Complete set of 8 engravings: " Salve Regina": Title with 7 engravings. Title page with a crown of roses above a coat of arms of Jean Van Malder ( Prince Bishop of Antwerp) with music playing angels, a concert. Also a view of Antwerp. Other 7 engravings with a rosary and 4 scenes of the life of the Virgin and Christ. Below a scene of praying saints or people. All 8 engraved by Hieronymus Wierix ca 1563-1619. References: Hollstein Dutch 1053-1060 only state, Mauquoi Hendrickx 1330-1337 only state, Alvin 462-469. All 8 in excellent condition. Very good dark impressions with lot of details. The engravings are all printed on the same kind of thin laid paper with narrow margins. Some with a good early watermark.
Ave regina caelorum. The Virgin sitting on a crescent moon on the clouds surrounded with angels. Engraving made by Hieronymus Wierix (1553-1619) ca 1563-1619. Published by Hieronymus Wierix in Antwerp. References: Hollstein 1030 I, Mauquoi-Hendrickx 719 First state. In excellent condition. First state engraving printed on thin laid paper with large margins. With a good watermark. Very good dark early impression with lot of details.
Saint Francis of Assisi. First state engraving, Saint Francis with his eyes closed. before the third state where the eyes are open. Engraved by Hieronymus Wierix ca 1563-1619. References: Mauqoui Hendrickx 1138, first state of three. In excellent condition. Very good dark impression with lot of details.
Christ as Salvator Mundi. First state engraving, engraved by Hieronymus Wierix ca 1563-1619. References: Mauqoui Hendrickx 502, very early impression of the second state of three. In excellent condition. Very good dark impression with lot of details.
Set of 9 engravings: " The Adoration of the Infant Christ". Title with 8 engravings. Title page with the young Christ in the middle and four Jesuit Saints on each side, Ignatius of Loyola, Francis Xavier, Louis of Gonzaga and Stanislaus Kostka. Several other engravings with also these saints presented. One engraving with five hearts with music playing angels, lute, violin, harp and other instruments like flutes. All 9 engraved by Hieronymus Wierix ca 1563-1619. References: Alvin speaks of only 9 engravings. Mauqoui Hendrickx speaks of 10 engravings where the last one is joined with the set , but not in this set here. Hollstein Dutch 512, first state 1, Mauquoi Hendrickx 419- 427, Alvin 1258-1266 without Alvin 453. All 8 in excellent condition. Very good dark impressions with lot of details. The engravings are all printed on the same kind of laid paper with large margins. In a beautiful red leader receuil.
The Archangel Gabriel, three-quarter length, looking right holding a lily and telling May see would have a child known as son of God. Engraving by Hieronymus Wierix (1553-1619). This is a second state on three, while the first 'unfinished' state is extremely rare and not on the market.
The Annunciation; to left, the Archangel Gabriel, seen blessing and holding a stem of lilies, standing before the Virgin Mary, seen reading from a lectern; the Holy Spirit as a dove seen at center. Engraving made by Hieronymus Wierix. In text line : 'Ave gratia...tecum.Luc.1'; Signed on the image: 'Hieronymus Wierx fecit et excud.'
After Giovanni Stradano. From the series "Virtutum theologicarum et cardinalium". Engraving, approx. 185 x 132 mm (each sheet). Hollstein 1683 and 1684. Trimmed and backed.
Hieronymus Wierix or Johannes Wierix, after Albrecht Dürer, Flemish 1553-1619 and Flemish 1549-1615/20, and German 1471-1528- Three Peasants in Conversation; engraving on laid paper, a fine impression of the first state (of two), before Visscher’s address, trimmed to or on the platemark, 10.9 x 7.9 cm. (unframed). Provenance: Private Collection, UK. Literature: Hollstein 1893. Note: This print is a copy of the engraving by Albrecht Dürer (see Bartsch 86), attributed to a member of the Wierix Family (possibly Hieronymus or Johannes). A sketch of the heads of the men left and right exists and are in Amsterdam.
Hieronymus Wierix (Flemish, 1553-1619), St. Philip (S. Philippus), copper engraving on laid paper on support paper, print based on drawing by Maarten de Vos (Flemish, 1532-1603)
St Francis of Paola, kneeling before an altar with his hands outstretched; above the symbol of God the father at left and angel holding a shield with his motto, at right four singing angels holding a book with music sheets with the text "exaltavit humiles" taken by the Gospel of Luke and meaning: God has lifted up the the lowly. Signed 'Hieronymus Wierx fecit et excud. 'Cum Gratia et Privilegio Piermans'. This is an early impression of the original and only state. Four copies are known but this is the original.
The Invocation: 'The infant in a nimbus with a flaming heart in each hand; above, the infant Christ suspended in a cloud, surrounded by cherubs, holding a flaming heart in each hand; below, four Jesuit Saints kneeling at the vision, Ignatius of Loyola, Francis Xavier, Louis of Gonzaga and Stanislaus Kostka. Signed 'Hieronymus Wierx fecit et excud.' and 'Cum Gratia et Privilegio Buschere'. Engraving made by Hieronymus Wierix for 'The Life of the Infant'
The infant Virgin walking with Joachim and Anne, accompanied by angels; the Virgin as an infant seen walking at center holding hands with Joachim, to left, and St Anne, to right; behind, a group of angels playing music accompanying the family on their walk; the Dove of Holy Ghost seen above. Engraving made by Hieronymus Wierix for a series called 'The life of the Virgin'. MH 614 II/III; This is a second state with the signature but before the rock bottom left still partly white, before it was covered with more shading in the final state.
The adoration of the shepherds with angels; outside a stable, the Virgin seen lifting a blanket to reveal the Christ Child as the shepherds and angels look on; St Joseph seen behind to left; the star holding a scroll seen above; an exultant shepherd seen at a distance in the background to left. This engraving signed Hieronymus Wierix fecit et excudit is catalogued by Mauquoy-Hendrickx as a so called 'variant'. A print signed by Wierix but with alteration of the subject in some parts, here a bag and a water bottle have been added, not present in state III. Provenance: From the famous Print cabinet of the Princes of Waldburg Wolfegg.
The Virgin, seen walking towards left accompanied by two angels, to meet her cousin Elizabeth, seen welcoming her by the threshold of her house; the Holy Ghost seen above. Engraving made by Hieronymus Wierix for a series called 'The life of the Virgin'. MH 618 a; This engraving signed Hieronymus Wierix excudit is catalogued by Mauquoy-Hendirckx as a so called 'variant'. A print signed by Wierix but with alteration of the subject in some parts, here the two angels at right present in state II ( first with signatures) has disappeared. Free interpreted by me, this is a third state with 'Wierix excudit' instead of' Wierix fecit et excudit' but because of the elimination of the angels it is catalogued as a 'variant' .
Rare complete set of 7 engravings: Speculum Virginitatis . Engraved by Hieronymus Wierix ca 1619. All 7 in excellent condition. Printed on the same kind of thin laid paper with margins. Very good early dark impressions with the ruling lines to engrave the text clearly visible (Only with the first impressions). Written at the right below, very small, in old iron ink an old page number.
The infant bearing the instruments of the passion; the infant Christ seen walking at center, carrying the cross on his back and other instruments of the Passion in a basket; two angels seen on either side helping him. Engraving made by Hieronymus Wierix (1553-1619), signed: 'Hieronymus Wierix fecit et excud' and 'Cum gratia et Privilegio Piermans'. A first state before the retouches.
Saint Elisabet of Hungary, dressed as a Franciscan nun. She is crowned and in her hand she holds a book with two more crowns on it. She gives a coin to a begging child. Right in the background a view of a church. Engraving made by Hieronymus Wierix (1553-1619), signed: 'Hieronymus Wierix fecit et excud' and 'Cum gratia et Privilegio Buschere'.
St Roch, three-quarter length, dressed as a pilgrim; showing a wound on a leg to an angel, seen touching the wound, to left; a dog with a bread bun seen next to the saint. Signed 'Hieronymus Wierx fecit et excud. 'Cum Gratia et Privilegio Piermans'.
St Sebastian, three-quarter length, tied to a tree, transfixed by two arrows; a ray of light to top left; in the background, to left, figures seen torturing a man. Signed 'Hieronymus Wierx fecit et excud. 'Cum Gratia et Privilegio Piermans'.
First and second state of Blood of Christ collected in chalice, The Jesuits Ignatius of Loyola and Stanislaus Kostka look on in awe. Engraved by Hieronymus Wierix ca 1563-1619. References: Hollstein Dutch 1287, first and second state 1 and 2(2). Both in excellent condition. Printed on thin laid paper with narrow margins. Very good dark impressions with lot of details.
Crucifixion of Christ. Cross death of Christ on Golgota. Maria Magdalena mapping under the cross. Left Maria and the right John. In the corners of the frame the symbols of the four evangelists. In the margin a three-legged bible quote from Phil. 2 in Latin.
A Jesuite (?) seen embracing the cross to left while several allegorical figures, are trying to detach him. including (Death, Envy, Tribulatio, Angustia, Persecutio, Fames, Nuditas, Gladius) (Death, Envy, Suffering, Anxiety, Persecution, Fame, Nudidity, Sword attacks...). This engraving wanted to give confidance to the people in a historical difficult period of religious persecutions to emphasize Christ on the Cross was the refuge against all temptations and threats. Signed 'Hieronymus Wierx fecit et excud. 'This is an important work in an excellent impression of the first state before the letters INRI were added in state II and before the retouches of state III. From the collection of FRIEDRICH AUGUST II (1797-1854), King of Saxony. His collection stamp partial visible in the bottom right corner. de Saxe
Engravings, 8,2 x 5,8 to 16,1 x 10,8 cm, laid paper, signed, Latin text (some trimmed on platemark). - St Agnes, St Teresa, St Jerome, St Clara, etc. from different series.
Salvator Mundi; Maria, die Hände vor der Brust. 2 Kupferstiche nach Maarten de Vos. 24,5 x 18 cm; 24,8 x 18 cm. Um 1588. Mauquoy-Hendrickx 493 und 700, Hollstein 572-573, je I (von II). Die beiden Gegenstücke in prachtvollen, zart tonigen Frühdrucken noch mit der Adresse von Liefrinck, mit schmalem Rändchen. Montierungsreste verso, "Maria" mit schwachen Leimspuren am oberen Rand, sonst tadellos. Beide aus der Sammlung Friedrich August II. von Sachsen (Lugt 971). - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Novohispanic School. Possibly Mexico. Late 17th century. 'Tota Pulchra' Oil on copper. Signed with the initial 'J'. 23 x 18 cm. Our work is based on the engraving by Hieronymus Wierix (1548-1624) of the Immaculate Conception, published by the artist 'Cum Gratia et Priuiliegio Buschere'. (PESSCA PI 6417A) (Photo credit British Museum). Showing symbolism and metaphors of the Immaculate Conception and the so-called 'Litany of Loreto,' this is a small Novohispanic painting on copper depicting the Immaculate Virgin of the Apocalypse, as described by Saint John in Chapter 12. The theological symbolism and metaphors to support the Litanies mainly arise from the interpretation that the Holy Fathers make of the Song of Solomon. All these symbols would end up embodying an iconographic prototype called the 'Tota Pulchra.' This model narratively placed these allegories around the image of the Virgin (here within 8 beads of the Rosary) or as part of the landscape and background of the artworks that were based on this theme. The words of the Song of Solomon were reinterpreted by the patristics and applied to Mary in a figurative sense. In this painting, the Tota Pulchra appears in the centre 'as a woman clothed in the sun, with twelve stars on her head,' 'Eletta ut Sol' (chosen, shining, and brilliant like the sun). She is like the sun, as through her virtues, she radiates light like the solar orb; also 'Pulcra ut Luna' (beautiful as the moon). The moon or crescent moon is a symbol of the Mother-Mediator step or bridge between earth and heaven, divinity and humanity. It also has a feminine aspect, in contrast to the masculinity of the Sun. The dependence of the moon on solar light is an image of Mary's relationship with God: 'Mary has no value by herself; all her value, all her greatness comes from God.' She is a simile of fertility, mythologically associated with the Prime Matter, Virgin Mothers, gods of love, and even wisdom. The moon, in its cycles, also marks the rhythm of life. In this celestial firmament, as a 'Stella matutinis' (morning star / sea star): 'I see it, although not now; I behold it, although not near: A star shall advance from Jacob, and a staff shall rise from Israel' (Num. 24, 17). The star is not only a guiding element but also a metaphor for hope, which, in darkness, longs for the arrival of the day. Just as a star led the Magi from the East to worship the Christ Child, the Virgin is the star that leads to Christ. By analogy, this meaning can be applied to the 'Star of the Sea': just as sailors of old oriented themselves by the stars, Mary, as a star, safely guides the believer to port, and places the world, immersed in darkness, in the hands of Jesus, the true Light. As the 'Morning Star', she would come to evoke the star that shines during dawn, before the sun rises, announcing the day. Likewise, the Virgin Mary announces the arrival of the Lord, the Sun that is coming. Similarly, stars, messengers of God in biblical tradition, such as the 'morning star,' evoke the symbol of the perpetual rebirth of the day, the very principle of life. Continuing with the interpretation of the symbols reflected in the eight beads surrounding the Virgin: To the left, 'Templum Dei' (temple of God): 'Or do you not know that your body is a temple of the Holy Spirit within you?' (1 Cor. 6, 19). The Pauline New Testament image of the Temple of the Holy Spirit develops the idea of Mary's purity. Mary is the Temple of the Holy Spirit by nature, not only because it refers to her purity in her virginity and immaculate conception but also because, like the ancient Temple of Jerusalem, it housed the real presence of Divinity. On the same side, 'Fons Signatus' (sealed fountain): 'A garden enclosed, a fountain sealed' (Song of Sol. 4, 15). According to tradition, in the earthly paradise, there were four rivers that originated from a central origin, that is, from the very foot of the Tree of Life. This fountain or origin of everything is considered the 'fons iuventutis,' an image of the vital force of man and all substances. The fountain is also an allegory of feminine fertility, in addition to resembling wisdom. This symbol applied to Mary is interpreted as a vivifying and purifying element. Water is a mother and matrix in Jewish tradition. It is the origin of creation. Likewise, the Virgin is the source of a new life. From her divine motherhood has sprung the true life for humanity: Jesus Christ. 'Puteus Aquarum,' 'well of living waters' (Song of Sol. 4, 15). Here we find a new metaphor of water with its rich nuances: water of life, life-giving, granting salvation to humanity. Let's not forget the importance that having a well nearby had for that nomadic Semitic culture, in the desert environment they inhabited, where it was also a meeting place. The transcendence of water and its vital significance is further increased in this context. It was a symbol of abundance and the source of life. Mary would be that well, in the sense that she contained in her womb the true water that gives life. The remaining two beads on the left are not clearly visible. To the right, 'Scala Coeli' (stairway to heaven): 'And he dreamed, and behold, there was a ladder set up on the earth, and the top of it reached to heaven. And behold, the angels of God were ascending and descending on it' (Gen. 28, 12). The ladder is clearly an ascending symbol, a path by which one can go up and down, a union between heaven and earth. Patristics and medieval mysticism have seen the soul's ascent to God typified by this figure. In Byzantium, Mary is called the 'ladder of heaven' through which God descended to men and through which she allows them to ascend to heaven. Below right, 'Speculum sine macula' (mirror without stain): 'She is a reflexion of eternal light, a spotless mirror of the working of God, and an image of his goodness' (Wis. 7, 26). The mirror alludes to the bodily purity of the Virgin. One of the titles of the Litany of Loreto is 'Mirror of Justice.' Mary reflects divine holiness, that is, perfection. In Mary, 'God was reflected and reproduced through his faithful counterpart Jesus, without hurting and altering the mirror itself.' Likewise, this element is usually related to the soul and the reflexion it produces. The third one to the right, 'Arca foederis' (ark of the covenant): 'And God instructed Noah to build the ark to save his family and animals from the flood' (Gen. 6, 9-22). The ark of the covenant, for the Jews, is the most respected monument of their religion, the place where the tablets of the Law are kept and venerated. And Mary, with Jesus in her womb, restores 'and saves from the flood' the relationship that man had broken with God. The fourth to the right is also not clearly visible. Two more figures to consider are the devil, whom Mary stands on, and an angel, in the lower-left corner, with a bow and arrow. 'An enormous red dragon ... stood in front of the woman who was about to give birth, so that it might devour her child the moment he was born.' 'And that devil, or Satan, was cast down to the earth, and his angels with him. (Rev. 12) Since the text says that the archangel Michael and his angels fought against the dragon, one might think it was one of his angels. But being below, at the level of the dragon, it must be one of those who were cast down with it to hell and the angel is also fighting against the Virgin Mary. In fact, he points his arrow at the pregnant Woman's belly and not at the dragon next to him, which would have been expected of angels of light. In conclusion, this is a simple copper that reflects Mary as the gate of Heaven, through which the Saviour has come to humanity, and at the same time, the gate that leads to Him, as taught in Catholic dogma. Antiques. Colonial.
Wierix, Hieronymus (±1553-1619). The standard bearer. Engraving after Albrecht DÜRER, 11,3x7,3 cm., tipped onto mount. - Lacks large portion in upper left corner w. loss of image; cut to the platemark. = Hollstein 1887, state after the removal of monogram "IRW" but before the addition of the address of C.J. Visscher. Rare.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
WIERIX, Hieronymus (1553-1619) Quatro gravuras coloridas sobre papel representando as seguintes cenas bíblicas: "Pregação de S. João Baptista" (n.º 10); "O Lava-pés" (n.º 101); "A prisão de Cristo" (n.º 110) e "A negação de S. Pedro" (n.º 112) Gravado pelo flamengo Hieronymus Wierix, autor da maior parte das gravuras que constam na obra "Evangelicae Historiae Imagines", do padre jesuíta Jerónimo Nadal, publicada em 1593 em Antuérpia (obra constituída por 153 gravuras que ilustram as histórias dos Evangelhos). Dim. aprox.: 24 x 15 cm; Dim. aprox. total (cada): 35,5 x 27,5 cm Papel amarelado com manchas de acidez. Leves falhas e defeitos. Emoldurado (4)
A pair engravings of popular subjects after Albrecht Durer. Copper engraving.'The farmer and his wife at the market' (115x72mm) first state of two, before Visscher's monogram. (trimmed, some light wear and a small tear to lower margin) [WITH:] 'The Three Peasants' (105x75mm). first state of two, before Visscher's monogram (trimmed, small repair). (2)
Laid paper. - 1. Calvaert, Deynys (after) - The Holy Family with St Catherine. Antwerp, Johannes Baptista Vrints. 30,0 x 20,6 cm, signed, address and Latin text (trimmed inside platemark, lettered B in brown ink, sm. trace of pencil, corner repaired). Hinged at upper edges, under passe-partout. Good impression. Ref. New Hollstein (Wierix) 1401. - 2. Virgin and child. Antwerp, Hans van Luyck. 19,3 x 14,3 cm, signed, address and Latin text (trimmed outside platemark, few spots). Hinged at upper edges, under passe-partout. Ref. New Hollstein (Wierix) 940. - Prov. Albert Van Loock (1917-2011), Brussels art dealer (stamp, L. 3751).
Laid paper. - 1. Wierix, Antonius II - The martyrdom of St Agatha. 25,1 x 18,4 cm (trimmed on platemark, some spots). Ref. New Hollstein (Wierix) 1316.II (of II). - 2. Wierix, Antonius II - Allegory of the salvation of mankind. 15,9 x 10,3 cm (stains). Ref. New Hollstein (Wierix) 1808.III (of III). - 3. Wierix, Hieronymus. Van Veen, Otto (after) - The Last Supper. 27,0 x 31,6 cm (trimmed inside and outside platemark, sl. browned, some spots, ms. note in pen). Ref. New Hollstein (Wierix) 185.IV (of V). Prov. Unid. stamp (L.2840).
'Ecce homo', voor 1619. Copper engraving. Signed in the plate. We join by the same: 12 other prints depicting saints Benedict, Bruno, the Virgin Mary on mother's knees, the Blood of Christ, Christ between Mary and John, Mary with baby Jesus, Salvator Mundi, Mary breast-feeding Jesus, Arrival at Bethlehem, the Virgin Mary, Christ sweeping the floor, Mary as mother, Provenance: Frans Leytens. Tot.: 13 ex. Description FR 'Ecce homo', voor 1619. Gravure au burin. Signée dans le cuivre. On joint: 12 autres estampes représentant les saints Benoît, Bruno, la Vierge Marie à genoux, le Sang du Christ, le Christ entre Marie et Jean, Marie avec l'enfant Jésus, le Salvator Mundi, Marie allaitant Jésus, l'Arrivée à Bethléem, la Vierge Marie, le Christ balayant le sol, Marie en tant que mère, Provenance: Frans Leytens. Tot.: 13 ex. Beschrijving NL 'Ecce homo', voor 1619. Kopergravure. Getekend in de plaat. Bijgevoegd van dezelfde: 12 andere prenten met voorstelling van heiligen Benedictus, Bruno, de maagd Maria op de knieën van de moeder, het Bloed van Christus, Christus tussen Maria en Johannes, Maria met kindje Jezus, Salvator Mundi, Maria de borst gevend aan Jezus, Aankomst te Betlehem, de Maagd Maria, Christus veegt de vloer, Maria als moeder. Herkomst: Frans Leytens. Tot.: 13 ex.
'Het paradijs en de hel'. Copper engraving. Signed in the plate. We join by the same: 8 other prints depicting Mary with Child Jesus, John the Baptist, Christ on the Cold Stone, Christ sleeping, the scribes, Ignatius of Loyola and Francis Xavier in ecstasy, St. Francis of Paula, the Annunciation. And: Jean Valdor (1616-1670), Ecce homo. Copper engraving. Signed in the plate. Tot.: 10 ex. Provenance: Frans Leytens. Description FR 'Het paradijs en de hel'. Gravure sur cuivre. Signée dans la planche. On y joint 8 autres gravures représentant Marie avec l'enfant Jésus, Jean-Baptiste, le Christ sur la pierre froide, le Christ endormi, les scribes, Ignace de Loyola et François Xavier en extase, Saint François de Paula, l'Annonciation. Et: Jean Valdor (1616-1670), Ecce homo. Gravure au burin. Signée dans la planche. Tot.: 10 ex. Provenance : Frans Leytens. Beschrijving NL 'Het paradijs en de hel'. Kopergravure. Gesigneerd in de plaat. Bijgevoegd van dezelfde: 8 andere prenten met voorstelling van Maria met Kindje Jezus, Johannes de Doper, Christus op de Koude Steen, Christus slapend, de schriftgeleerden, Ignatius van Loyola en Franciscus Xaverius in extase, de heilige Franciscus van Paula, de Aankondiging. En: Jean Valdor (1616-1670), Ecce homo. Kopergravure. Getekend in de plaat. Tot.: 10 ex. Herkomst: Frans Leytens.
'Theatrum Vitae Humanae', 1638. Suite of title and six copper engravings. Published in Antwerp, by Johannes Galle. Complete with title (in Renaissance cartouche with references to the first and last stages of life) and the six orders of construction each showing the successive stages of man's life (I. Composita (man up to 16 years), II. Corinthia (16-32 years), III. Ionica (32-48 years), IV. Dorica (48-64 years), V. Toscana (64-80 years), VI. Ruina (80 years-dead). All in frame. Tot: 7 ex. Description FR 'Theatrum Vitae Humanae', 1638. Suite de 7 planches y compris le titre, dans lesquelles les âges de la vie sont mis en concordance avec les ordres architecturaux. Toutes encadrées. Beschrijving NL 'Theatrum Vitae Humanae', 1638. Suite van titel en zes kopergravuren. Uitgegeven te Antwerpen, door Johannes Galle. Volledig met titel (in Renaissance cartouche met verwijzingen naar de eerste en laatste levensfase) en de zes bouwordes met telkens de opeenvolgende fasen in het leven van de mens (I. Composita (de mens tot 16 jaar), II. Corinthia (16-32 jaar), III. Ionica (32-48 jaar), IV. Dorica (48-64 jaar), V. Toscana (64-80 jaar), VI. Ruina (80 jaar-dood). Alle in kader. Tot.: 7 ex.
Wierix, Hieronymus (±1553-1619). Portrait of Philip II of Spain. Engraving, 35,6x24,7 cm. (borderline), signed "Hieronymus W. fe" and "H.V.L." in the plate, dated "1586" in the plate. - Trimmed 5 mm outside the platemark; minor imperfections, fine copy. = Mauquoy-Hendrickx 1892; Hollstein 2134, 2nd state.
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(1553 Antwerpen 1619). Passion Christi. 8 Bl. Kupferstiche auf Bütten n. Bernardino Passerio (1540-1590) aus: Natalis: Evangelicae historiae imagines bei Plantin, um 1610. Plgr. je ca. 23,5 x 14,5, Blgr. je ca. 29 x 19,5 cm. Jwls. mit den Namensz. i.d. Platte. Einzug in Jerusalem, Heiden vor Jesus, Jesus vor Pilatus, Jesus mit Dornenkrone wird verspottet, Jesus trägt das Kreuz, Jesus wird durch das Tor zum Kalvarienberg geführt, Jesus wird ans Kreuz geschlagen, Jesus am Kreuz. - ╔Dabei aus dems. Werk:╗ Der Fastenden mit Teufel u. der Fastende mit Engel. Ebenso v. ╔Karel van Mallery╗ (1571-1635). Maße ebenso. - Zus. 9 Bl., tls. etw. stockfl.
Alte Kunst - Graphik Wierix, Hieronymus Das Wappen mit dem Totenkopf. 1570 - 1618. Kupferstich auf Velin, ganzflächig auf Unterlage kaschiert. 21 x 15,5 cm. Mit dem gestochenen Künstlersignet von Albrecht Dürer und der Datierung. Punktuell auf weiterer Unterlage montiert, im Passepartout freigestellt und unter Glas gerahmt. - An den Rändern kaum merklich unregelmäßig beschnitten und sehr vereinzelt mit leichtem Papierverlust. Leicht braunfleckig. Insgesamt gut. Ausgezeichneter, feinliniger und kontrastvoll harmonisch abgestimmter Druck der formatfüllenden Darstellung. Hollstein, Bd. 67, 1949ff., S. 142, Kat.-Nr. 1999, I von II, Bartsch, S. 109, Kat.-Nr. 101.copie a, Schoch/ Mende, S. 105, Kat.-Nr. 37 nicht erwähnte Kopie. - Kopie nach dem gleichnamigen Kupferstich von Abrecht Dürer von 1503. Copper engraving on wove paper, fully mounted to underlying mat. With the engraved artist's signet by Albrecht Dürer and date. Spot-mounted to underlying mat and presented in mat, framed under glass. - Barely noticeable irregular cut in the margins and very occasional slight paper loss. Slightly brown-stained. Good overall. Superb, finely lined and within the contrasts harmonious impression of the full-format depiction. - Copy after the same-named copper engraving from Albrecht Dürer from 1503. 600
engraving, 165 x 140 mm. From the series of 153 plates 'Evangelicae Historiae Imagines'. Mauquoy-Hendrickx 2090. Former Hubert Georges Désiré Dupond collection (Lugt 3926 on the reverse). Superb proof in 1st state (with the letters of the legend). Printed on thin laid paper. Trimmed. Sheet in excellent condition except for paper residue on the reverse.
Impressive large engraving from a set of two plates about vice and vertue, the other one being Benevolence. Here: Cruelty a female personification offers bread and fish to a dog and a stone with a coiled snake to a child. Signed below left "M.D. VOS IN. [] HIERONIMUS .W.FE." and at right "W.V. haecht. compo. et excud". Engraving made by Hieronymus Wierix (1553-1619) in 1577 after a design by Maarten de Vos(1532-1603). This is a first state with the publishers address of Willem van Haecht (1527-1583)
Saint Francis of Assisi receiving a palm from the hands of the child Jesus. Hieronymus Wierix (1553-1619) after Denys Calvaert (Antwerp 1540-1619, working in Italy). The print bears the collection mark of Duke D'Arenberg (oval collection stamp = L.567, ) In the second state there was a cartouche at the bottom with text and signature of the publisher/engraver. Here an impression with omission of text line and addition of a paper strip Hieronymus Wierix fecit glued on top of the bottom right corner, so the state is not to determine. Probably a second state as the first state is from the uppermost rarity. This A larger important print in the oeuvre of Wierix.
The entombment. Large rare engraving made by Hieronymus Wierix (1553-1619) after a drawing/painting of Otto Van Veen (1540-1619) published by Johannes Baptista Vrints I (1552-1610) in Antwerp ca 1563-1610.Hollstein Dutch 384 1(2) first state of two, Mauquoy-Hendrickx 380 1(2) first state of two. In excellent condition. Superb early dark impression of the first state engraving with the ruling lines to engrave the text clearly visible. Engraving of a high quality. With a good watermark.
The Virgin and the sleeping child; the crowned Virgin adoring the Christ child sleeping in a bed covered with roses. Below image: 'Ecce tu...Cantic.1'; signed: 'Hieronymus Wierx fecit et excud.' First state on two.
St Catherine of Siena, crowned with thorns, three-quarter length, holding a crucifix; an open book before her. Signed: 'Hieronymus Wierx fecit et excud' and 'Cum Gratia et Privilegio Piermans'. H.1394, only state.
Ignatius healing an epileptic; St Ignatius seen kneeling down and placing his hand over an epileptic man, seen lying on his stomach in a public square; various alarmed figures next to them including another Jesuit. From the series 'The Life of Ignatius of Loyola'. Signed: 'Hieronymus Wierx fecit et excud' and 'Cum Gratia et Privilegio Piermans'.' Second state, while the first state (before the letter) is known in only one example. Original state, before the later repetition.
The infant as Salvator Mundi; the infant Jesus seen seated at center, holding the orb and blessing ; the instruments of Passion surrounding the infant, some scattered on the ground; the Dove of the Holy Ghost seen above. Engraving made by Hieronymus Wierix (1553-1619, signed: 'Hieronymus Wierx fecit et excud' and 'Cum Gratia et Privilegio Piermans. Early impression of the only state.
The members of the court of Archduchess Isabella in the southern Netherlands were part of the brotherhood of S. Ildephonse (S. Alphonse).The scene shows the collation of the chasuble by the virgin appearing in a halo, and assisted by four angels. Signed: 'Hieronymus Wierx fecit et excud' and 'Cum Gratia et Privilegio Piermans'. Here a second state while the first state is before the lettering. Before the repetition described by MH. Interesting subject related to the court of Archduchess Isabella.
St Michael triumphing over the dragon; St Michael, holding a spear and a shield, seen standing on a dragon, piercing his mouth with the spear; behind, to right, the war in heaven between angels and demons. Signed: 'Hieronymus Wierx fecit et excud' and 'Cum Gratia et Privilegio Buschere. Below image the Latin sentence: 'QUIS UT DEUS?' which means 'who (is) like God', and is the literal translation of the name Michael. Here a first and only state before the later repetition A and B.
The Trinity. Engraving made by Hieronymus Wierix (1553-1619) in Antwerp, 1586-1619, after a drawing painting of Maerten de Vos (1532-1603). References: Mauquoy-Hendrickx 403 La Trinity A9 only state. Very good dark strong impression with al the details. Printed on thin laid paper with narrow margins. a small restored tear to the left, not visible in front, otherwise excellent, high quality.
