Master prints are works of art. Their time begins with western style printing in the 15th century and ends (as far as our personal understanding goes) around 1750.
Master Prints may be woodcuts, engravings or etchings and their variations. Their main difference from the „usual" print is their very special art value. They usually excel the abilities of artists working for publications of prints in books. Often they were individual prints, not published in books. And their unique mark of distinction is the fact that a veritable „master" has completed the medium of printing, a woodblock or a copper plate. Master Prints may have been accomplished „after" another artist, but often these woodcuts, engravings or etchings were works after the artist's own drawing.
Master Prints are valued highly. Their origin is most often to be found in Germany, in the Netherlands, in France and in Italy, the main cradles of print making.
30% Discount on All Master Prints!
No title. German text:
"Wer will recht vergnueget leben,
muss das Lieben ganz aufgeben,
dan es kehrt sich offt die Freud
in das Größte Herzenleid
If you wish to live joyfully, you'd better give up love, because often joy turns into heartbreak
Text also in French
Copper etching by Georg Gottfried Winkler after the drawing by Tobias Lobeck.
Augsburg, ca. 1750
Nicely executed copper etching depicting symbolizing the joys of love in bright light and sorrow and tears of same in the shade.
Print has a horizantal pleat . The margins all around have been strengthened. Small repair in lower right margin.
32,5 x 31,5 cm (ca. 12.8 x 12.4")
Order Nr. MASTERPRINT246893
No Title. Beautiful Venus Mamilia.
Copper stipple etching by H.
John ( possibly alias for Ramberg ).
What does this scene show us ?
In the center we see a naked
woman ( Mamilia ) surrounded by three naked or partially
On the reverse side of the print we find penciled handwriting: Mamiia Ramberg.
Christoph Martin Wieland ( 1733-1813 ) The print is dated Vienna, 1797.
Condition: Print is trimmed to
near borderline. Water spotting especially visible on
19.7 x 14.3 cm ( 7.8 x 5.6 ")
Order Nr. MASTER246871
Title: "Mox Ruit E Caelo Thesbitae in Vota Vocatus Ignis, Et in Furuas Cadit Hostia Victa Faulillas"
Copper etching by Martin van Heemskerck (* 1498 in Heemskerk; + 1574 in Haarlem; actually Martin van Veen, (Marten Jacobszoon Heemskerk van Veen).
Signed: Meemskerck. Dated 1567
Condition of print: The etching is on typically thick 16th century hand-made paper. Impression is clear and strong.
There is a little soiling and spotting in margins. And there are some minor traces of age and use, as are usual and frequent with prints some 450 years old (however mainly in margins and verso (on backside.SOME CREASING IN LOWER AREA.
Image size: 20,1 x 24,6 cm (7.9 x 9.7"). Sheet size: 22,8 x 27,1 cm (ca. 9 x 10.7").
Margins to plate mark are ca.1 cm.
Price: $ 180.00
Order Nr.MASTERPRINT 235058
Here is the complete Holy Bible text for 1 Kings, 18, 1 - 40, explaining the background understanding for this Old Master Print.
Elijah and Obadiah
1 After a long time, in the third year, the word of the LORD came to Elijah: "Go and present yourself to Ahab, and I will send rain on the land." 2 So Elijah went to present himself to Ahab.
Now the famine was severe in Samaria, 3 and Ahab had summoned Obadiah, who was in charge of his palace. (Obadiah was a devout believer in the LORD. 4 While Jezebel was killing off the LORD's prophets, Obadiah had taken a hundred prophets and hidden them in two caves, fifty in each, and had supplied them with food and water.) 5 Ahab had said to Obadiah, "Go through the land to all the springs and valleys. Maybe we can find some grass to keep the horses and mules alive so we will not have to kill any of our animals." 6 So they divided the land they were to cover, Ahab going in one direction and Obadiah in another.
7 As Obadiah was walking along, Elijah met him. Obadiah recognized him, bowed down to the ground, and said, "Is it really you, my lord Elijah?"
8 "Yes," he replied. "Go tell your master, 'Elijah is here.' "
9 "What have I done wrong," asked Obadiah, "that you are handing your servant over to Ahab to be put to death? 10 As surely as the LORD your God lives, there is not a nation or kingdom where my master has not sent someone to look for you. And whenever a nation or kingdom claimed you were not there, he made them swear they could not find you. 11 But now you tell me to go to my master and say, 'Elijah is here.' 12 I don't know where the Spirit of the LORD may carry you when I leave you. If I go and tell Ahab and he doesn't find you, he will kill me. Yet I your servant have worshiped the LORD since my youth. 13 Haven't you heard, my lord, what I did while Jezebel was killing the prophets of the LORD ? I hid a hundred of the LORD's prophets in two caves, fifty in each, and supplied them with food and water. 14 And now you tell me to go to my master and say, 'Elijah is here.' He will kill me!"
15 Elijah said, "As the LORD Almighty lives, whom I serve, I will surely present myself to Ahab today."
Elijah on Mount Carmel
16 So Obadiah went to meet Ahab and told him, and Ahab went to meet Elijah. 17 When he saw Elijah, he said to him, "Is that you, you troubler of Israel?"
18 "I have not made trouble for Israel," Elijah replied. "But you and your father's family have. You have abandoned the LORD's commands and have followed the Baals. 19 Now summon the people from all over Israel to meet me on Mount Carmel. And bring the four hundred and fifty prophets of Baal and the four hundred prophets of Asherah, who eat at Jezebel's table."
20 So Ahab sent word throughout all Israel and assembled the prophets on Mount Carmel. 21 Elijah went before the people and said, "How long will you waver between two opinions? If the LORD is God, follow him; but if Baal is God, follow him."
But the people said nothing.
22 Then Elijah said to them, "I am the only one of the LORD's prophets left, but Baal has four hundred and fifty prophets. 23 Get two bulls for us. Let them choose one for themselves, and let them cut it into pieces and put it on the wood but not set fire to it. I will prepare the other bull and put it on the wood but not set fire to it. 24 Then you call on the name of your god, and I will call on the name of the LORD. The god who answers by fire---he is God."
Then all the people said, "What you say is good."
25 Elijah said to the prophets of Baal, "Choose one of the bulls and prepare it first, since there are so many of you. Call on the name of your god, but do not light the fire." 26 So they took the bull given them and prepared it.
Then they called on the name of Baal from morning till noon. "O Baal, answer us!" they shouted. But there was no response; no one answered. And they danced around the altar they had made.
27 At noon Elijah began to taunt them. "Shout louder!" he said. "Surely he is a god! Perhaps he is deep in thought, or busy, or traveling. Maybe he is sleeping and must be awakened." 28 So they shouted louder and slashed themselves with swords and spears, as was their custom, until their blood flowed. 29 Midday passed, and they continued their frantic prophesying until the time for the evening sacrifice. But there was no response, no one answered, no one paid attention.
30 Then Elijah said to all the people, "Come here to me." They came to him, and he repaired the altar of the LORD, which was in ruins. 31 Elijah took twelve stones, one for each of the tribes descended from Jacob, to whom the word of the LORD had come, saying, "Your name shall be Israel." 32 With the stones he built an altar in the name of the LORD, and he dug a trench around it large enough to hold two seahs [a] of seed. 33 He arranged the wood, cut the bull into pieces and laid it on the wood. Then he said to them, "Fill four large jars with water and pour it on the offering and on the wood."
34 "Do it again," he said, and they did it again.
"Do it a third time," he ordered, and they did it the third time. 35 The water ran down around the altar and even filled the trench.
36 At the time of sacrifice, the prophet Elijah stepped forward and prayed: "O LORD, God of Abraham, Isaac and Israel, let it be known today that you are God in Israel and that I am your servant and have done all these things at your command. 37 Answer me, O LORD, answer me, so these people will know that you, O LORD, are God, and that you are turning their hearts back again."
38 Then the fire of the LORD fell and burned up the sacrifice, the wood, the stones and the soil, and also licked up the water in the trench.
39 When all the people saw this, they fell prostrate and cried, "The LORD -he is God! The LORD -he is God!"
40 Then Elijah commanded them, "Seize the prophets of Baal. Don't let anyone get away!" They seized them, and Elijah had them brought down to the Kishon Valley and slaughtered there.
"Ioannes Udalricus Maier Augustianus"
(Johann Ulrich Mayr (1630 Augsburg - ebenda 1704)
Copper etching by Johann Conrad Schnell , the younger (1675-1726)
After self portrait by Mayr
Augsburg, ca. 1710
Some minor traces of age and use. On reverse side remnants of adhesive visible from former mounting.
22,3 x 16,7 cm (ca. 8.8 x 6.6")
Order Nr. MASTERPRINT246890
No title. Neptune in carriage
Copper etching by Pietro da Cortona (1596-1669)
Well preserved with only minimal traces of age and use.
19,8 x 14,4 cm (ca. 7.8 x 5.7")
Order Nr. MASTERPRINT246889
Drawing by: Nicolaas Berghem (Berchem) - (1620-1683)
Claes Janzoon Visscher II. (1586-1652) and Justus Danckerts (1635-1701)
Amsterdam, ca. 1660/70
The first state of this engraving was done by Visscher ca. 1650. In this second state Justus Danckerts obviously gave it finishing touches and engraved his own name in the plate as the artist who executed these finishing touches.
While Visscher and Danckerts both belong to family clans who were cartographers and publishers of maps and atlases in Amsterdam, the scene here is typical of Berghems pastoral scenes he so much liked depicting. Berghem's curriculum is not very well documented. But it seems that he spent time in Italy, an assumption well founded by the landscapes he painted and drew. The possible time period most likely for a journey to Italy is expected to be 1642/43. This would fit the drawing for the etching here offered, when compared with the life periods of the artists signatures.
It's a lovely pastoral scene. Aurora = sunrise = early morning. The departure of a shepherd party. One of them ready to mount his mule, the other fixing the hoof of another mule. Wife, a baby in her arms, watching, a toddler playing, a bigger child helping to load. The herd, cows, sheep a donkey) is still resting, waiting for the call.
A classical Berghem etching, well designed and balanced showing the activities at the break of another work day of shepherd life.
The print has centerfold. It is cut to borderline and mounted on heavy woven paper.
The impression is very good.
Due to mounting the print there are some creases along
centerfold and in the sky.
32,5 x 36,8 cm (ca. 12.8 x 14.5")
"La Mer Calme" The calm sea.
Copper etching 1790 by Claude Joseph Vernet after his own painting.
Text below image:
Light general age toning.
30 x 42.5 cm ( 11.8 x 16.7 ")
Order Nr. MASTERPRINT246885
No title. Portraits of a man and a girl.
Maniere de crayon (chalk manner copper etching) in sepia color
by Elisabeth Mélanie Moitte
After the drawings by Francois Boucher (1703-1770)
Page 159 of an album of chalk manner etchings
Printed by Chereau. Paris, 1772-1780
These portraits of a man looking with appreciation at the modestly delightful young girl is one of the master's exceedingly well done art works: Boucher at his best.
Elisabth Melanie Moitte was one of 6 children of Pierre Etienne Moitte, who were artists as their father was.
Sheet has been center folded between the portraits. Some light general age toning. Wide margins.
The full page measures: 34,5 x 53 cm (ca. 13.5 x 20")
Order Nr. MASTER243358
"Tactus" One of a series of the five senses "touch" - "Tastsinn"
Copper etching by Willlem de Passe (ca. 1598-1637)
After Crispin de Passe the younger (1593-1670) who was Willem's brother.
Willem de Passe has only made this one plate of the certainly intended five. The time period in which this work was done is given as between 1615 and 1625.
A man lustfully reaches out and touches with the tips of the fingers of his right hand the naked breasts of a woman, while he expectantly (of what) looks into her eyes. Winged Amor, equipped with bow and arrows, standing on the woman's chair is fending off the attack of a parrot. A naked woman, status or painting in the background and a well cushioned bed in the corner are suggesting the woman being a prostitute.
Very finely executed etching in very good condition. Very good imprint. Matted and framed in a black frame.
Image size including text: 22,3 x 16 cm (ca. 8.8 x 6.3")
"Nudus egressus sum de utero matris mea…"
Bible: Job 1:21
Naked I came from my mother's womb, and naked shall I return..
Copper etching by Hieronymus Cock (1518-1570)
after the drawing by Marten van Heemskerk (1498-1574)
Minor traces of age and use
19,7 x 29,8 cm (ca. 7.8 x 11.7")
Copper etching by Johann Jakob von Sandrart (1655-1698)
Possibly Dante? Neptun and Minerva in Purgatory?
Narrow margin beyond image.
Very good condition but without title and address. Print has been fastened onto cardboard in upper left and right corner.
16,7 x 19,7 cm (ca. 6.6 x 7.8")
„At secunda Venus cunctarum semina rerum
Possidet, aequata iusto sub pondere Librae,
Dum ferus à Divae Taurus cornicibus haeret.
Arua tenet Thebana, Paphio vicinaqz Cypro
Littora, palmiferos Arabas, terraqz ferentes
Delitias, variaeqz novos radicis odores.
Laudis amora auidas mentes dat, corpora tarda,
Et graciles calamosq, modulataqz vocibus ora".
Type of print: Copper etching
Artists: Johannes Sadler (1550-1600) and Marten de Vos (1532-1603)
Published as: One of seven in a series of the Planets. Plate Nr. 5
Where published: Amsterdam. When published: 1585.
Condition: Very light general age toning. Minor traces of age and use. Upper margin has repair. Lower margin has one repaired tear
Measurements: Image 23,8 x 24,5 cm (ca. 9.4 x 9.6")
Sheet 26,5 x 35,3 cm (ca. 10.4 x 13.9")
Legend below left and right - Under the influence of Venus are:
Aethiopia, Alsatia, Austria, Caspia, Delphinatum, Livonia, Sabaudia, Thebae, Trogloditae.
Arelatum, Argentina, Caieta, Lauda, Placentia, Spira, Suesse, Venetia, Vienna, Ulyspona.
Asia, Cyprus, Franconia, Helvetia, Laotharingia, Media, Persia, Polonia, Russia, Svetia.
Bononia, Borgum, Bosnia, Lipsia, Mantua, Senae, Tarentum
Order Nr. OLDMASTERS238504SOLD
No title. Two oxen, one urinating.
Very fine copper etching by Hendrik L. Lodewiyck
after the painting by. Jan den Uyl (1595/6-1639)
Excelent condition. Margin beyond plate mark small as usual.
8,7 x 12,3 cm (ca. 3.4 x 4.8")
© Rainer Rauhut