87
Jan Breughel the Younger (1601-1678), Matthäus Merian I (1593-1650)
Beschreibung
Jan Breughel, M. Merian - Nuremberg landscapes, complete series (6) in proof states by Merian (RRRR) / Description: Jan Breughel the Younger , who had spent some days in Nürnberg made the original drawings for this series. The engraver and publisher Peter Isselburg (1580-1631), originally from Cologne selected a total of six images, which were engraved by Matthäus Merian the Elder. He published the series in 1616 with etched titles top middle of the etchings. Here a complete series of these landscapes from the Nuremberg area (Wüttrich 226-231) in incredible rare proof states, before the title on top and with still square plate borders. Prints from this set are very rare to find let alone as a complete set in proof states even not described by Wütrich, the specialist who complied his catalogue raisonné in 1966. . This excellent early impressions before publishers address or title and with still square plate borders are from the very first impressions of the copper plates, proof states before adding title and before published. Matthäus Merian I born in 1593 married the daughter of Theodor de Bry in 1617 and worked from then for his father-in-law. Here early works even before his marriage In his mid twenties. His early work shows great talent for free etching. His landscape art from that period is the best in his oeuvre This series is certainly one of the nicest he made. The subjects are identified as: Hallers Weyer Hause (W.226), Fischers häuslein untterm Lazarëth, see also A. Dürer aquarell (W.227), S Johannesfriedhofs und Kirche (W.228), Der Tetzell Gartten bey dem Judenbiell (W.229), Mögeldorff (W.230), Zu Sanct Jobs (W.231) / Dimensions: 12,60 x 17,80 cm / Condition: Early outstanding, richly inked and luminous impressions, each on a full sheet of laid paper (18 x 26 cm) . Excellent condition with no folds, tears or stains. Old number in sepia ink in the upper right margin. A rare print series, from the uppermost rarity as a complete set in these outstanding proof states. / Literature: Druckgraphik MMerian AB 3.13, Landschaften aus der Umgebung von Nürnberg, M. Merian, 6 Bll., Wüthrich 226-231 (Proof state unknown to Wüthrich)--- (Even the finished states are very rare to find, only two complete sets recorded by Wühtrich and half a dozen incomplete sets) ----- Besides the Wüthrich catalogue raisonné, most of the information of this series is credited to the work by Katharina Krause: The Legitimation of Council Rule Through Vedute of the City and Territory. Se describes the importance of Nuremberg as a Lutheran imperial city that attracted many artists who came to Germany fled from Flanders and the Netherlands since the late sixteenth century either as religious refugees or for economic reasons. They brought invovations that resulted in this first print series with views of the Nürnberg environs. Only 10 years after the first Dutch examples which elevated the unspectacular surroundings of Haarlem into evidence of its newly achieved sovereignty as a theme of print series, artists began to draw motifs from the environs of Nürnberg in the mode of vedute. There were several existing templates for reproducing the Nürnberg landscape, and artists drew on Dutch series, such as the “Plaisante Plaetsen” by Claesz Vischer (1611–12), and his Brabant “Small Landscapes” by Pieter Brueghel the Elder. The original drawings for this series of engravings were by Jan Brueghel the Younger , who had spent some days in Nürnberg. From the pool of sheets, the engraver and publisher Peter Isselburg, originally from Cologne, selected a total of six images, which he kept in a similar format to form a self-contained series. The execution of the prints is ascribed to Matthäus Merian the Elder. ---- One of the subject is Das Angersche Weiherhaus [The pond house of the Angerer family]. the Weiherhaus [pond house] of the Angerer family, which had been previously depicted by Dürer.The engraving shows the timbered house on a wooded island next to a pond whose smooth water surface reflects the buildings and the vegetation. In the distance, we see one of Nürnberg’s gate towers; the background is formed by a fisherman with a net, and a barge on its way to the island. The themes are the modest buildings themselves, the reflections in the water, the ambience of the cloudy sky, and the people who are going about their work. The caption on the page emphasizes that this is a depiction of a real place. The print pays tribute to a work by Dürer, the city’s most famous artist, whose works were already much sought after in the decades around 1600– but at the same time, cityscapes such as these reflected a more recent movement in the European market that focused interest on local environments. This new mode was also characterized by the accurate reproduction of the buildings embedded in their surroundings and collections of farmsteads and rural roadways, which were all identifiable real-world places. --- Another subject is The Hallersche Weiherhaus, located near St. Peter's Church, was destroyed in the Second World War. Lit.: 'Nürnberger Schau' 1941, issue 10, p. 247 with ill., it is the one with the man with a stick walking before a wooden fence that covers the complete print foreground from left to right. / Medium: Six etchings /Circa: Circa 1615-1616 2400
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Jan Breughel, M. Merian - Nuremberg landscapes, complete series (6) in proof states by Merian (RRRR) / Description: Jan Breughel the Younger , who had spent some days in Nürnberg made the original drawings for this series. The engraver and publisher Peter Isselburg (1580-1631), originally from Cologne selected a total of six images, which were engraved by Matthäus Merian the Elder. He published the series in 1616 with etched titles top middle of the etchings. Here a complete series of these landscapes from the Nuremberg area (Wüttrich 226-231) in incredible rare proof states, before the title on top and with still square plate borders. Prints from this set are very rare to find let alone as a complete set in proof states even not described by Wütrich, the specialist who complied his catalogue raisonné in 1966. . This excellent early impressions before publishers address or title and with still square plate borders are from the very first impressions of the copper plates, proof states before adding title and before published. Matthäus Merian I born in 1593 married the daughter of Theodor de Bry in 1617 and worked from then for his father-in-law. Here early works even before his marriage In his mid twenties. His early work shows great talent for free etching. His landscape art from that period is the best in his oeuvre This series is certainly one of the nicest he made. The subjects are identified as: Hallers Weyer Hause (W.226), Fischers häuslein untterm Lazarëth, see also A. Dürer aquarell (W.227), S Johannesfriedhofs und Kirche (W.228), Der Tetzell Gartten bey dem Judenbiell (W.229), Mögeldorff (W.230), Zu Sanct Jobs (W.231) / Dimensions: 12,60 x 17,80 cm / Condition: Early outstanding, richly inked and luminous impressions, each on a full sheet of laid paper (18 x 26 cm) . Excellent condition with no folds, tears or stains. Old number in sepia ink in the upper right margin. A rare print series, from the uppermost rarity as a complete set in these outstanding proof states. / Literature: Druckgraphik MMerian AB 3.13, Landschaften aus der Umgebung von Nürnberg, M. Merian, 6 Bll., Wüthrich 226-231 (Proof state unknown to Wüthrich)--- (Even the finished states are very rare to find, only two complete sets recorded by Wühtrich and half a dozen incomplete sets) ----- Besides the Wüthrich catalogue raisonné, most of the information of this series is credited to the work by Katharina Krause: The Legitimation of Council Rule Through Vedute of the City and Territory. Se describes the importance of Nuremberg as a Lutheran imperial city that attracted many artists who came to Germany fled from Flanders and the Netherlands since the late sixteenth century either as religious refugees or for economic reasons. They brought invovations that resulted in this first print series with views of the Nürnberg environs. Only 10 years after the first Dutch examples which elevated the unspectacular surroundings of Haarlem into evidence of its newly achieved sovereignty as a theme of print series, artists began to draw motifs from the environs of Nürnberg in the mode of vedute. There were several existing templates for reproducing the Nürnberg landscape, and artists drew on Dutch series, such as the “Plaisante Plaetsen” by Claesz Vischer (1611–12), and his Brabant “Small Landscapes” by Pieter Brueghel the Elder. The original drawings for this series of engravings were by Jan Brueghel the Younger , who had spent some days in Nürnberg. From the pool of sheets, the engraver and publisher Peter Isselburg, originally from Cologne, selected a total of six images, which he kept in a similar format to form a self-contained series. The execution of the prints is ascribed to Matthäus Merian the Elder. ---- One of the subject is Das Angersche Weiherhaus [The pond house of the Angerer family]. the Weiherhaus [pond house] of the Angerer family, which had been previously depicted by Dürer.The engraving shows the timbered house on a wooded island next to a pond whose smooth water surface reflects the buildings and the vegetation. In the distance, we see one of Nürnberg’s gate towers; the background is formed by a fisherman with a net, and a barge on its way to the island. The themes are the modest buildings themselves, the reflections in the water, the ambience of the cloudy sky, and the people who are going about their work. The caption on the page emphasizes that this is a depiction of a real place. The print pays tribute to a work by Dürer, the city’s most famous artist, whose works were already much sought after in the decades around 1600– but at the same time, cityscapes such as these reflected a more recent movement in the European market that focused interest on local environments. This new mode was also characterized by the accurate reproduction of the buildings embedded in their surroundings and collections of farmsteads and rural roadways, which were all identifiable real-world places. --- Another subject is The Hallersche Weiherhaus, located near St. Peter's Church, was destroyed in the Second World War. Lit.: 'Nürnberger Schau' 1941, issue 10, p. 247 with ill., it is the one with the man with a stick walking before a wooden fence that covers the complete print foreground from left to right. / Medium: Six etchings /Circa: Circa 1615-1616 2400
ALTE MEISTERGRAFIKEN XVI
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Belgium
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Internet live auction (behind closed doors) of Old Master Prints. We auction each lot one by one, approximately 80 lots an hour. Old Master Print, a rich selection of old graphics that provide an overview of graphic art from the 15th to the 18th century. The selection includes works by the Masters of Antwerp and Haarlem from the 1480s, as well as striking pieces by Leonardo de Vinci and Piranesi's Roman Veduta. Catalog on oldmasterprint.net. Highlights of the auction include woodcuts by Albrecht Dürer, mainly from his small and large passions, and several etchings by Rembrandt, including a beautiful self-portrait. Also notable are the extremely rare proof states by Albrecht Altdorfer and Matthäus Merian, which represent unique specimens, sometimes preceding the first state as described in the catalog raisonné. Moreover, an unexpected connection is revealed between Merian and Flemish artists such as Jan Brueghel and Gilles van Coninxcloo, who stayed in Germany during that period. In short, the auction provides a unique opportunity to acquire rare valuable pieces and discover the rich history of printmaking. The items have extensive item descriptions and several photos. Letter of authenticity available on request, a small fee may apply. In-house international insured shipping at perhaps the lowest cost on the market, all this to allow the bidder a hassle-free experience.
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All customs charges, import taxes, other taxes and costs must be paid by the buyer.
We organize all shipping, worldwide at fixed prices:
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All Items must be paid in full before they will be shipped.
Items will be send insured. An insurance fee might be added to the invoice.
Claims for lost or broken items during transport are handed over to the insurance policy of the shipper and be reimbursed according to their terms. Old master print cannot be held responsible for any additional compensation for the loss or damage of the item.
The buyer is free to organize his own shipping at his own expense.
The items can only be released after full payment.
If the buyer arranges his own shipment or pick-up, OLD MASTER PRINT can not be held responsible for damage or loss of the goods after a period of two months after the date of the sale.
Shipping Terms
Buyer pays shipping costs.
All customs charges, import taxes, other taxes and costs must be paid by the buyer.
We organize all shipping, worldwide at fixed prices:
Europe: 30 €
Outside Europe: 50 €
All Items must be paid in full before they will be shipped.
Items will be send insured. An insurance fee might be added to the invoice.
Claims for lost or broken items during transport are handed over to the insurance policy of the shipper and be reimbursed according to their terms. Old master print cannot be held responsible for any additional compensation for the loss or damage of the item.
The buyer is free to organize his own shipping at his own expense.
The items can only be released after full payment.
OLD MASTER PRINT is not responsible for the lots if they are not paid, picked up or mailed within the prescribed period.
OLD MASTER PRINT can not be held responsible for damage or loss of the goods after a period of two months after the date of the sale.
