Last Hurrah
- Hopfer, The Soldier and His Wife
- van Leyden, The Baptism of Christ
- Italian School (Tuscan?), Eagles
- Marco Dente, Entellus and Dares
- Vincentino, Temperance
- Hopfer, Battle of the Naked Men
- Circle of Romano, Roman Battle
- van Leyden, The Fall of Man
- Scultori, Eros Playing a Clavier
- Bonasone, The Wounded Scipio
- Brun, The Drummer
- Cort, The Assembly of the Gods
- Wierix, The Virgin Nursing
- Sadeler, Annunciation
- de Gheyn, The Rest on the Flight
- Sadeler, Death as a Welcome Visitor
- Callot, Les Intermèdes, No.1
- Brebiette, Woman Nursing
- Dutch or Flemish School, Four Biblical Episodes
- Vauquer, Ornament Plate
- Hondius, Uylenspiegel, or Owlglass
- Roghman, River and Rocks, Italy
- Castiglione, Noah and the Animals
- Piranesi, Frontispiece
- Piranesi, Carceri XI: The Arch
- Pether, A Farrier’s Shop
- Tiepolo, Self Portrait
- Turner & Dunkarton, The Temple
- Lucas, The Vale of Dedham, Essex
- Weir, Study for a Monument
- Lalanne, View of Groningen
- Richmond, Landscape at Otford
- Harpignies, Troncs d’Arbres
- Loizelet, Le Petit Coblentz
- Whistler, The Smith
- Forain, Loge de Danseuse
- Toulouse-Lautrec, Au Pied du Sinai
- Orlik, Still Life with Fruit
- Marin, Sestiere di Dorso Duro
- Roussel, The Snow
- Vergé-Sarrat, Chambre de Malade
- Oppenheimer, Ferruccio Busoni
- Levine, Sewing Machine Operator
- Picasso, Femme Nue à la Jambe
- Oppenheimer, The Rosé Quartet
- Villon, Mon Vieux Luxembourg
- Epstein, Jackie
- Tobey, Untitled
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13. Jan Wierix (1549-after 1615) after Albrecht Dürer (1471-1528) The Virgin Nursing the Child |
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(click on image to print)
The Virgin Nursing the Child
Engraving, 1566, Alvin 64, Mauquoy-Hendrickx 728 ii/iii,
Bartsch (Dürer) 34 copy a, Meder (Dürer) 31 copy a, 113 x 72 mm. Brilliant impression, before Visscher’s address, on laid paper with small margins; thin area at the top, visible verso. Wierix (or Wiericx) was something of a prodigy as an engraver and copyist and sometimes marked his prints with his age at the time. This is not the case here, but he was seventeen when he made this remarkable same-direction copy after Dürer. There are differences, to be sure, but Wierix’s purpose was not to deceive (he changed Dürer’s date from 1507 to 1566), but to show how good a craftsman he was. Although other Wierix copies of Dürer are frequently on the market, this one, for some reason, rarely turns up.
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$1,000.00 |  |
