Items Similar to Cainus fratri necem molitur (Cain kills his brother), Plate I from Battles from
Want more images or videos?
Request additional images or videos from the seller
1 of 4
Antonio TempestaCainus fratri necem molitur (Cain kills his brother), Plate I from Battles from 1613
1613
About the Item
Engraving on cream laid paper with a foolscap watermark, 11 1/4 x 8 inches (282 x 203 mm), thread margins. Scattered expert repairs including minor pulp patches, minor rubbing and one 1/4 inch area of in-painting in the top left margin, in the area of the God's robes. All condition issues are consistent with age, and do not present significantly on the recto. A fascinating depiction from the Book of Genesis.
[Bartsch XVII.129.236]
Antonio Tempesto's Cainus fratri necem molitur is an extremely interesting composition that tells the story of Cain and Abel, the first born sons of Adam and Eve, in four visual chapters.
The story begins in the far background to the right of the central action. An intimation of the the recent past, we see Cain, a farmer, and Abel, a shepherd, making their sacrifices to God. Cain offers the fruits of the land, while Abel offers the first born lamb from his flock. God prefers Abel's offering, and shows favor to him. Cain, dejected, invites Abel into the fields, where he slays his brother in jealousy. The moment is depicted with intensity in the right foreground of Tempesto's composition where we see the moment that Cain raises his hand in anger to bludgeon Abel with a donkey jaw. The setting is a field replete with animals living in harmony, except for two hares frightened into flight by the violence, and in the recess between the figures of Cain and Abel we see a hound, a symbol of loyalty, looking on at the murder with his head bowed in shame. God, who witnessed the crime, punishes Cain by banishing him to wander restlessly for the rest of his life in the Land of Nod (east of Eden). This can be seen unfolding in the left foreground of the image. God then marks Cain so that no person taking pity on him will end his life, seen here as the bookend closing this chapter of the story in the far-left background. This work is an exceptionally engaging and technically complex tableau depicting the first death in the Bible. Although the plate was created in 1630, dating of the watermark indicates that this impression was likely printed between 1640 and 1725.
- Creator:Antonio Tempesta (1555 - 1630, Italian)
- Creation Year:1613
- Dimensions:Height: 11.25 in (28.58 cm)Width: 8 in (20.32 cm)
- Medium:
- Movement & Style:
- Period:Early 17th Century
- Condition:
- Gallery Location:Middletown, NY
- Reference Number:
Antonio Tempesta
Antonio Tempesta was born and trained in Florence and painted in a variety of styles, influenced to some degree by Counter-Maniera or Counter-Mannerism. He enrolled in the Florentine Accademia delle Arti del Disegno in 1576. He was a pupil of Santi di Tito, then of the Flemish painter Johannes Stradanus. He was part of the large team of artists working under Giorgio Vasari on the interior decoration of the Palazzo Vecchio in Florence.
About the Seller
5.0
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
Established in 2004
1stDibs seller since 2022
30 sales on 1stDibs
Typical response time: 9 hours
- ShippingRetrieving quote...Ships From: Middletown, NY
- Return PolicyA return for this item may be initiated within 30 days of delivery.
More From This SellerView All
- Louis XI, Roi de FranceBy Jean MorinLocated in Middletown, NYEtching, engraving and stippling on cream laid paper with an indiscernible watermark in the sheet center, 11 15/16 x 8 3/16 inches (302 x 207 mm), trimmed at the plate mark. A very g...Category
Mid-17th Century Old Masters Portrait Prints
MaterialsLaid Paper, Engraving, Etching
- Portrait of Marquard Freher, aged forty-nineBy Aegidius SadelerLocated in Middletown, NYEngraving on hand made laid paper, 8 1/2 x 5 7/8 inches (210 x 148 mm), thread margins. An approximately 1-inch vertical repaired tear extends into the image area at the top center ...Category
Early 17th Century Old Masters Portrait Prints
MaterialsHandmade Paper, Laid Paper, Engraving
- Portrait of Carlos de Colonna, Marques de la EspinarBy Paulus PontiusLocated in Middletown, NY(after Anthonie Van Dyck) Engraving on cream laid paper, 9 1/4 x 6 3/8 inches (234 x 161 mm), full margins. Water stain throughout bottom, diagonal creases in the area of the bottom right corner, paper tape along top edge on recto. A very well inked impression. __________Flemish painter and engraver Paulus Pontius was born in Antwerp in 1603, and it was in this city that his full life would unfold. At the young age of 13, he was apprenticed to the still life painter Osias Beert, and subsequently to Lucas Vosterman, who was heavily associated with the workshop of Peter Paul Rubens. Vosterman trained Pontius in the skill of engraving, which he took to immediately, finding he had great skill at recreating paintings. Pontius was able to capture the minutiae of light and shadow found on the canvas, and mastered the ability to accurately render the subtleties of brushwork in this alternate media. His success as an engraver cemented his role in the workshop of Rubens, and in 1624, when Vosterman found himself at odds with Rubens, and left Antwerp for England, Pontius assumed his role as foremost engraver in the workshop. It was in this year that Pontius took up lodgings in Rubens's home, and continued to live there until 1631, when courtship and marriage (the first of three) brought him away. After the death of Rubens in 1640, Pontius embarked on a very successful career engraving reproductions of master works by artists including Rubens, Anthony van Dyck, Jacob Jordaens, Pieter van Avont, Abraham van Diepenbeeck...Category
Mid-17th Century Old Masters Portrait Prints
MaterialsLaid Paper, Engraving
- Court wrestlers of the Sultan of Turkey-dressed for outdoors, resting and fightiLocated in Middletown, NYBruyn, Abraham de (after). Court wrestlers of the Sultan of Turkey-dressed for outdoors, resting and fighting. 1577. Engraving on hand made laid paper, 10 5/8 x 6 7/8 inches (268 x 1...Category
16th Century Old Masters Portrait Prints
MaterialsHandmade Paper, Laid Paper, Engraving
- The Spectacle SellerBy Adriaen Jansz van OstadeLocated in Middletown, NYEtching and drypoint on cream laid paper, 4 x 3 3/8 inches (102 x 86 mm), 1/4 inch margins. Signed in the plate, lower left corner. The 3rd state (of 6), after the rounding of the pl...Category
Mid-17th Century Old Masters Figurative Prints
MaterialsDrypoint, Laid Paper, Etching
- Carolus de Mallery, by Lucas Vorsetman the Elder after van DyckBy Rembrandt van RijnLocated in Middletown, NYAn exalted portrait of fellow Flemish engraver and publisher Karel van Mallery. Lucas Vorsterman the Elder (after Anthony van Dyck). Carolus de Mallery, from Icones Principum Viror...Category
Mid-17th Century Old Masters Portrait Prints
MaterialsLaid Paper, Engraving, Etching
You May Also Like
- San Benedetto Con Altri Nanti, religious engraving after Veronese, circa 1700Located in Melbourne, VictoriaReligious copper-line engraving by CM after Francesco Petrucci after (Paolo Caliari) Veronese. Depicts Saint Benedict and other holy figures. Paolo Vero...Category
Early 1700s Old Masters Portrait Prints
MaterialsEngraving
- Street in SmyrnaBy Marius BauerLocated in Storrs, CTStreet in Smyrna. 1889. Etching. Wisselingh 34. 7 x 5 1/4 (sheet 12 7/8 x 8 7/8).Edition 100, number 49. A rich, tonal impression printed on Strasbourg cream laid paper on the full s...Category
Late 19th Century Old Masters Figurative Prints
MaterialsDrypoint, Etching
- Self-Portrait in a Fur Cap - Engraving after Rembrandt - 19th CenturyBy Charles Amand DurandLocated in Roma, ITSelf-Portrait in a Fur Cap is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This wonderful pi...Category
19th Century Old Masters Figurative Prints
MaterialsEngraving
- Beggar and Peasants - Engraving after Rembrandt - 19th CenturyBy Charles Amand DurandLocated in Roma, ITBeggar and Peasants is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This wonderful piece of art belongs to a late e...Category
19th Century Old Masters Figurative Prints
MaterialsEngraving
- Seated Beggar and His Dog - Engraving after Rembrandt - 19th CenturyBy Charles Amand DurandLocated in Roma, ITSeated beggar and his dog is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This piece of art belongs to a late editi...Category
19th Century Old Masters Figurative Prints
MaterialsEngraving
- Head Of An Old Man - Engraving after Rembrandt - 19th CenturyBy Charles Amand DurandLocated in Roma, ITHead Of An Old Man is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This piece of art belongs to a late edition of ...Category
19th Century Old Masters Figurative Prints
MaterialsEngraving
