17th Century Mannerist Engraving: Venus & Cupid By Jan Saenredam (After Goltzius)

This is a rare opportunity to acquire a cornerstone of Dutch Golden Age printmaking. Engraved by Jan Pietersz Saenredam (1565–1607) after a design by his mentor, the towering genius of Mannerism Hendrick Goltzius, this work is a virtuoso display of technical skill and mythological storytelling.

The scene depicts a reclining Venus—the embodiment of love and beauty, resting upon an ornate, draped couch. Beside her, an industrious Eros (Cupid) is focused on his quiver, meticulously preparing his arrows.

The image is a profound allegory for the power of desire; it suggests that love is not merely a chance occurrence, but a force carefully prepared by the gods. The inclusion of the owl beneath Cupid’s bow, traditionally a symbol of wisdom or night—adds a layer of "Mannerist mystery," hinting at the hidden or nocturnal nature of love's influence.

The sheer detail in the musculature of the figures and the heavy folds of the drapery is achieved through the "swelling line" technique. Saenredam was a master of varying the width of his engraved lines to mimic the play of light on skin and fabric. When viewed closely, the print has a shimmering, three-dimensional quality that makes the figures appear to emerge from the 400-year-old laid paper.

This specific impression features the name of the Visscher family, the most influential art publishers of 17th-century Amsterdam. The Visschers were the tastemakers of the era, and their "re-issue" of this plate confirms its enduring popularity among the intellectual elite of the 1600s.

To hold this print is to hold a piece of history that has been admired for centuries. The Latin verse at the bottom, written by the humanist scholar Cornelius Schonaeus, translates to:

"What does the Cyprian [Venus], armed with Cupid, not plan? To whom the power of heaven and the elements all minister."

It is a warning and a celebration of love’s total dominion over the natural world.

Exceptional Provenance: The 1766 Collection
What sets this particular example apart from those held in museum archives is its verifiable history. The reverse of the sheet bears the markings of a private collector with an inked date of 1766. This means that while the Enlightenment was beginning to sweep through Europe, this very print was being carefully preserved in a connoisseur’s portfolio. It has survived the French Revolution, the Napoleonic Wars, and the industrial age to arrive in this remarkable condition.

Dealer’s Comment
"This is arguably the most 'complete' Old Master print I have handled in years. It checks every box for a serious collector: a famous artist-designer partnership (Saenredam/Goltzius), a prestigious publisher (Visscher), and that rare, documented 18th-century provenance. The scale of the figures is incredibly powerful; they command the space with a theatricality that is quintessentially Mannerist.

Measurement
Height: 38 cm / 15 inch

Width: 46 cm / 18.1 inch

Depth: 3.5 cm / 1.4 inch

Weight: 1.6 k.g. / 3.5 lbs

Condition report:

A very fine, museum-quality impression in high-grade antique condition.

A strong, crisp, and clear impression. The "swelling lines" characteristic of Saenredam’s masterly engraving technique are well-defined, showing minimal plate wear and maintaining excellent tonal depth in the shadows and fine detail in the highlights.

The ink remains resonant and stable. There is some light, scattered foxing (small age-related oxidation spots) primarily in the margins and sky area, which is entirely consistent with hand-laid paper of this significant age. These marks are "honest" and do not detract from the central figures or the power of the composition.

Executed on authentic hand-laid paper. The sheet is structurally sound and robust, showing no signs of thinning, invasive washing, or modern chemical restoration. The edges appear stable and have been preserved through professional mounting.

The verso features a clear 1766 inked collector’s mark and a corresponding pencil notation. These are well-preserved and add significant historical value without bleeding through to the recto (front) of the image. A previous specialist dealer’s stamp is also present on the reverse.

Newly housed in a black ebony-style frame. The work has been float-mounted using strictly acid-free, museum-grade materials. The process is fully reversible, ensuring the long-term preservation of the paper and its historical markings.