Jacopo Caraglio’s engraving, “Ariadne”, 1526, after Rosso Fiorentino

Jacopo Caraglio (aka Giovanni Jacopo Caraglio; Giacomo Caraglio) (c1500–1565)

“Ariadne” (aka “Ariadne with a Crown of Stars”), 1526, plate 18 from the series of twenty plates, “The Gods in Niches” (aka “Mythological Gods and Goddesses”; “Classical Gods”; “Goden in Nissen”), after Rosso Fiorentino (aka Giovanni Battista de' Rossi; Giovanni Battista di Jacopo di Guasparre) (1494–1540). Although this impression is somewhat light in tonal contrast—an attribute documented for first/second state impressions (see TIB, vol., 28 [Commentary], p. 117)—this is a lifetime impression before the plate was reworked with the addition of shading around the niche by Francesco Villamena (1564–1624) in the third state and before publication by Carlo Losi (fl.c1757−1805) in the fourth and final state.

Note that this engraving is deceptively close to the copy of it made by Jacob Binck (aka Jacob Bink) (1494/1500–1569) in 1530; see http://hdl.handle.net/10934/RM0001.COLLECT.90632; TIB 16(8).43(274) (Robert A Koch [ed.] 1980, “The Illustrated Bartsch: Early German Masters; Jacob Bink, Georg Pencz, Heinrich Aldegrever”, vol., 16, New York, Abaris Books, p. 43, cat. no. 43). One of the differences is in the shape of the shadow cast by the figure’s bent leg and the variation in the phrasing (pressure) of the borderline in the same area. The Budapest Museum of Fine Arts holds a later copy of Caraglio’s engraving after the plate was revised by Francesco Villamena; see: https://www.mfab.hu/artworks/ariadne-plate-18-from-the-series-of-the-gods-in-niches/.

Madeline Cirillo Archer (1995), in the commentary volume to “The Illustrated Bartsch”, vol., 28 (New York, Abaris Books), offers the following marvellous insights into the series (“The Gods in Niches”) of which this engraving is a part: “…while using niches as settings, [the portrayed figures] make no attempt to imitate sculpture. In plasticity, activities, poses, and environment, the figures are emphatically pictorial in their conception and execution. […] in most of the compositions, the general effect is of forms either bursting out of the niche, or of balancing on the edge, their upper bodies possess a spatial ambiguity with the niche behind. The variety of textures and pictorial use of chiaroscuro increase the sense that these are not sculpture, but living forms” (pp. 116–17).

Engraving on laid paper, trimmed along the platemark on the top and sides and within the borderline on the lower edge with loss of the line of text (“.MORTALIS^.BACCHO^.PLACVI^.QVE^.ARIADNA^.MARITO^.” [The mortal Bacchus pleased Ariadne as her husband]), backed with a support sheet.

Size: (sheet) 21 x 11.2 cm.

Numbered in plate: (lower right corner) “18”.

State i/ii (of iv). Note that TIB (1995) advises: “Technically, [this print and all the other plates except for “Saturn”] in the series are not second states, since they do not record changes to the plates. […] Plates are very worn” (p. 117). This first/second state impression is before the significant revisions made in the Villamena edition of the third state.

TIB 2802.041(Robert A Koch [ed.] 1980, “The Illustrated Bartsch: Italian Masters of the Sixteenth Century”, vol., 28 Commentary, New York, Abaris Books, pp. 159–60, cat. no. [2802].041).

Condition: a delicate impression with soiling, trimmed along the platemark on the top and sides and within the borderline on the lower edge with loss of the line of text. The sheet has been laid upon an archival support sheet of millennium quality washi paper providing wide margins.

I am selling this exceptionally rare early/lifetime impression that was interestingly pulled from the press eight years before Michelangelo commenced work on his “Last Judgement” in the Sistine Chapel—a remarkable history of folk have held this print (and left their marks!)—for the total cost of AU$387 (currently US$258.67/EUR234.05/GBP206.03 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 Renaissance period female nude, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Philips Galle’s engraving, “The Death of Sapphira”, 1575/82, after Maarten van Heemskerck

Philips Galle (aka Philippe Galle; Philippus Gallaeus) (1537–1612)

“The Death of Sapphira”, 1575 (BM date)/1582 (Rijksmuseum date), plate 7 from the series of 34 plates, “Acta Apostolorum” (Acts of the Apostles) after Maarten van Heemskerck’s (aka Martin Heemskerk; Maarten van Veen) (1498–1574) design, published by Philips Galle in Antwerp.

Engraving on laid paper with restorations on the upper and lower left corners. The sheet is trimmed with a narrow margin around the image borderline and text lines and backed with a support sheet.

Size: (sheet) 21.4 x 27.2 cm; (image borderline) 19.4 x 26.7 cm.

Inscribed in plate within the image borderline: “Mart. Heemskerck Inuentor. […] 7”

Lettered in plate below the image borderline in two columns of two lines: “Occidit infelix Ananias crimine falso,/ Supplicioq[ue] pari percussa est impia coniunx.// Nam proprium retinere magia qua[m] demere fas est:/ Non c[a]eleste potest aut falli, aut fallere numen. Ac.C” ("The wretched Ananias was killed by a false crime, And the impious spouse was equally smitten by supplication. For it is right to keep the magic which is one's own property: It is not possible for heaven to be deceived, or to deceive a god. Ac.C")

State ii (of iii)

TIB 5601.148:6 (Arno Dolders [ed.] 1987, “The Illustrated Bartsch: Netherlandish Artists: Philips Galle”, vol. 56, Supplement, New York, Abaris Books, p. 152, cat. no. [5601].148:6); New Hollstein (Maarten van Heemskerck) 400 (Ilja Veldman [comp.] 1993–94, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Maarten van Heemskerck”, vol., 14, Roosendaal, Koninklijke Van Poll, pp. 98 & 104, cat. no. 400); New Hollstein (Philips Galle) 194 (Manfred Sellink [comp.] 2001, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Philips Galle”, vol., 14, Rotterdam, Sound and Vision, pp. 83 & 101, cat. no. 194).

The Rijksmuseum offers the following description of this print: (transl.) “Apostle Peter rebukes Ananias and Sapphira, who had hidden some of their belongings so as not to share them with the Christian community. Because of Peter's words, both die. Their bodies are buried in the background. The print has a Latin caption and is part of a 34-part series on the subject of the Acts of the Apostles” (http://hdl.handle.net/10934/RM0001.COLLECT.114715).

The British Museum offers the following description of this print: “The death of Sapphira who has collapsed in the centre after being accused of fraud by St Peter, the Apostles in the upper right, after Heemskerk. 1575 Engraving” (https://www.britishmuseum.org/collection/object/P_1954-0813-12-7).

Condition: a richly inked and well-printed impression. The upper and lower right corners have been replenished, otherwise, the sheet is in a good condition with no significant stains and is laid upon an archival support sheet of millennium quality washi paper.

I am selling this fascinating and creatively inventive Renaissance period engraving showing St Peter condemning Saphhira and Ananias for their fraud in the foreground while in the background at left, Saphhira and Ananias are being buried, for the total cost of AU$307 (currently US$205.20/EUR185.66/GBP163.44 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 marvellously strong impression—mindful that there are significant restoration issues with the upper and lower left corners—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 

Auguste-Hilaire Léveillé’s wood-engraving, “Saint Jean-Baptiste”, 1898, after Rodin

Auguste-Hilaire Léveillé (1840–1900)

“Saint Jean-Baptiste”, 1898, wood-engraving after the bronze, “Buste de Saint Jean-Baptiste”, 1879, by Auguste Rodin (aka Pierre Auguste Rodin) (1840–1917) in the Musée du Luxembourg, printed by H. de Banos (fl.c1898–1904 [and later?])  and published in the Gazette des Beaux-Arts, 1^st May 1898, inserted between pages 422 and 423.

Wood-engraving printed in black on buff coloured wove paper with full margins backed with a support sheet.

Size: (sheet) 27 x 18.2 cm; (image borderline) 20.8 x 14.6 cm.

lettered in plate below the image borderline: (left) “Rodin inv./ GAZETTE DES BEAUX-ARTS”; (centre) “SAINT JEAN-BAPTISTE/ (Musée du Luxembourg)”; (right) “Léveillé sc./ Imp. H. DE BANOS”.

Condition: a strong and well-printed (near faultless) impression showing little or no sign of wear to the printing plate. The sheet is in a near pristine condition and laid upon an archival support sheet of millennium quality washi paper.

I am selling this incredibly finely executed wood-engraving after Rodin’s sculpture, for AU$186 (currently US$124.32/EUR112.49/GBP99.02 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 engraved tonal translation of Rodin’s sculpture into a web of fine lines, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that I have listed another wood-engraving by Léveillé after Rodin that is still available at the time of this listing: https://www.printsandprinciples.com/2022/11/auguste-leveilles-wood-engraving.html.

This print has been sold 

Hans Burgkmair the Elder’s woodcut, “From an Embarrassing Question”, c1520

Hans Burgkmair the Elder (1473–1531)

“From an Embarrassing Question” (“Von Peinlicher frage” [letterpress text above the image]), c1520, woodcut published in Frankfurt in 1550 by Christian Egenolph (1502–1555) as an illustration to page 169 (CLXIX) of Justin Gobler’s (1503/4–1567) “Der Rechten Spiegel Auß den beschribenen Geystlichem, Weltlichen, Natürlichem, vnd andern gebreuchlichen Rechten...“ (read this book online at https://play.google.com/store/books/details?id=PzpeAAAAcAAJ&rdid=book-PzpeAAAAcAAJ&rdot=1).

For those with sensitive spirits, the paragraph below is explanatory information of the portrayed subject and may not be necessary to read.

From what I understand, the scene is set in the torture chamber of Slovakia’s Spis Castle (Spišský hrad) (see https://commons.wikimedia.org/wiki/File:Spisska_Hrad_048.jpg). The portrayed subject on the left, shows the Sicilian tyrant of Akragas (Agrigent), Phalaris (c570–555 BC) roasting the designer of the Bronze Bull, the sculptor Perillos, as a way of seeing this hideous torture device in use for the first time—note that a part of the design principle to this device is that the bronze bull would cast a bellowing sound as steam escapes its nostrils… dreadful! In the foreground may be seen a victim on the torture device known as “the rack” and adding more horror to the victim plight as his limbs are slowly dislocated, he is force-fed water—a torture known as “waterboarding”. In the background at left, a torture victim is raised with his hands secured behind his back and dropped to dislocate his shoulders—a torture known as the “strappado”.

Woodcut with letterpress text on laid paper trimmed with a small margin around the image borderline and backed with a support sheet.

Size: (sheet) 16.8 x 17.5 cm; (image borderline) 14.6 x 15.6 cm.

Letterpress text printed above the image borderline: (centre) “Von Peinlicher frage”.

Condition: a strong and well-printed early impression showing little or no sign of wear to the printing plate. There is a restored nick in the upper edge of the sheet, otherwise, it is in an excellent condition and laid upon an archival support sheet of millennium quality washi paper.

I am selling this historically significant woodcut from the Renaissance showing various torture devices of the time, for AU$264 (currently US$176.46/EUR159.66/GBP140.54 at the time of listing 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 rare and important (but grim in what is portrayed) woodcut, 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

Hans Burgkmair the Elder’s woodcut, “Knights Bearing the Banners of Unterwaldsee, Oberwaldsee and Duino”, c1517

Hans Burgkmair the Elder (1473–1531) or possibly by/or with assistance from Albrecht Altdorfer (1482/5–1538) based on the numbering on the upper right (see the V&A description of this print: https://collections.vam.ac.uk/item/O675713/triumph-of-the-emperor-maximilian-woodcut-maximilian-i-holy/).  

“Knights Bearing the Banners of Unterwaldsee, Oberwaldsee and Duino”, c1517, a giant woodcut from the frieze of 139 plates extending to around 54 meters in length titled, “Triumphal Procession of Emperor Maximilian I”, c1517. This impression may be from the 1777 edition of 192 plates published by Adam Bartsch (1757–1821).

The Victoria and Albert Museum offers the following very interesting information about the “Triumphal Procession of Emperor Maximilian I” plates: … “This was one of three large-scale mural projects which together reflected Emperor Maximilian I's (1459-1519) status as Holy Roman Emperor and linked him symbolically with ancient Rome. The project was not finished by the time of Maximilian's death but the set was published later, in 1526.

Hans Burgkmair designed much of the procession, begun in about 1512, with contributions from Albrecht Altdorfer, Hans Springinklee, Hans Beck and Hans Scheufelein. The designs were cut by Jost de Negker's large team of block-cutters.

The two other mural projects include a large Triumphal Arch, about 12 feet high by 10 feet wide and made up of 192 blocks, and a Triumphal Carriage about 8 feet long made up of 8 blocks. These were designed by Albrecht Dürer, with assistance from Hans Springinklee, Wolf Traut and Albrecht Altdorfer.

The procession was not intended for sale. The city of Nuremberg apologised to the Emperor for some impressions from the blocks having been sold. The friezes were intended as gifts for wall display. According to surviving correspondence, Maximilian wanted the procession to 'grace the walls of council chambers and great halls of the empire, proclaiming for posterity the noble aims of their erstwhile ruler'” (http://collections.vam.ac.uk/item/O972804).

Woodcut printed in black on fine buff coloured laid paper (with watermark) backed with a support sheet.

Size: (sheet) 40 X 40.2 cm.

Letterpress numbered at upper right corner: “73”.

TIB 11.73 (Tilman Falk [ed.] 1980, “The Illustrated Bartsch: Sixteenth Century German Artists”, vol. 11, New York, Abaris Books, p. 173, cat. no. 73); Bartsch 73; Schestag 73; Winzinger 215.

Condition: a strong and well-printed impression in excellent condition for its considerable age and laid upon an archival support sheet of millennium quality washi paper.

I am selling this extraordinarily large woodcut from the Renaissance—note that close examination of the print shows the matrix of smaller blocks joined together to create this huge print—for AU$430 (currently US$287.41/EUR260.05/GBP228.92 at the time of listing 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 exceptionally rare woodcut, 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