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Last updated: 2-26-14
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Old Master Prints: Aegidius Sadeler (Netherlandish, 1570-1629)

North Italian Illuminated Manuscript / Italian Old Master Drawings: An Overview / Italian School, 16th-Century Drawings
Michelangelo Buonarotti (After) / Raphael / Giulio Romano / Perino del Vaga / Marcantonio Raimondi / Parmigianino
Titian (after) / Andrea Schiavone / Tintoretto / Veronese / Taddeo Zuccaro / Federico Zuccaro / Alessandro Casolani
Jacopo Palma il Giovane / Cherubino Alberti / Luca Cambiaso / Annibale Carracci / Ludovico Carracci

Italian School, 17th-Century Drawings / Bolognese School / Giovanni Baglione / Matteo Rosselli / Ercole Bazzicaluva
Baldassare Franceschini called Il Volterrano / Pier Francesco Mazzuccelli, il Morazzone / Odoardo Fialetti / Simone Cantarini
Domenichino / Francesco Albani / Giovanni Lanfranco / Guercino / Pier Francesco Mola / Antonio Busca

Italian School Printmakers, 15th-17th Centuries: Venetian School, c. 1497 / Raphael School / Giovanni Jacopo Caraglio
Marcantonio Raimondi / The Master of the Die / Anea Vico / Agostino Veneziano / Nicholas Beatrizet
Michelangelo Buonarotti (After) / Giulio Bonasone / Giovanni Battista Franco /Girolamo Fagiuoli / Cherubino Alberti
Titian (after) / Tintoretto (after) / Parmigianino / Giorgio Ghisi / Diana Scultori / Annibale Carracci / Ludovico Carracci
Agostino Carracci / Simone Cantarini / Elisabetta Sirani / Gerolamo Scarsello

Netherlandish School, 15th-17th-Century Drawings / Flemish School, 17th-Century
Bernaert van Orley / Lucas van Leyden / Maarten de Vos / Jan Baptiste de Wael / Abraham Bloemaert
Peter Paul Rubens / Philipp Sadeler / Nicolaes Maes / Rembrandt School

Netherlandish Printmakers 16th-17th Centuries: Lucas van Leyden, Maarten van Heemskerck, Cornelis Cort
Philips Galle, Abraham de Bruyn, Hans (Jan) Collaert, Adriaen Collaert, Karel de Mallery, Theodore Galle, Hendrik Goltzius
Julius Goltzius, Jacob Matham, Jan Sanraedam, Maarten de Vos, Jan Sadeler, Aegidius Sadeler, Raphael Sadeler
Crispin de Passe, Magdalena de Passe, Wierix Brothers, Rembrandt, Rembrandt School, Jan Lievens, Jan Joris van Vliet,
Ferdinand Bol, Govert Flinck
German Drawings: Hans Sebald Beham / Virgil Solis / Hans von Aachen / Joseph Heinrich Roos
German 16th century printmakers: Heinrich Aldegrever, Jost Amman, Hans Sebald Beham, Hans Brosamer, Hans Burgkmair,
Lucas Cranach, Albrecht Durer, Albrecht Durer (After), Augstin Hirschvogel, Hans Holbein (After), Hopfer Family,
Monogrammist IS with the Shovel, Georg Pencz, Hans Schäufelein, Virgil Solis, Monogrammist W.S. (Wolfgang Stuber?).

French Drawings: Charles de La Fosse / Etienne Parrocel / François Boucher / Jean-François de Neufforge / Mouricault
French printmakers: Etienne Delaunne / Rene Boyvin /Thomas de Leu / Jean Cousin the Younger / Jacques Callot
Abraham Bosse / Sebastien Bourdon / Claude Gelle "le Lorraine" / Jean LePautre
Claudine Bouzonnet Stella / Antonette Bouzonnet Stella / Gabriel Perelle

19th-Century Drawings / 20th-Century Drawings
A member of the extremely talented Sadeler family, Aegidius II Sadeler, along with his uncles Jan (1550-1600) and Raphael (1560-1632), is an artist whose role in the Dutch Mannerist School of the late 16th and early 17th centuries is coming to be seen as central to the efflorescence of Netherlandish printmaking of the period. Aegidius was appointed Imperial Printmaker to three successive Hapsburg emperors in Prague and Vienna and helped to spread the art of the Hapsburg Courts, and especially the artists of Rudolf II, particularly Hans van Aachen and Batholomeus Spranger, throughout Europe. Joachim von Sandrart, writing in the 1670s, 40 years of Aegidius' death, pronounced him "a phoenix among engravers" and recent critical studies of the period tend to concur. Aegidius was apprenticed to his uncle Jan, an important part of the Antwerp School (which also included Cornelis Cort, Philips and Theodore Galle, Jan and Adrien Collaert, and Jerome, Jan, and Anthonie Wierix), who produced many engravings after drawings by Marten de Vos and others for the publisher Christopher Plantin before becoming a publisher (along with his brother Raphael) himself. In the late 1580s, the family left Antwerp and went to Germany where Jan became printmaker to Duke Wilhelm V of Bavaria, working at his court in Munich. After visits from Hendrik Goltzius both on his way to Italy and on his return, Aegidius seems to have made the journey himself between 1591 and 1593 where, according to Limouze, he stayed inVenice, Verona, Rome, and perhaps Florence. In Rome he worked with Joseph Heintz, also one of Rudolf II's imperial painters, which may have led to Aegidius' own appointment at the court of Rudolf II in 1597.

Select Bibliography: K. G. Boon, ed. Hollstein's Dutch and Flemish Etchings, Engravings, and Woodcuts ca. 1450-1700: Volumes 21-22 Aegidius Sadeler to Raphael Sadeler II (Amsterdam: Van Gendt & Co., 1980); Dorothy Anne Limouze, Aegidius Sadeler (C. 1570-1629): Drawings, Prints, and Art Theory (Princeton, 1990); Dorothy Anne Limouze, Aegidius Sadeler, Imperial Printmaker (Philadelphia Museum of Art, 1989); Isabelle de Ramaix, The illustrated Bartsch 72: Aegidius Sadeler II (NY: Abaris, 1998); Isabelle de Raimaix, Les Sadeler: Graveurs et éditeurs (Bruxelles: Bibliothèque royale Albert I, 1992).
Judith and Her Servant with Holofernes' head (TIB 7201.001 S1/2; New Hollstein 1 i/ii). Engraving after Hans van Aachen, c. 1590. Printed on laid paper cut inside platemark. A very fine impression with several minor flaws: small tear into right edge just above the center, minor creasing lower right corner, light stain in area of inscription. Signed in the plate. Published by Jan Sadeler. Hans van Aachen was one of Rudollf II's court painters in Prague; Sadeler became the Imperial Engraver and one of the great print artists of the time. Image size: 292x203mm. Price: $2850.
The Adoration of the Magi (TIB 72: 034 S1 (before the addition of Sadeler's name below Hans von Aachen's on the table right center; Hollstein 35). Engraving within a border of emblems after a drawing by Hans van Aachen now in the British Museum. Printed on laid paper with small margins outrside the platemark all around. Illustrated in Dorothy Anne Limouze, Aegidius Sadeler, Imperial Printmaker (Philadelphia Museum of Art, 1989). Some staining top left. Signed in the plate. Image size: 213x160mm. Price: $2750.
The Holy Family with the censer. (TIB 72: 081; Hollstein 78). Engraving after Hans van Aachen. Printed on laid paper and mounted on a sheet of laid paper; thread margins or trimmed on the platemark on the top and sides. The text below the image has been trimmed away, as has about 1 cm at bottom. Signed in the plate. Van Aachen's drawing for this print is in the Uffizi. A beautiful image on very good condition as noted above: one of the artist's greatest prints. Image size: 298x230mm. Price: $3250.
The Holy Family with St. Anne and Two Angels (TIB 72: 82, Hollstein 79). Engraving after Hans van Aachen. Printed on laid paper with margins outside the platemark all around. Signed in the plate. After a lost painting by Hans von Aachen. A brilliant impression in very good condition. Image size: 292x219mm. Price: $3750.
The Circucision (TIB 72: 87 S1/7; Hollstein 85 i/vi before the publisher's name was added). Engraving after a lost drawing by Hans Speccard. Specard included a tribute to Raphael's fresco, "The School of Athens," in the Vatican, complete with Raphael's self-portrait at right, who is turning to look directly at the viewer. Printed on laid paper and mounted on a larger sheet of laid paper which is mounted on what seems to have been a page of an old collector's album with elaborately-ruled borders. Trimmed within the platemark but outside of printed border. Signed in the plate "G. Sadeler sculp." A beautiful large engraving. Image size: 343x285mm. Price: $3750.
Angel with the Cross and an ointment jar (TIB 72: 73 S2 (with the addition lower right "Marco Sadeler excudit"; Hollstein 70). Original engraving for the Theatrum Passionis Christi, a portfolio of 8 engravings with Christ as the Man of Sorrows on the title page and angels with the instruments of the passion. Printed on laid paper with margins outside the platemark all around. Signed EG in the plate lower left). Published by Marco Sadeler (active 1600-1650). Sadeler's drawing for this print is Antwerp. Image size: 154x108mm. Price: $1650.
Apostrophe ad Venerem (Venus receiving doves, lowers, and fruit (TIB 72: 109; Hollstein 110). Engraving after a lost drawing by Bartholomeus Spranger, one of Rudolf II's court artists. This would seem to date from Sadeler's tenure as Imprerial Printmaker at the court of the Holy Roman Emperor Rudolf II in Prague. A masterpiece of Mannerist printmaking, it is printed on laid paper trimmed on or within the patemark. In classical rhetoric, an "apostrophe" is a “Turning [of] one's speech from one audience to another. Most often, apostrophe  occurs when one addresses oneself to an abstraction, to an inanimate object,  or to the absent. Since this  figure often involves emotion, it can overlap with an "exclamatio" (see http://rhetoric.byu.edu/figures/E/exclamatio.htm). Since Venus is not physically present, the artist summons up her presence by depicting others offering gifts to her; his engraving, of course, thus becomes one of those gifts. Signed in the plate. Image size: 281x190mm. Price: $4500.

The British Museum has an impression of this work that lacks the text at the bottom; the National Gallery of Art in Washington D.C. does not does not own an impression of this apparently rare work.
Diana surprised by Actaeon (Hollstein 104) . Engraving after Paolo dei Francesco (Paulus Franck). Very good impression on laid paper with small margins; top left corner torn across platemark. Image size: 214x292mm. Price: $3250.
Pan peeping at the Nymph Syrinx (TIB 7201.108.1//11). Original engraving and etching. Signed "EG Sadeler fecit" lower right. Syrinx, one of Diana's chaste nymphs, is sitting down to bathe herself after the heat of the hunt. As we can see, however, the chaste nymph is about to be chased by the lecherous goat-footed god Pan, seen peeping at her from behind (and inviting us into complicity by his upraised finger warning us not to warn Syrinx of his presence). As we know, Pan will chase her, she will beg the water nymphs to change her shape; she will be transformed into reeds, and Pan, out of breath from the chase, will breathe into them, making music out of his disappointment. In the end, Syrinx is not completely lost to Pan: "the god, assuming / that he had captured Syrinx, grasped instead / a handfull of marsh reeds! And while he sighed, / the reeds in his hands, stirred by his own breath / gave forth a similar low-pitched complaint! / The god, much taken by the sweet new voice / of an unprecedented instrument, / said this to her: 'At least we may converse / with one another—I can have that much.' " (See Ovid, Metamorphoses, I, 954-986 (translated Charles Martin [NY: W. W. Norton, 2004]). Trimmed just just outside the platemark at the top and sides; trimmed within the text at the bottom. Image size: 216x165mm. Priced: $3250.

Contrary to the image above, the plate is almost perfectly rectangular (slightly higher bottom center than either corner).
Rocky Landscape with the Stigmatization of St. Francis (Hollstein 212 i/ii) . Engraving after Jan Bruegel (son of Pieter Bruegel the Elder). Very good impression on laid paper with small margins of the rare first state. Image size: 205x273mm. Price: $2750.
Riverscape with 2 figures sitting under a tree (Hollstein 218 i/ii). Engraving after Jan Bruegel (son of Pieter Bruegel the Elder). Very good impression on laid paper and mounted on a larger sheet of laid paper which is mounted on what seems to have been a page of an old collector's album with elaborately-ruled borders. Trimmed with platemark but outside of printed border. Signed in the plate "Jan Bruegel inuenit: and "G. Sadeler sc" lower left of the rare first state. In the upper left of the sheet (not included in the photograph) it is annotated "Flamands 318" in black ink. Small paper losses lower and upper left corners. Image size: 202x267mm. Price: $2450.
Two Houses with Big Trees at the Right (Hollstein 237) . Engraving after Roelant Savery; published by Marc Sadeler. Very good impression on laid paper with small margins. Unidentified collector's mark center-right at bottom. Image size: 222x286mm. Price: $2750.

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