MATHAM, JACOB (26 Ergebnisse)

Paulus Moreelse (illustrator). 'LETTERED IN OVAL FRAME WITH TITLEM: "ABRAHAMUS BLOEMAERT PICTOR GORICOMIUS BATAVUS, AETAT. XLIIII. 1611"; LETTERED BELOW IMAGE WITH BOOK-TITLE AND PRODUCTION DETAILS: "PRIMA PARS / 'T EERSTE DEEL VAN DE TEEKEN-KONST / A. BLOEMAERT INV. / JOACHIM OTTENS, ET F. DE WIT EXC. AMSTELODAMI."'Portrait of Abraham Bloemaert, half-length, wearing a suit and a ruff, surrounded by drawing instruments like a palette, compass, and book.Made by Jacob Matham after Paulus Moreelse.Medium: Engraving on hand laid (verge) paper. Watermark: Pro Patria / Dutch garden.Sheet size: 16 x 20.9 cm (6.3 x 8.23 inch). Image size: 15.3 x 20.4 cm. (6.02 x 8.03 inch).ABRAHAM BLOEMAERT, DUTCH PAINTER, PORTRAIT, TITLE-PAGE, ENGRAVING, JACOB MATHAM, PAULUS MOREELSE, FREDERIK DE WIT, JOACHIM OTTENS | PCO-E22-08BACKGROUND INFORMATION"Prima Pars: 'T eerste Deel van de Teekenkonst" published by Frederik de Wit and Joachim Ottens, Amsterdam, ca. 1650-1680.Reference: New Hollstein (Dutch & Flemish) 231; Muller II 1853 (470); Roethlisberger 1993 (P.2).Biography engraver: Jacob Matham (1571-1631), a Dutch engraver, was known for his works after the designs of notable artists and for his detailed, lifelike portraits.Biography artist: Paulus Moreelse (1571-1638) was a Dutch portrait painter and draughtsman from Utrecht. Condition: good, given age. Light creasing. Small tear in left paper edge. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Incisione originale esguita a bulino su lastradi rame, tratta da un soggetto di Theodor Barensten detto Bernard. Magnifica prova, stato unico, rifilata lungo la linea marginale. Carta vergellata con filigrana \"lettera F in uno scudo sormontata da cororna\" databile prima metà XVII secolo. Ottimo stato di conservazione. Al recto, in basso a destra, timbro del collezionista Claude Augustine Mariette (Lugt 1786).

Zustand: Good. Small thick 4to. 18.5 x 24 cm. Contemporary stiff vellum. Full page portrait of Cats after Michiel Jansz van Mierevelt , with tear without loss. Numerous half page engravings and etchings; few pages with wormholes. 2 manuscript leaves, [66], 772, [10], 136pp.OCLC Number: 922084251.Fort in-4°, vélin rigide du temps. (Reliure manipulée. Galeries marginales de ver en fin d'ouvrage).Poésies de Jacob Cats, illustrées de nombreux cuivres à mi-page.La première édition est de Dordrecht, 1634.Expertise by Expertise by Jean-Paul VEYSSIERE, libraire - expert. Membre de la LILA-ILAB;Expert CNES, assesseur près la commission de conciliation et d'expertise douani.

Portrait of Pieter Christiaensz. Bor, at the age of 66. Born as a pharmacist's son. Notary in Haarlem, later council member of Noord-Holland, historian and writer.In an inscribed oval; the bust turned to the right, looking and smiling at the observer, a quill pen in his right hand, reaching over the frame. Four round-shaped frames contain allegories of Time, Truth, History and Poetry.Eight lines of Dutch text authored by Petrus Scriverius [P.S.] at the bottom. On verso text in letterpress. The pale was used to decorate Bor's 'Vervolch vande Neerlandsche oorloghen beroerten.' published in 1626. Date of publishing print 1625 in Haarlem. Engraving on paper, trimmed close to platemark; on verso letterpress; total: 268 x 177 mm; Hollstein 234; M. 533.

Michelangelo Buonarroti / Jacob Matham (illustrator). This print shows a view on a standing man near a cross, only wearing a loincloth: Jesus with instruments of the Passion. The engravings of the Paradigmata, like those of Francois Perrier, helped disseminate the classical ideal throughout Europe. They were used as paradigms for artists of the period and well beyond.Made by Jan de Bisschop after Michelangelo Buonarroti / Jacob Matham .Medium: Etching / engraving on handlaid (verge) paper.Sheet size: 23 x 36.5 cm (9.06 x 14.37 inch). Image size: 11.3 x 23.5 cm. (4.45 x 9.25 inch).RELIGION-JESUS-STANDING MAN-CROSS-CLASSICAL POSTURE-PASSION | RBOS-A10-36BACKGROUND INFORMATIONThis attractive print originates from: "Paradigmata Graphics Variorum Artificum", published in Amsterdam by Nicolas Visscher, 1671.Biography engraver: Jan de Bisschop (ca. 1628-1671) engraver of the Dutch school. Bisschop had a law practice in the Hague where he also founded an art school and a publishing house. His influential circle of friends included the mathematician and philosopher Rene Descartes and the artist Constantijn Huygens. All original engravings bear the monogram "JE" , which denotes "Jan Episcopius, "Epicopius" being the Latinzation of his name which is 'Bishop' in English.Biography artist: Michelangelo Buonarroti (14751564) was an Italian painter, sculpturer, architect and poet. This print was also after Jacob Matham (15 October 1571 20 January 1631), of Haarlem, who was an engraver and pen-draftsman. . Condition: good, given age. Brownish edges. Creases. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Personification of Faith, holding a cross in in her hand and a book in the other; signed at upper right corner:'HGoltius Inuent / CJVisscher ex' (HG and CJV interlaced respectively) Two lines Latin text in margin:'Sacra fides.foedere gentes / C. Sconaeus.' Numbered within margin and within plate below:'1'. l Engraving on paper, trimmed to platemark; total: 155 x 104 mm; top right corner damaged and restored; New Hollstein 138-copya (state I/4, Hollstein does not describe Visscher's copy as a reverse).

Hendrick Goltzius (illustrator). John the Baptist as a child, resting in a landscape next to a stream, holding a cross in his hand and a lamb beside him. In his left hand he has a shell.Made by Jacob Matham after Hendrick Goltzius.Medium: Engraving on hand laid (verge) paper.Sheet size: 14.3 x 19.5 cm (5.63 x 7.68 inch). Image size: 14 x 17.7 cm. (5.51 x 6.97 inch).JOHN THE BAPTIST-CHILD-SHEEP | PCO-C21-26BACKGROUND INFORMATIONFirst published 1614-1618 by Abraham Goos.Reference: New Hollstein Dutch 109-1(2) (copy).Biography artist: Jacob Matham (1571-1631), of Haarlem, was a famous engraver and pen-draftsman. Hendrick Goltzius, or Hendrik (1558-1617) was a German-born Dutch printmaker, draftsman, and painter. He was the leading Dutch engraver of the early Baroque period, or Northern Mannerism, lauded for his sophisticated technique, technical mastership and "exuberance" of his compositions. According to A. Hyatt Mayor, Goltzius "was the last professional engraver who drew with the authority of a good painter and the last who invented many pictures for others to copy". In the middle of his life he also began to produce paintings. Condition: good, given age. Paper loss in corners. Horizontal crease. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Personification of the Winter: an old man with heavy clothes walks in a landscape with winds blowing. Lettered belo: 'Vergentis finis quanquam . gemmea reddit.' Above to the left the zodiacal sign of Capricornus and on the right the Pisces; on the sky the Aquarius. On the verso unknown collector s mark l Engraving on paper, trimmed to platemark; total: 164 x 112 mm. Not in Hollstein, reverse copy of Hollstein 299; New Hollstein 214 in reverse.

The prophet Isaiah; on the background Jesus preaching and making miracles. Second plate from the series of Prophets after Goltzius.Lettered on the bottom:'Jsaias, que. morte recenset.' numbered within the margin and below:'2'.According to a pencil inscription on the verso the print belonged to the collection of August Klipstein (L.138d). Engraving on paper, trimmed to platemark, pasted on cardboard; print: 249 x 162mm, total: 306 x 220 mm, state II/2; New Hollstein 286; B. 241.

Bust portrait in oval of Paulus Merula (1558-1607), historian in Leiden.Signature on pedestal below on either side of the medallion: 'JAMattham / fecit' [JAM interlaced]. Date of portrait at bottom centre in margin of medallion: 'ANN. CHR. / CIC IC [second C of CIC and C of IC in reverse] CII / MENS, OCTOBR.' At top of medallion: 'VINCENTI LAVRVS'; four lines in Latin below on base: 'Hospes Baraui Merulae. subdunt Mare / Daniel Heisensius'. Engraving on paper, broad margins; plate mark: 208 x 144 mm, total: 274 x 200 mm; state II/2; New Hollstein 248.

Interior scene with members of the States General, standing and at the center King Charles II of England, on the wall behind them four portraits of stadtholders. Signed below: 'J. T. vliet in:'; T. Matham fe.' Used in: Abraham de Wicquefort, Verhael in forme van journael, van de reys ende 't vertoeven van [.] Carel de II koning van Groot Britannien, Adriaen Vlacq, Den Haag 1660. Engraving on laid paper; with margins; platemark: 358 x 476 mm; total: 395 x 504 mm; watermark: Strasbourg lily in coat of arms; vertical centerfold; some darkening and smudges in the margins, paper frayed at the edges; inscription in ink in upper right corner: 'Pag. 8'; second state. Muller 2156-4a: 'fine engraving'.

Zustand: Fair. Hendrik Goltzius (illustrator). Engraving on hand laid paper. Sheet size: 15,3 x 19,4 cm. (6 x 7,6 inch). Image size: 15,3 x 19,4 cm. (6 x 7,6 inch).Source unknown, to be determined. Ref: NH 299.1 (Matham); Bartsch III.195.258Made by 'Jacob Matham' after 'Hendrik Goltzius'. Attributed to Jacob Matham. Jacob Matham (1571 - 1631), of Haarlem, was a famous engraver and pen-draftsman. He was the stepson and pupil of painter and draftsman Hendrik Goltzius, and brother-in-law to engraver Simon van Poelenburgh, having married his sister, Marijtgen. Hendrick Goltzius (1558-1617) was a Dutch painter, draughtsman, printmaker and publisher. He was a student of Coornhert. In his early life he was mainly active as engraver. Around 1600 he also started painting.Condition: Fair, given age. Trimmed to image. Loss of captions below. Paper loss at corners, backed. Thin paper spots, Small tear at bottom left of middle. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.Keywords: HOLY FAMILY-REST ON FLIGHT TO EGYPTRBOS-A3-38 (RB-284).

The prodigal son receiving his inheritance.Signede on lower left:'KVM Jnuent (KVM interlaced) / J. Maetham schulp. / CJVisscher excudit (CJV interlaced)' dated on the bottom left '1592'; four lines of Latin text on the bottom:'Prodigus, et monitis. metuensque futuri. / FE (Franco Estius)'.Numbered on the bottom right:'1' Engraving on paper trimmed to platemark; total: 235 x 172 mm; state II/4; some tiny foxing and small damages on the paper surface. New Hollstein 26, Bartsch 172.

The Last Supper; Christ, sits at a long table with his apostles; a series of steps lead up to the table and the room is flanked by columns; in the foreground are a number of servants, including one pouring wine into another container; one climbs the steps and another waits on the sidelines at right with a dish of food.According to the Hollstein: 'In reverse after the fresco with the Last Supper by Taddeo Zuccaro in the vault of the Cappella Mattei in S. Maria della Consolazione in Rome. As noticed by Gere, Matham erroneously identified the scene as the Wedding at Cana (Gere 1969, p. 60). Philippe Thomassin made an engraving in the same direction as the fresco by Zuccaro, published in Rome [.]'.Titled, signed and dated at bottom: Ieh.2. NUMPTIAE IN CANA GALILEAE / Taddeo Zucchero inv. I. Matham sculp. / Robb de Baudous excudit 1616[NL] Christus aan tafel met zijn leerlingen tijden het Laatste Avondmaal. Op de voorgrond worden spijzen en dranken door bediendes aangereikt. Gemaakt door Jacob Matham. Engraving on laid paper, trimmed within plate mark; total: 292 x 394 mm; state I/4; mounted in paper passepartout. Restorations and other repairing especially on the margins; on the recto visible wear due to handling, though in good condition. On verso are some figures of seventeenth century noblemen drafted in pen and ink, and in pencil. some annotations in ben and brown ink have almost completely disappeared. Hollstein 35 (Matham).

Zustand: Sehr gut. (Jakob Matham, geboren am 15. Oktober 1571 in Haarlem, gestorben am 20. Januar 1631 ebenda. Niederländischer Kupferstecher, Maler, Zeichner und Verleger von Kupferstichen). Original-Kupferstich von Jacob Matham nach Abraham Bloemaert aus dem Jahre 1603 auf Büttenpapier. Unterhalb der Abbildung im Druck beschriftet "Cum privil. Sa. M. Abrahamus Bloemaert Inven. I. Maetham sculp. et exudit 1603", sowie mit vierzeiligem Text versehen. Werkverzeichnis Hollstein I,2. Maße Blatt: 46,8 x 35,9 cm. Maße Abbildung: 46,2 x 35,7 cm. Rückseitig leichte Spuren von ehemaliger Montage im Rahmen, Reste von Klebeband. Insgesamt sehr guter Zustand in einem sehr kräftigen Abdruck. Original copperplate engraving by Jacob Koppmayr from 1689 on laid paper. General view of the city of Cologne, with a view of the Rhine and numerous ships. The most important buildings are listed in a key numbered 1-45 below the image, with two coats of arms in the sky. Sheet dimensions: 25.8 x 34.6 cm. Image dimensions: 22.0 x 33.2 cm. Slight traces of previous mounting in the frame, remnants of adhesive tape, and a barely visible backed tear on the verso. Overall, very good condition, a very strong impression.

Jacob Matham after H. Goltzius (illustrator). 'CEBETIS THEBANI TABULA.'The Table of Cebes, or The Journey of Human Life, is an allegory - popular in Europe from the fifteenth through the eighteenth centurythat represents the dangers and temptations that beset man and threaten to divert him from an existence predicated upon piety and study, including the study of mathematics. It is often depicted in the form of three concentric walled enclosures, each accessible by a single gate and populated with a variety of figures engaged in the pursuit of knowledge and self-knowledge. Kandel's print subverts the traditional values of the inward spatial progression, whereby each move closer to the center symbolizes a greater degree of moral purity. Here, even the innermost sanctum is not immune to worldly desires - a Reformation-era commentary on the hypocrisy of institutions claiming to uphold standards of human behavior.Made by Nicolaes Visscher II after Jacob Matham after H. Goltzius.Medium: Engraving on hand laid (verge) paper.Sheet size: 50.5 x 40.2 cm (19.88 x 15.83 inch).TABULA CEBETIS, VISSCHER, 1640, MYTHOLOGY, ANCIENT HISTORY, RELIGIOUS, MASTER PRINT | PCO-EXPO-242BACKGROUND INFORMATIONEngraving published by Nicolaes / Claes Jansz Visscher II, dated 1640. Ref: Hollstein 194, copy A (reduced copy).Reference: Hollstein 194, copy A (reduced copy).Biography engraver: Nicolaes Visscher II (1649-1702) was a Dutch cartographer and engraver from Amsterdam, known for his detailed maps and allegorical prints.Biography artist: Jacob Matham (1571-1631) was a Dutch Golden Age engraver and printmaker, famous for his works after paintings by Goltzius. Condition: good, given age. Doubled with Japanese; margins cut short; formerly folded, some thin spots along horizontal fold; small chip in upper right margin, just touching border line; small restored chip in top margin. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Sin Encuadernar. Zustand: Regular. Materia: Grabado antiguo del siglo XVII. Pintores Holandeses. Manierismo - Jacob Matham y Hendrick Goltzius. Publicación: cerca 1604. Técnica: 1 estampa. Grabado calcográfico. Medidas: 28 x 19 cm [huella], 29'7 x 19'5 cm [papel], 49'6 x 39 cm [passepartout]. Descripción visual: Magdalena adorando a Cristo al pie de la cruz. Grabado por Matham posterior a Goltzius y fechado en 1601. Inscripción en la parte inferior: "Cum privil[egio] Sa. Ca. M. HGoltzius inventor et excud, Mathan sculp. Año 1604". Versos al pie del grabado, realizados por C. Schonaeus: "Magdalis (.) adorant". Conservación: Márgenes cortos al borde de la huella del grabado y oscurecido en esta zona por efecto del sistema de adhesión a otra hoja. Montado sobre passepartout calidad museo libre de ácidos y ph neutro para la conservación de la obra. Procedencia: Grabado perteneciente a la colección de arte de Gaspar de Haro y Guzmán. VII marqués del Carpio y de Eliche (1629-1687), noble, diplomático y político español. Era hijo del también coleccionista Luis de Haro y de él ­heredó un gran repertorio de pinturas que fue ampliando progresivamente con obras de gran calidad. Referencias: Illustrated Bartsch, Vol. IV, pág. 91. Este artículo necesita permiso de exportación / This item needs an export permit.

Sin Encuadernar. Zustand: Regular. Materia: Grabado antiguo del siglo XVII. Pintores Holandeses. Manierismo - Jacob Matham y Hendrick Goltzius. Publicación: cerca 1600. Grabado por Matham posterior a Goltzius. Inscripción en la parte inferior: "HGoltzius invent I. Matham sculp[sit] R. de bau exe[cutit] Técnica: 1 estampa. Grabado calcográfico. Medidas: 24'5 x 17'8 cm [huella], 26'5 x 18 cm [papel], 48'7 x 40 cm [passepartout]. Descripción visual: Cristo en una mesa junto a dos discípulos en Emaús. Dos versos al pie del grabado, firmados por C. Schoenus: "Discipuli agnoscunt (.) admiratio pectus". Conservación: Márgenes cortos al borde de la huella del grabado y oscurecido en esta zona por efecto del sistema de adhesión a otra hoja. Procedencia: Grabado perteneciente a la colección de arte de Gaspar de Haro y Guzmán, VII marqués del Carpio y de Eliche (1629 - 1687), noble, diplomático y político español. Era hijo del también coleccionista Luis de Haro y de él ­heredó un gran repertorio de pinturas que fue ampliando progresivamente con obras de gran calidad. Referencias: Illustrated Bartsch, Vol. IV, pág. 92. Este artículo necesita permiso de exportación / This item needs an export permit.

Sin Encuadernar. Zustand: Regular. Materia: Grabado antiguo del siglo XVII. Pintores Holandeses. Manierismo - Jacob Matham. Técnica: 1 estampa grabado calcográfico. Posterior a Cornelisz, grabado por Matham. Publicación: cerca 1600. Medidas: 25'5 x 19'5 cm [huella], 47'7 x 41'5 cm [passepartout]. Descripción visual: Diana en sus baños descubre que Calisto es una mujer. Grabado por Matham. Inscrición en la esquina inferior izquierda: "CC[ornelius] invent J. Maetham schlp[sit]". Versos al pie del grabado: "Montinagas (.) pregnans", firmados por Franco Estius (sobre esta firma aparece escrito con tinta "HGoltz"). Conservación: Buena impresión. Márgenes cortos al borde de la huella del grabado. Procedencia: Grabado perteneciente a la colección de arte de Gaspar de Haro y Guzmán, VII marqués del Carpio y de Eliche (1629 - 1687), noble, diplomático y político español. Era hijo del también coleccionista Luis de Haro y de él ­heredó un gran repertorio de pinturas que fue ampliando progresivamente con obras de gran calidad. Referencias: Illustrated Bartsch, Vol. IV, pág. 84; Hollstein, vol. XI, pág. 227. Jacob Matham (Haarlem, 15 de octubre de 1571-20 de enero de 1631), grabador y dibujante holandés. Quedó huérfano de padre siendo niño y en 1578 su madre se casó nuevamente con el grabador y pintor Hendrick Goltzius, quien lo adoptó y le hizo su aprendiz. Casado con Maria van Poelenburgh, hermana del también grabador Simon van Poelenburgh, fue padre de Adriaen (1599-1660), Jan (1600-1648), Theodor (c. 1606-1676) y Cornelis (1608-1661), los tres primeros también grabadores. Matham se especializó en los grabados de reproducción. Ya en 1592 grabó varias escenas sobre la Parábola del hijo pródigo por dibujos de Karel van Mander. En 1603 se data un grupo de cinco grabados según originales de Pieter Aertsen. Desde 1611-15 reprodujo varios cuadros de Rubens. Pero seguramente su producción más amplia (y problemática) es la que hizo a la sombra de Goltzius, grabando diseños de este. Muchos de estos grabados tienen las iniciales HG del maestro y es difícil deslindar la autoría de cada uno. Este artículo necesita permiso de exportación / This item needs an export permit.

8 prints (12 1/2 x 6 1/2 inches - sizes vary slightly) - all females- 3 trimmed to the margin and 5 with margins -mounted on card. All on laid paper (2 slightly thicker than the others). Variously numbered between 2 and 7. All from the same series being women in niches with two shields in the upper margin with Latin inscriptions. Early 17th century. Engraved by Jacob Matham after drawing by Goltzius. Matham was the stepson of Goltzius. First two Latin words of each title or obvious title and plate number- Temperies Pateras (7), Sevint Anavities (6), Prudentia (5), Sincera (4), Dementat Carnis (3), Spes Humiles (2), Inglunies Bromy (2), Strennua in adversis (6). Please ask for additional photos.

Susanna bathing in a fountain. On the background the elders. Monograms and address on the rim of the fountain: 'JM. Inue et excud - NB. sculp. [JM and NB interlaced]'Two lines of Latin text below: 'Quo veteratires ruitis vos? corda seiat. / SSH (interlaced)' On the verso unidentified collector's mark l Engraving on paper; trimmed to platemark: total: 221 x 171 mm; only state; New Hollstein 365; B. 5; W. 5; Le Bl. 6; Print Quarterly 8 (1991) p. 275 OMP (Old Masters Prints Black Folders) Bl-Bo (3).

Portrait of Jan van de Velde at the age of 36, nearly half-length facing right, wearing a ruff and waistband, in an oval cartouche and decorated surround; above are two putti holding a quill pen and book and the other a tablet; illustration to Jan van de Velde's publication "Spieghel der Schrijfkonste, inden welcken ghesien worden veelderhande Gheschriften met hare Fondementen ende onderrichtinghe" At left in the oval "Ætatis / XXXVI". Lettered around oval: "Lavoix Seperd, l'Ecritvre Demevre." Lettered in cartouche below: "T'leeft al vanden Velde." Lettered with production details below: "I. Matham fecit". l Very nice impression, trimmed edges, engraving, total: 200 x 150 mm; state II/2. New Hollstein 261.

Rachel and Leah, the two women of the patriarch Jacob. Print from a series of three, with the wives of the patriarchs of the Old Testament. two lines of Latin text below by Cornelius Schonaeus:'Prodijt ex. Semine terra. C. Schonaeus.', monogrammed within representation:'HG Jnuentor' l Engraving on paper, trimmed to platemark; total: 223 x 163 mm; Hollstein 22; Bartsch 250.

Allegory of the month of June. Beautiful landscape with farmers shaving their flock of sheep. Two shepherds in the left foreground are washing the animals in the river. Towards the right, beyond a large tree, a shepherd on the horse leads the animals back on the fields.Signed blow on the right: 'Iohan Wild. Invent And Stockus sculpsit Hhondius excudit'. Four lines of Latin text below: 'Junius, en, cernens fegetis. nos Ira potes' in center: 'IUNIUS'.Interestingly, on the verso, are traces of another impression that had still wet ink when our plate was stocked on the top of the previous.Numbered on the bottom left corner: 6. Engraving on laid paper, trimmed to plate; total: 289 x 423 mm; state II/4; watermark with three lilies in shield; Hollstein (Hondius) not documented but other plates of the set nr. 72-75. Also Orenstein, Nadine Monica: Hendrick Hondius and the business of prints in seventeenth-century Holland, p. 186, cat.nr. 263-266. The paper is sometimes thinner, yet very beautiful and rare impression.

Monumental composition with the Holy Family in the center, surrounded by shepherds in adoration of the newly born Christ. On the background ruins in mountainous landscape. Above angels flying.The Adoration of the shepherds; the Christ child appears to hover and radiates light besides a cow and a donkey; the Virgin and Joseph and shepherds surround Him and look in awe; on either side of the airy space are two broken columns and the high-ceiling comprises wooden rafters where various putti frolic.Inscribed at the bottom: Promissus nobis hic Christus nascitur infans, / Vt redimat nostramo precioso sanguine culpam. '/ C. Schoneus.Signed on the bottom left: 'Taddeo zucchero Inuent / I Matham sculp.'[NL] De aanbidding van de herders; het Christuskind lijkt te zweven en straalt licht uit naast een koe en een ezel; de Maagd en Jozef en de herders omringen Hem en kijken vol ontzag; aan weerszijden van de luchtige ruimte staan twee gebroken zuilen en het hoge plafond bestaat uit houten spanten waar verschillende putti ronddartelen. Engraving on paper, trimmed within plate mark; total: 583 x 391 mm; State I/2; some restorations on the verso and some stains in the front: on the left shoulder of the shepherd in the foreground and on the heads of the angels above. Outstanding engraving. New Hollstein 20; Hollstein 38; Bartsch 235. Rare.

New Year's print of the Haarlem Kerstgilde (Christmas guild) with the adoration of the shepherds and text below. Signature on top centre of base: 'Iacobus Maetham fecit.'Dated on either side of signature:'Anno. / 1606.' On banderole, in a medallion, held by an angel: 'GLORIA IN EXCELSIS DEO'. In the margin of the medallion, four lines Dutch dedication:'T'CORS GHILT.' On base, on either side of the medallion: 'HAER/LEM'. Nine lines of text in Dutch on the base:'Die salighe. in t ghetal.' Engraving on paper with margins; platemark: 222 x 136 mm, total: 273 x 183 mm; only state; New Hollstein 17; Wess suppl. 15; Weigel 315. watermark with coat of arms of Amsterdam, around 17th century.