

If you are interested in purchasing this simply glorious print—a lifetime, first state impression—executed with the most sensitive of touches, 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