Signed in the plate, l.l. in image : "J.V.Velde.fecit." Inscribed in the plate, l.c. below image: "TERRA."; l.l. below image: "Terra suas ostentat opes, et munera ruris/Setigeros que suos, ruricolos que boves."; l.r. below image: "Donaque largitur que mittit divite cultu/Vel faecunda Hales vel rubicunda Ceres."; l.r. below image: "WB/1" Verso, collector's mark stamped in purple ink, l.r.: AB in shield (Lugt 79b) Verso, inscribed in pencil, bottom center: "Fr.de.K. 134" Watermark: none visible.
Signed in the plate, l.r. in image: "J.V. Velde fecit." Inscribed in the plate, l.c. below image: "AER."; l.l. below image: "Aer iam sequitur: animae vitalis origo:/Quo sine nil vivit quicquid in orbe datur."; l.r. below image: "Mobilis assiduo faecundat semine terram,/Hic regnantque Noti, Pennigerique greges."; l.r. below image: "WB 2" Verso, collector's mark stamped in purple ink, l.r.: AB in shield (Lugt 79b) Verso, inscribed in graphite, l.r.: "Fr.de.K. 135" Watermark: none visible.
Signed in the plate, l.r. below image: "J.V. Velde.fecit." Inscribed in the plate, l.c. below image: "IGNIS"; l.l. below image: "Ignis alit mundum Princeps et viribus acer/Orbis fraena suo temperat arbitrio."; l.r. below image: "Lucida flammifero locat ignis sydera Caelo,/Per quae faecundo cuncta calore fovet."; l.r. below image: "WB 3" Verso, collector's mark stamped in purple ink, l.r.: AB in shield (Lugt 79b) Verso, inscribed in graphite, bottom center: "Fr.d. K. 136" Watermark: none visible.
Printed inscription below image: Juppiter atque Hermes spetie mortalis ____rrgue Hospitium inueniunt gratum, cum paupere mensa/Lustrantes Phrygiam, sub amaena crepuseula moetis. Baucidis, disgaudent Divi, et sua dona rependunt./HGoudt Palsat. Comes, et Sur. Mil. Cyues, Nob. viro D._?. Goudt/patri suo Pictura et oim insignium artium amatori DD 1612. Watermark (partial): [visible on verso at l.r. edge] Collectors' Marks: located below image at l.l.: G.A.C.; at l.r.: M. WBS; on verso: at l.l. corner (partial), at lower center: G.A.C. Two faint notations in brown ink, both illegible, at l.l. and at l.r.: AB___
Two lamps provide the only source of light in this nighttime interior and the scene is full of dark shadows and areas highlighted by white. Two men are seated at a table- one is a bearded man wearing long robes and the other has a staff and a hat with wings. They are looking at a woman, wearing a cloth headdress and a long dress, who stands before them. On the left is a man entering through a doorway. The features of the room are shown in great detail including the assortment of food, hanging vegetables and baskets, a wall tapestry, the rough wood planking and decorative designs on the bedding. There is a printed Latin inscription below this scene.
This print is based on a painting by Adam Elsheimer and depicts the story of Philemon and Baucis from Ovid's "Metamorphoses." The elderly couple unknowingly offers hospitality to Jupiter and Mercury, who are disguised as beggars. In gratitute for their generosity, the gods granted their wish that neither outlive the other but die together; they were changed into an oak tree and a linden tree, their trunks intertwined. Rather then focusing on the moment of miraculous transformation, this composition portrays the humble, but richly described, interior as Baucis speaks to her divine visitors.
Signed in image, below figures: A. Bloemaert invt./J. Saenredam Sculp. 6 Inscribed in plate, below image: Hornâ fruge Cain, lecto que aram imbuit agno/Gratus Abel: Tum felle Cain accensus, et ira,/Sanguine fraterno terram inces favit avitam:/Heu lessum faciunt natorum in coede parentes!/ T Sereuelius (?)
Collector's marks: Inscribed in brown ink, below image, l.r.: WE. [monogram of William Esdaile, Lugt 2617}; (verso) l.l.: WE [same monogram]; in graphite, c.c.: c/a Leith/Nov.12/1840 [inscription by Bindon Blood, Lugt 3011]
This engraving is a vertical format. Dominating the foreground are three figures on a slight hill with a large tree. In front of the tree is the corpse of Abel (a strong young man with flowing cloth around his waist) with his head in the shadows. Kneeling over him are Adam and Eve. Adam, a muscular older man with a white beard, clutches his hands together and leans toward his dead son. Eve, covered only from the waist down, throws her arms out in the air above her son and moves towards him on her knees. The tree behind them has a sturdy trunk that splits into three heavy branches and these limbs echo the placement of Eve's back and right arm. On the right is a road leading to a background scene.In the far background Cain and Abel are shown making offerings to God on altars, with Abel’s offering rising higher than Cain’s. In the middle ground along the road, Cain is shown raising a weapon to kill Abel. At the bottom of the work are four lines of text and a signature.
Derived from the Old Testament story (Genesis 4) of the death of Abel at Cain’s hands, Saenredam imagines the moment when Adam and Eve find the corpse of their youngest son. In the background, along a path leading to the corpse, two scenes that precede the main scene are visible. In the very back, Cain and Abel bring offerings to God on separate altars, and only Abel’s offering rises into the air showing that it is pleasing to God. The next scene along the path shows Cain raising a weapon in the air to murder his struggling brother. In the foreground, only Adam, Eve, and Abel’s corpse are visible: Cain is nowhere to be seen. The fact that the figures are clothed—albeit scantily—alludes to Genesis 3 where Adam and Eve committed what Christians interpret as the Original Sin by eating the fruit of the Tree of the Knowledge of Good and Evil. As a result of Original Sin, Adam and Eve suddenly had shame at their naked bodies. Adam and Eve must no doubt feel some responsibility in the death of their son, as their Original Sin made sin in Cain possible. This trio of figures also evokes a lamentation over Christ's body. Perhaps the absence of Cain is meant to remind the viewer of the ultimate guilt of Adam and Eve.
Inscribed in graphite, l.l.: 51/125; l.r.: Appel 61 (?); verso, in graphite, l.l.: 15 CCXXXIX; in blue ballpoint pen, l.l.: 200; yellow label, l.l.: L'Oeuvre Gravée (in letter press along the l. side)/Lithographie (in typing) original en (letter press) 10 (typing) couleurs (letter press)/ Tirage (letter press) 125 (typing) exemplaires Cat. No. (letter press) 304 (typing)/Artiste (letter press) K. Appel (typing)/Titre (letter press) Dans la Tempête (typing)/Date (letter press) 1960-61 (typing)
This black and white print shows a nude woman and young boy with wings within an oval shape.The woman is lounging on a draped surface and has her arm around the boy. He is facing toward her and pushing an arrow against her left breast. Other smaller scenes surround these figures including, a woman in a chariot drawn by swans; a man and a woman conversing in a forest; two figures in a landscape scene and two birds nestled together. Outside the oval in the corners of the work are hearts, flaming arrows and roses . At the bottom is Latin lettering.
Goltzius was known as one of the premiere engravers in Europe and this depiction of Venus and Cupid shows the artist at the peak of his powers. Venus, the goddess of love, is seen reclining at an angle within the oval format of the image. Her left arm is draped around the figure of Cupid, whose arrow is about to pierce her chest near her heart. Notwithstanding the playful threat of Cupid’s arrow, the inscription at the bottom attests to Venus’s uncontested command over men: “Our immense power is observed throughout the world, and my fire has widespread potency. Neither any god or man escapes my arrows to which are attached feathered wings.”
The low horizon used in this landscape painting creates a sense of expansive sky and flat terrain, which is divided equally between river and land. Figures and animals engage in variety of activities on the riverbank and in boats, including fishing and ferrying cargo and animals. Silhouetted against the vast sky stands a fortress on a spur of land with an orange flag flying from its tower. The opposite bank is visible in the distance as a dark broken line across the shining stretch of water.
This landscape depicts the fort overlooking the Maas River at Gennep, a town of strategic military importance in the southeastern the Netherlands. The painting commemorates the recapture of Gennep by the Dutch from the Spanish armies in 1641 during the Eighty Years' War (1568-1648) in which the Dutch won their independence from Spain. From the battlements of the fort waves an orange flag, a reference to the House of Orange whose members were instrumental in the formation of the Dutch Republic.