Hans Holbein the Younger’s nine alphabet woodcuts, 1522

Hans Holbein the Younger (1497–1543)

“Nine woodcut majuscule letters featuring animals” (descriptive title only), 1522, printed and possibly cut by Curio Valentine (fl.1522–34) in Basel according to the designs of Hans Holbein II (see the collection of these alphabet letters in the Victoria & Albert Museum: https://collections.vam.ac.uk/name/valentine-curio/AUTH339050/).

Woodcut on laid paper with letterpress Latin text verso trimmed close to the image borderline.

Size of letter “Q”: (image borderline) 2.7 x 2.6 cm

Ref.: Oscar Jennings 1908, “Early woodcut initials; containing over thirteen hundred reproductions of ornamental letters of the fifteenth and sixteenth centuries, selected and annotated by Oscar Jennings”, London, Methuen & Co., p.140.

Condition: well inked and well printed early impressions showing minimal wear to the printing plate, trimmed with thread margins to the image borderline in excellent condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing) with Latin text verso (as published).

I am selling this set of nine strong woodcut impressions executed in Michelangelo’s lifetime for AU$324 (i.e. AU$36 each) (US$228.64/EUR199.62/GBP178.93 at the time of this listing for the set) including postage and handling to anywhere in the world.

If you are interested in purchasing these amazing alphabet letters designed by one of the most famous portrait painters of the 16^th century (see Holbein’s “Portrait of Henry VIII of England”), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

These prints have been sold

Cornelis Cort’s engraving, “The Triumph of Pride”, 1564, after Maerten van Heemskerck

Cornelis Cort (1533–1578)

“The Triumph of Pride”, 1564, plate three from the series of nine engravings featuring “triumphal wagons from the Antwerp Circumcision procession of 1561” (see Rijksmuseum description: RP-P-1963-170) after Maerten van Heemskerck (1498–1574) (New Hollstein 482-490), published by Joannes Galle (1600–1676) (published previously by Joannes’ father, Theodor Galle [1571–1633] and earlier by Hieronymus Cock [c1510–1570]). Note: the related drawings for this and the other prints in the series are in the Statens Museum for Kunst, Copenhagen (see BM No. 1868,0208.49 for the Curator of British Museum’s discussion about the series).

Engraving on laid paper with margins on the bottom and left sides, trimmed to the image borderline at the top and right sides, and backed with a support sheet.

Size: (sheet) 22.5 x 30.2 cm

Inscribed on plate within the image borderline: (lower left) "MHeemskerck inue. / Ioan. Galle exc"; (lower right) "3"; (near each allegorical figure personified from left) “Curiostas”; “Pertinacia”; “Lactantia”; Inobedientia”; “Contemptus”; “Inuidia[m?]; “Superbia”; "Derisio”.

Lettered on plate below the image borderline in two strapwork cartouches with three lines of text in each listing the allegorical figures: “SVPERBIA INVIDIAM  .../ …/ …//…/ …/ …DERISIO".

State iii (of iii) with publication details for “Ioan Galle” (aka Joannes Galle) and reversal/correction of the earlier mirror-image number, “3”.

Riggs 1977 146 (unidentified engraver) (Timothy Riggs 1977, “Hieronymus Cock, Printmaker and Publisher”, New York, Garland Press); New Hollstein (Dutch & Flemish) 149 (Cornelis Cort); New Hollstein (Dutch & Flemish) 484.III (Maarten van Heemskerck); Bierens de Haan 1948 (Coornhert) (J C J Bierens de Haan 1948, “L'oeuvre gravé de Cornelis Cort, graveur hollandais 1533-1578”, The Hague, pp. 213-14).

Note: this print was previously attributed to Dirk Volkertsz Coornhert (1522–1590) but this attribution is now rejected.

The British Museum offers the following description of this print;

“The triumph of Pride; 'Superbia', holding a mirror and peacock feather, sits atop a chariot driven by 'Contemptus', brandishing a whip; the chariot is accompanied by allegorical figures, including 'Derisio', holding two ears; after Heemskerck. 1564”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1526501&partId=1&people=121583&peoA=121583-2-23&page=2)

See also the Rijksmuseum’s description of this print:

(transl.) “The personification of Pride sits on a triumphal car driving through an ancient city. She can be recognized by the mirror and the peacock. The triumphal car is drawn by two horses and controlled by the personification of Contempt. Other vices walk with the car. Print from a series of nine prints with triumphal cars from the Antwerp Circumcision procession of 1561. The personifications on the wagons together depict the cycle of human action.”

(http://hdl.handle.net/10934/RM0001.COLLECT.479941)

Condition: crisp and well-printed impression with small margins around the platemark on the left and lower edge, trimmed along the image borderline on the right and upper edge. The sheet is in excellent condition in terms of being free of holes, creases, abrasions, significant stains, foxing or signs of handling, but there is a closed tear (approximately 1 cm) on the lower edge. The sheet has been laid upon a support sheet of archival (millennium quality) washi paper.

I am selling this allegory set against an townscape of Roman antiquity about the attendant miseries of pride personified in mythological figures—the grim figure of Envy (Invidia) shown sucking on a heart at the feet of Pride (Superbia) portrayed seated on the wagon pulled by the horses Curiosity (Curiostas) and Pertinacity (Pertinatia) that are being driven by whip wielding Contempt (Contempus) accompanied by Ostentatiousness (Jactantia), Insubordination (Inobedientia) and Derision (Derisio)—for AU$430 (currently US$302.99/EUR264.69/GBP238.56 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 this remarkable Renaissance period engraving saturated with symbolism, 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

Daniël Vrijdag’s engraving, “Portrait of Pastor Gellius de Bouma”, c1800, after Cornelis Visscher

Daniël Vrijdag (aka Daniel Vrydag) (1765–1822)

“Portrait of Pastor Gellius de Bouma (1579–1658)”, 1780–1822, after a detail of the engraving by Cornelis Visscher ll (1628/9–1658), “Gellius de Bouma Ecclesiastes Zutphaniensis out int 77 jaer er int 55 jaer van zyn bedieninghe”, c1656 (BM no. 1839,0413.275).

Engraving on buff coloured laid paper with wide margins.

Size: (sheet) 36.6 x 30 cm; (plate) 19.9 x 19.9 cm

Inscribed on plate below the image borderline: (right) “D.Vrydag  f. naar C.Visscher”

Van Someren 716 (J.F. van Someren 1888–91, “Beschrijvende catalogus van gegraveerde portretten van Nederlanders: vervolg op Frederik Mullers catalogus van 7000 portretten van Nederlanders”, Amsterdam, p. 150, cat.no. 716).; Hollstein Dutch 141 (copy in reverse).

See also the description of this print offered by the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.192656

Condition: crisp, near faultless impression on buff coloured laid paper with wide margins in excellent condition apart from small tears to the right edge of the margin (i.e. there are no holes, abrasions, stains or foxing).

I am selling this superb engraving exemplifying the patience and technical skill of late 18^th century engravers, for AU$172 in total (currently US$121.20/EUR105.88/GBP95.43 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 masterwork of 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

Stefano della Bella’s etching, “Two studies of heads”, c1646

Stefano della Bella (1610–1664)

“Two studies of heads” (descriptive title only), c1646, from the series of 47 plates (according to De Vesme/Massar citing Jombert), “Recueil de divers griffonemens et preuves deau forte”, published by Israël Henriet (c1590–1661) in Paris.

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

Size: (sheet) 7 x 7.9 cm

Inscribed on plate: (lower right corner) "Israel ex."

De Vesme/Massar 1971 442 (A de Vesme 1971, revised by Phyllis D.Massar, “Stefano della Bella”, New York)

The British Museum offers the following description of this print:

“Two studies; to right, head of a child, facing front, and above to left, head and shoulders of a young woman looking down towards right.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1493472&partId=1&searchText=Israel+HENRIET+&page=2)

Condition: crisp and well-printed impression on fine laid paper in excellent condition (i.e. there are no tears, holes, abrasions or stains—note however that there is the trace of pencil notations from verso that may be seen through the thin paper and the upper right corner is chipped/rounded). The sheet is trimmed close to the platemark and it is backed on a support sheet of archival (millennium quality) washi paper.

I am selling this rare and exceptionally delicate etching, revealing Della Bella’s superb skill in rendering the softness of a child’s face with the lightest of touches, for AU$167 in total (currently US$117.97/EUR102.86/GBP92.97 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 sensitively etched sketch that is in near pristine condition, 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

Alfred-Alexandre Delauney’s huge etching, “View of the Amiens Cathedral”, 1882

Alfred-Alexandre Delauney (1830–1895)

“Samarobriva Ambianum Amiens” (as inscribed on plate) (aka “View of the Amiens Cathedral”; “La cathédrale d’Amiens”), 1882 (as dated on plate), proof impression before lettering with publication details. (Note: I have been unable to find another example of this gigantic etching in any of the online museum repositories and so this print may never have been published.)

Etching on chine collé China paper laid on ivory wove paper with wide margins backed with a support sheet.

Size: (sheet) 88 x 63 cm; (plate) 62 x 48.3 cm; (chine collé) 60.1 x 46.5 cm; (image borderline) 56.1 x 44.4 cm

Inscribed on plate within the image borderline: (lower right corner) “SAMAROBRIVA AMBIANUM AMIENS”.

Inscribed on plate below the image borderline: (left) “Delauney del et Scul[p] 1882”

Proof impression before the addition of publication details and lettered title (presuming that there may be other impressions of this rare etching and at present no other example of this print is recorded as held by online repositories).

Condition: proof state richly inked and faultless impression but with minor chips, tears, losses and signs of handling to the outer edge of the wide margins. The sheet is backed with a support sheet of archival (millennium quality) washi paper.

I am selling this huge, rare and technically breathtaking proof-state 19th century masterpiece of etching for AU$487 (currently US$343.22/EUR301.28/GBP271.15 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 awe inspiring, crowd stopping etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that I have previous listed another gigantic etching of a cathedral, “View of the Cologne Cathedral” by Delauney: https://www.printsandprinciples.com/2018/10/alfred-alexandre-delauneys-huge-etching.html  

This print has been sold as well as the earlier cathedral print by Delauney

Unidentified artist's etching, "Five Lions", after Wenceslaus Hollar's etching after a study by Ruibens

Unidentified reproductive artist from the circle of Wenceslaus Hollar (aka Wenzel Hollar; Václav Hollar) (1607–1677)

“Five Lions and a Lioness”, 1646 or later, after the etching by Wenceslaus Hollar after Peter Paul Rubens (1577–1640). See Hollar’s etching and description at the Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/360629

Etching on laid paper with small margins around the image borderline (and trimmed along the platemark at the top and sides), backed on a support sheet.

Size: (sheet) 15.4 x 22.5 cm; (image borderline) 14.8 x 21.3 cm

Condition: crisp and well-printed impression with replenished loss of the lower right corner and small worm holes. The sheet is clean and has been laid upon a support of archival (millennium quality) washi paper.

I am selling this superbly executed and very deceptive copy of Hollar’s etching for AU$123 (currently US$86.75/EUR76.04/GBP68.31 at the time of this listing). Postage is extra and will be the true cost based on the shipping option preferred (i.e. letter, standard or expedited).

If you are interested in purchasing this fine etching after Hollar (and after Ruben), 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