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Editore: Tipolitografia del RUD, s.l.,, 1989
Da: FIRENZELIBRI SRL, Reggello, FI, Italia
Condizione: MOLTO BUONO. cm.36x27, pp.90, 44 riproduz. delle incis.orig., s.l., Tipolitografia del RUD cm.36x27, pp.90, 44 riproduz. delle incis.orig., leg.ed.in mz.pelle con impress.al dorso, zodiaco in oro al piatto ant. Ottimo esempl. leg.ed.in mz.pelle con impress.al dorso, zodiaco in oro al piatto ant. Ottimo esempl.
Plate nr. 10 from the serie SYLVAE SACRAE MONUMENTA . ANACHORETAUM published by Johannes I and Raphael I Sadeler in 1594. This plate is in reverse and slighly wider than the original. Possibly by Charles van Boeckel (fl. 1597-1617) [Hollstein de Vos, 1004a], or by Marcus Christoph Sadeler (1614-1650), Giacomo Piccini (ca. 1617- ca.1669) and Giovanni Merlo (17th cent.) from the first half of the seventeenth century [Hollstein de Vos, 1004f]. Besides the latin verses beneath the picture no other signatures are to be found on the plate. Lettered under the picture: '[M]ARTIVS Aruvernae pater & contemptor honoris / Permutat sacram sponte ligone pedum. / Atass sibi caueam fodit in qua Vivere possit / Immo mori cui mors nil nisi vita fuit'; plate is numbered '10'.l Engraving on paper; platemark: 170 x 202 mm, total: 213 x 265. Broad margins, close to the top margin two holes, probably for it was bound with oher plates. PB01SS(Martius-Martinus).
Da: Goltzius, Lisse, Paesi Bassi
Copia autografata
The baptism of Christ in a river landscape. Signed on the bottomleft:'HBol' and in the center:'Ioha Sadel excu' l Etching on paper trimmed to platemark; total: 190 x 260 mm; only state; left margin damaged and some dirt; Hollstein 569.
D'après Le Parmesan. Le Blanc n° 100. 10,8 x 13,6 cm.
Editore: casa editrice: TIPOLITOGRAFIA DEL R.U.D. anno: 1989/1990, 1990
Da: libreria antiquaria e antichità Onofri, Roma, RM, Italia
LEGATURE IN MEZZA PELLE MARRONE CON AL PIATTO SFERA DORATA CON SIMBOLI, ALL'INTERNO COMPLESSIVE 90 INCISIONI numero pagine: 44 TAVOLE AL PRIMO VOLUME E 46 AL SECONDO formato: ALBUM 36X27 stato conservazione: BUONO edizione: ANASTATICA.
Da: Antiquariaat Arine van der Steur / ILAB, Den Haag, Paesi Bassi
Ephestius running after a couple who left him a small bag with coins. Late impression. Inscribed on the bottom left on a rock 'Vos fig.'; on the bottom right: 'cu privil Sum. Pontifici / Joa Sadeler fecit et excu.'; lettered on the bottom: 'Melana in tecto, quod EPHAESTIO pauper habebat,/ Fraude pia loculos condidit; is repeit. / Currit, et exclamat: cape numos; illa recusat. Tum senior. non vis ego. dentur aquis' Hollstein de Vos, 1053 Engraving on paper; broad margins; platemark: 167 x 208 mm; total: 218 x 272 mm. The outline of the heremit, of the small bag and of the couple on the right have been marked with an ink-free needle or pen. PB01SS(Ephestius).
Da: Goltzius, Lisse, Paesi Bassi
Copia autografata
Eulogius in the wildness, under a tree on the left, eading the Bible; on the right a landscape with houses and figures. Late impression. Nr. 16 from the series. Signed on the bottom left: 'Sadeler excudit' Lettered in latin below:'Malui EVLOGIVS desertas quaerere sedes, / Qua terere urbani splendida tecta soli. / Hinc fratres munire suos pietate laborat / Impiaq. plangere facta suae.' Hollstein, de Vos 980. l Engraving on paper; broad margins; platemark: 176 x 216 mm; total: 221 x 272 mm. Close to the top margin holes for previous binding PB01SS(Eulogius).
Da: Goltzius, Lisse, Paesi Bassi
Copia autografata
Onofrius in the wlderness, kneeling on the rocks and praying after the Bible. Late impression. Signed on the bottom left, close to the center: 'Sadeler excudit' Lettered in latin below: 'Divinis oculis pergratus ONOFRIUS, aeuum / Traduxit rara sobrietate suum. / Inq[ue] cavo degens, palmaru ubi copia, monte, / Herbarum pastu depusit esuriem' Hollstein, de Vos 991. l Engraving on paper; broad margins; platemark: 178 x 215 mm; total: 226 x 276 mm. PB01SS(Onofrius).
Nathaniel rejects an incursion of the Devil who took the shape of a kid in need of help o move his donkey. Late impression. Inscribed on the bottom center, towards the right: 'cum privil. Sum Pontif. et Caes. Ma.'; 'Raph. Sadeler sculp M. de Vos fig. '; lettered on the bottom: 'Mentitus puerum Daemon, mentitus Aselli / Casum, implorabat NATHANAELIS opem. / Ars erat hec, dulci qua clausum educeret antro. / Stulte puer speras huic dare verba seni?' Hollstein de Vos, 1054l Engraving on paper; broad margins; platemark: 166 x 208 mm; total: 218 x 272 mm. PB01SS(Nathaniel).
Leonardus on the right under a tree reading from the Bible. Towards the left a chapel with Mary and Child. A friar digging a whole in the ground and further a landscape. Late impression. Inscribed on the bottom left: 'cu privilegio / Su Ponti. et Cae'; 'Joa. Sadeler /sculpsit et exc.'; towards the right: 'Martin de Vos figur.'; lettered on the bottom: 'Nobilio hic ille est LEONARDUS; sustulit olim / De sacris puerum Rex Clodoueus aquis. / Discipulos, edemq[ue]' habuit; Pastorq[ue] virorum / Ne fieret, socius maluit esse feris.' Hollstein de Vos, 1061l Engraving on paper; broad margins; platemark: 168 x 207 mm; total: 216 x 271 mm. In the sky towards the right a line in ink. PB01SS(Leonardus).
Ammon reading on the left and on the right other friars in a landscape. Inscribed on the bottom left: 'Sadeler ex'; lettered on the bottom: 'AMMON in Nitra squallentis cultor eremi, / multiplicis fulget fons et origo boni. // sacraque sparsurus pietatis semina, fratrum / undique sollicito convocat ore gregem' numbered below:'26' l Engraving on paper; broad margins; platemark: 168 x 209 mm; total: 220 x 268 mm.
Da: Antiquariaat Arine van der Steur / ILAB, Den Haag, Paesi Bassi
Late impression. Inscribed on the bottom right: 'cum privil Sum Ponti / M de Vos figu'; lettered on the bottom: 'Anglorum de gente, nepos Regis, contemtor honoris / Est VINVALOCIUS, quem dare vota vides. / Interea fures tectum expilare, sed ecce / Hic oculo, hic membris captus, et ille iacens' Hollstein de Vos, 1061 Engraving on paper; broad margins; platemark: 166 x 208 mm; total: 216 x 271 mm. In the sky towards the right a line in ink. PB01SS(Vinvalocius).
Editore: vers 1583, 1583
Da: Librairie Seigneur, VOINGT, Francia
Arte / Stampa / Poster
D'après Martin de Vos. Belle épreuve mais coupée au trait carré. 20,5 x 25,5 cm.
Da: Antiquariaat Arine van der Steur / ILAB, Den Haag, Paesi Bassi
Personification of Dialectic from the series of the Liberal Arts, after Maerten de Vos.Lettered above:'DIALECTICA.', signed on the bottom left:'Joan sadler sculp. et excud.' and right:'M. de Vos figura.' lettered below:'De themate omnigeno Dialectica disputat, qua / Quaerendum in dubijs sit verum indagine monstrat.'On the verso collector's marks; G.W. Brooke (L. 1138a) and A. Castagnari (L.86a). Engraving on paper trimmed to platemark; total: 150 x 106 mm; only state; evenly yellowed paper, nice impression; Hollstein 547, W.133.
The Nativity with three angels. Lettered below:'Maria peperit filium suum. non erat ei locus in diuersorio. Luc: II MDLXXXII' signed on the bottom center:'DVOS inuentor' and on the lid of the box in the foreground:'CVM PRIVIL / CM SADLE'l Engraving on paper trimmed within platemark; total: 181 x 130 mm; only state; nice impression; Hollstein 162, W. 25/29/35/57.
Editore: 1585, 1585
Da: TABERNA LIBRARIA - ALAI - ILAB, Pistoia, Italia
Acquaforte mm. 235x242 rifilata al margine della battuta. Tavola tratta da "Planetarum effectus et eorum in signis zodiaci, super Provincias. Regiones et Cinitates dominia .". Incisione da disegno di Martin de Vos.
Editore: 1585, 1585
Da: TABERNA LIBRARIA - ALAI - ILAB, Pistoia, Italia
Acquaforte mm. 235x242 rifilata al margine della battuta. Tavola tratta da "Planetarum effectus et eorum in signis zodiaci, super Prouincias. Regiones et Cinitates dominia .". Incisione da disegno di Marten de Vos.
Da: Douglas Stewart Fine Books, Armadale, VIC, Australia
[s.l.] : Ioannes Sadler [fe]cit et excudit, cum Privilegio S.C.M., [circa 1590]. Duodecimo (112 x 70 mm), copper engraved single sheet mounted on later marbled paper backing; in Latin; handling wear, a tiny amount of text loss at the extremities. The printer and engraver Jan (Johannes) Sadeler I (Brussels 1550 - 1600/1601 Venice) was a member of the famous Sadeler dynasty of Flemish engravers who were dominant in Northern European printmaking in the later sixteenth and seventeenth centuries. He was active in a number of centres across the Holy Roman Empire, including Antwerp, Cologne,Venice, Verona, Rome and Munich, where he was a court engraver between 1588-1595. In 1581 he received the imperial privilege; this was renewed in 1593. As part of the imprint at the foot of the text this is mentioned after the printer's name in the standard phrase 'cum Privilegio S[ac]. C[ae]. M[aes].'. This rare ephemeral printing was produced by Sadeler at the height of the Counter-Reformation, possibly around 1590 in Munich (where it was acquired by the previous owner). It is a form of portable amulet intended to be carried by pious travellers, with prayers in Latin dedicated to Our Lady.
Data di pubblicazione: 1599
Da: libreria antiquaria perini Sas di Perini, Verona, VR, Italia
Arte / Stampa / Poster
Bulino 1599, firmato in lastra al centro. Da un soggetto di Jacopo da Bassano. Bella prova, impressa su carta vergata coeva, rifilata al rame, in eccellente stato di conservazione. Hollstein 182 I/II. Dimensioni 265x210.Brussel 1550 - Venezia 1600 circaI SADELER: Famiglia fiamminga di artisti, attivi in tutta Europa. Per tre generazioni questa famiglia di incisori, editori e commercianti di stampe giocÚ un ruolo dominante nell'arte grafica europea, producendo opere variegate e di altissima qualit? Erano discendenti di una linea di cesellatori di acciaio di Aalst. Jan de Saeyelleer (Sadeleer) ebbe tre figli, Jan Sadeler I, Aegidius Sadeler I e Raphael Sadeler I, la prima generazione di incisori, editori e comercianti. Le incertezze religiose e politiche dell'epoca, li contrinsero ad emigrare, per cui si hanno notizie del loro lavoro a Colonia, Frankfurt am Main, Monaco, Venezia e Praga. La seconda generazione seguÏ le loro orme; tra questi, Aegidius Sadeler II, che lavorÚ per Rudolf II e i suoi successori, fu sicuramente il pi? importante. Justus Sadeler, figlio di Jan Sadeler I, e I tre figlia di Raphael Sadeler I-Jan Sadeler II, Raphael Sadeler II e Filips Sadeler-furono artisti minori, ma proseguirono la tradizione di famiglia. La terza generazione fu rappresentata da Tobias Sadeler (Vienna, 1670-75), figlio di Aegidius Sadeler II; eseguÏ incisioni per libri topografici. JAN SADELER I:Disegnatore, incisore e editore. IniziÚ a lavorare come cesellatore di acciaio e intarsiatore; poi si trasferÏ ad Anversa, dove venne ammesso nella Corporazione di St Luke nel 1572 come incisore su rame. Fu probabilmente attraverso la casa editrice di Christoph Plantin che Jan entrÚ in contatto con I membri della Chiesa Olandese Riformista, con cui intrattenne stretti legami. Jan incise illustrazioni per Plantin (ad es., per 'Humanae salutatis monumenta' di Arias Montanus, 1571, su disegno di Crispijn van den Broeck). » possibile che proprio ad Anversa abbia incontrato Marten de Vos, con cui lui e i suoi fratelli collaborarono per anni. Tuttavia, durante la sua permanenza ad Anversa Jan incise prevalentemente dai disegni di van den Broeck e Michiel Coxcie. Nr.cat: PC030013.
Da: Antiquariaat Arine van der Steur / ILAB, Den Haag, Paesi Bassi
On a river landscape are represented several episodes of the New Testament involving Christ and St. Peter. Set title: 'Land and River landscape with stories of the Old and New Testament.'Signed on the bottom left:'HBol inue. John sadl. excu.'Discipel Petrus loopt over water. Mattheüs 14. Etching on paper trimmed within platemark; total: 193 x 269 mm; only state; in great conditions; Hollstein 572.
Da: Antiquariaat Arine van der Steur / ILAB, Den Haag, Paesi Bassi
Several episodes of the New Testament in a river landscape, with Christ and St. Peter. From the set: 'Land and River landscape with stories of the Old and New Testament'.Signed on the bottom left:'HBol inue. John sadl. excu.' Etching on paper trimmed within platemark; total: 191 x 262 mm; only state; some minor staining, otherwise in great conditions; Hollstein 570.
IN A MARVELOUS STATE OF PRESERVATION: A MAGNIFICENT PASSION ENGRAVED DURING THE DUTCH REVOLT. Folio [36.5 x 25.4 cm]. Suite of 14 engravings, each ca. 25.9 x 20.3 cm, on perfectly contemporary thing laid paper, watermarked with a three-lobed lily underneath a fish. Broad margins; remains of stab-stitching; a beautifully-preserved copy. One or two insignificant tears to blank margins repaired on versos, never approaching engraved surfaces. Magnificent, complete suite of plates of their first state, engraved during the pinnacle of Counter-Reformation Flemish imagery in the 1580s. The suite, produced while the Dutch Revolt raged on the outskirts of Antwerp, was designed by Maarten de Vos and engraved by the progenitor of the Sadeler artistic dynasty, Johannes/Jan I (ca. 1550 1593). Per the Hollstein entry, this is one of just five known complete sets; the Metropolitan Museum, for example, holds just two of the 14 prints, while the British Museum holds a rather tattered single print. Born in Brussels, "Jan was in Antwerp by 1572; it was then the centre of the printmaking world, with hugely productive workshops producing work for publishers with excellent distribution arrangements throughout Europe. In that year he became a master of the artists' Guild of Saint Luke, and married in Antwerp Cathedral. By 1569 or 1570 he was doing work for the publisher Christopher Plantin. His younger brother Rafael I joined him there, and they continued to work closely together, moving to Cologne in about 1579, but continuing to visit Antwerp. The disruptions of the Dutch Revolt scattered all the Antwerp artists across Northern Europe, and after the siege of Antwerp in 1585 Jan and Rafael worked in several German cities - Mainz, Frankfurt-am-main, Munich without settling for long, before they went to Italy in 1593, where Jan may have died." (Colección Gelonch-Viladegut). The Hollstein entry diligently records all of the known impressions of these plates, and it is somewhat surprising to find that of the 19 examples listed, just the Brussels, Dresden, Coburg, Vienna and New York are listed as complete; however this seems to be an error, as the New York copy refers to the Metropolitan Museum, which holds only 2 plates from the series (one apparently in a later state). As noted in Hollstein, the British Museum holds 1 plate, in poor condition. The images depict: 1) The Last Supper; 2) The Agony in the Garden; 3) The Betrayal of Christ; 4) Christ before Caiaphas; 5) The Flagellation; 6) The Crowning with Thorns; 7) Ecce Homo; 8) Christ carrying the cross; 9) Christ crucified; 10) Christ on the Cross, Longinus approaching with his lance; 11) The Descent from the Cross; 12) The Resurrection; 13) Noli me tangere; 14) Christ and his disciples on the way to Emmaus. * Hollstein, Dutch & Flemish Vol XLIV (De Vos), #422-435.