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LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from 1665 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 120 Bourgogne, Antoine de, 1593 or 4-1657,Clemens, Aurelius Augustinus,Pauli, Andries, 1600-1639, engraver,Diepenbeeck, Abraham van, 1596-1675,Merlen, Theodor van, 1600-1659, engraver,Galle, Jan, 1600-1676, printer.
Publication Date: 2023
Seller: True World of Books, Delhi, India
Book Print on Demand
LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from 1665 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 124 Language: Latin.
Publication Date: 2023
Seller: True World of Books, Delhi, India
Book Print on Demand
LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from 1662 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 622 Volume plus nos Language: Dutch.
Published by [Holland: Dutch Publisher, circa 1726]., 1726
Seller: Wittenborn Art Books, San Francisco, CA, U.S.A.
Art / Print / Poster
Condition: Good. Steel engraving. 30 x 20.2 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark.
Published by Paris, 1655
Seller: Antiquariat Steffen Völkel GmbH, Seubersdorf, Germany
Art / Print / Poster
Mythological scene with Iphis hanging himself at Anaxarete's door who did not answer his love, a garden beyond. -- Blatt-Format: 42 x 27 cm. - Original-Kupferstich nach Abraham van Diepenbeeck von 1655. -- gut erhalten. - Rare original engraving after Abraham van Diepenbeeck from 1655. -- in very good condition. || Abraham van Diepenbeeck (1596-1675) was a Dutch painter of the Flemish School. He was baptised in the Dutch city of 's-Hertogenbosch, as son of the glass painter Jan van Diepenbeeck. He became a pupil and assistant of Peter Paul Rubens, who highly influenced his work. He mostly dealt with mythological and historical subjects, as well as portraits. Around 1629, he moved to Antwerp, where he began to enjoy success through glass painting. Among his works are windows in the Antwerp cathedral representing the "Acts of Mercy". He did similar work at the church of the Dominicans, where he painted scenes from the "Life of Saint Paul". In 1632 he travels to Fontainebleau and Paris, where he copies frescoes by Francesco Primaticcio and Nicolò dell Abbate. In 1636, he becomes a citizen of Antwerp. Van Diepenbeek was admitted to the guild of painters in 1638, and became director of the Royal Academy of Fine Arts (Antwerp) in 1641. After a trip to Italy, van Diepenbeeck began to paint chiefly in oil and to work on illustration. Among these are 58 designs engraved by Cornelis Bloemaert for Michel de Marolles' "Tableaux du Temple des Muses". During the reign of Charles I of England, van Diepenbeeck travelled to England where, besides painting portraits of the first Duke of Newcastle and his family, the artist illustrated the nobleman's book on horsemanship. He died at the age of 79, in Antwerp. Among his well known paintings are: St. Norbert ; Ecstasy of St. Bonaventura ; St. Francis Adoring the Sacrament ; Entombment of Christ ; Neptune and Amphitrite ; and the Flight of Cl lia. Sprache: Französisch Gewicht in Gramm: 1550.
Published by Paris, 1655
Seller: Antiquariat Steffen Völkel GmbH, Seubersdorf, Germany
Art / Print / Poster
Mythological scene with a temple filled with dream scenes, a large statue of Somnus in a niche on the façade at centre, Diana and Leda holding the Dioscuri standing on the roof balconies of the building. -- Blatt-Format: 42 x 27 cm. - Original-Kupferstich nach Abraham van Diepenbeeck von 1655. -- gut erhalten. - Rare original engraving after Abraham van Diepenbeeck from 1655. -- in very good condition. || Abraham van Diepenbeeck (1596-1675) was a Dutch painter of the Flemish School. He was baptised in the Dutch city of 's-Hertogenbosch, as son of the glass painter Jan van Diepenbeeck. He became a pupil and assistant of Peter Paul Rubens, who highly influenced his work. He mostly dealt with mythological and historical subjects, as well as portraits. Around 1629, he moved to Antwerp, where he began to enjoy success through glass painting. Among his works are windows in the Antwerp cathedral representing the "Acts of Mercy". He did similar work at the church of the Dominicans, where he painted scenes from the "Life of Saint Paul". In 1632 he travels to Fontainebleau and Paris, where he copies frescoes by Francesco Primaticcio and Nicolò dell Abbate. In 1636, he becomes a citizen of Antwerp. Van Diepenbeek was admitted to the guild of painters in 1638, and became director of the Royal Academy of Fine Arts (Antwerp) in 1641. After a trip to Italy, van Diepenbeeck began to paint chiefly in oil and to work on illustration. Among these are 58 designs engraved by Cornelis Bloemaert for Michel de Marolles' "Tableaux du Temple des Muses". During the reign of Charles I of England, van Diepenbeeck travelled to England where, besides painting portraits of the first Duke of Newcastle and his family, the artist illustrated the nobleman's book on horsemanship. He died at the age of 79, in Antwerp. Among his well known paintings are: St. Norbert ; Ecstasy of St. Bonaventura ; St. Francis Adoring the Sacrament ; Entombment of Christ ; Neptune and Amphitrite ; and the Flight of Cl lia. Sprache: Französisch Gewicht in Gramm: 1550.
Published by [Antwerp: Flemish Publisher, circa 1695-1726]., 1726
Seller: Wittenborn Art Books, San Francisco, CA, U.S.A.
Art / Print / Poster
Condition: Good. Steel engraving. 29.5 x 20.3 cm. (sheet). Very Good.
Published by Paris, 1655
Seller: Antiquariat Steffen Völkel GmbH, Seubersdorf, Germany
Art / Print / Poster
Mythological scene with Echo as an old miserable woman with sagging breast seated in a cave at right and shouting, Cupid seated at her feet and holding a torch, Narcissus kneeling near a river and admiring his own reflection in left background. -- Blatt-Format: 42 x 27 cm. - Original-Kupferstich nach Abraham van Diepenbeeck von 1655. -- gut erhalten. - Rare original engraving after Abraham van Diepenbeeck from 1655. -- in very good condition. || Abraham van Diepenbeeck (1596-1675) was a Dutch painter of the Flemish School. He was baptised in the Dutch city of 's-Hertogenbosch, as son of the glass painter Jan van Diepenbeeck. He became a pupil and assistant of Peter Paul Rubens, who highly influenced his work. He mostly dealt with mythological and historical subjects, as well as portraits. Around 1629, he moved to Antwerp, where he began to enjoy success through glass painting. Among his works are windows in the Antwerp cathedral representing the "Acts of Mercy". He did similar work at the church of the Dominicans, where he painted scenes from the "Life of Saint Paul". In 1632 he travels to Fontainebleau and Paris, where he copies frescoes by Francesco Primaticcio and Nicolò dell Abbate. In 1636, he becomes a citizen of Antwerp. Van Diepenbeek was admitted to the guild of painters in 1638, and became director of the Royal Academy of Fine Arts (Antwerp) in 1641. After a trip to Italy, van Diepenbeeck began to paint chiefly in oil and to work on illustration. Among these are 58 designs engraved by Cornelis Bloemaert for Michel de Marolles' "Tableaux du Temple des Muses". During the reign of Charles I of England, van Diepenbeeck travelled to England where, besides painting portraits of the first Duke of Newcastle and his family, the artist illustrated the nobleman's book on horsemanship. He died at the age of 79, in Antwerp. Among his well known paintings are: St. Norbert ; Ecstasy of St. Bonaventura ; St. Francis Adoring the Sacrament ; Entombment of Christ ; Neptune and Amphitrite ; and the Flight of Cl lia. Sprache: Französisch Gewicht in Gramm: 1550.
Published by Paris, 1655
Seller: Antiquariat Steffen Völkel GmbH, Seubersdorf, Germany
Art / Print / Poster
Mythological scene with Ceyx and Alcyone transformed into kingfishers ('halcyons') and breeding a nest on a shore at left, Aeolus standing on the shore outside a cave while brandishing his sceptre at the gods of the winds who are trapped inside the cave. -- Blatt-Format: 42 x 27 cm. - Original-Kupferstich nach Abraham van Diepenbeeck von 1655. -- gut erhalten. - Rare original engraving after Abraham van Diepenbeeck from 1655. -- in very good condition. || Abraham van Diepenbeeck (1596-1675) was a Dutch painter of the Flemish School. He was baptised in the Dutch city of 's-Hertogenbosch, as son of the glass painter Jan van Diepenbeeck. He became a pupil and assistant of Peter Paul Rubens, who highly influenced his work. He mostly dealt with mythological and historical subjects, as well as portraits. Around 1629, he moved to Antwerp, where he began to enjoy success through glass painting. Among his works are windows in the Antwerp cathedral representing the "Acts of Mercy". He did similar work at the church of the Dominicans, where he painted scenes from the "Life of Saint Paul". In 1632 he travels to Fontainebleau and Paris, where he copies frescoes by Francesco Primaticcio and Nicolò dell Abbate. In 1636, he becomes a citizen of Antwerp. Van Diepenbeek was admitted to the guild of painters in 1638, and became director of the Royal Academy of Fine Arts (Antwerp) in 1641. After a trip to Italy, van Diepenbeeck began to paint chiefly in oil and to work on illustration. Among these are 58 designs engraved by Cornelis Bloemaert for Michel de Marolles' "Tableaux du Temple des Muses". During the reign of Charles I of England, van Diepenbeeck travelled to England where, besides painting portraits of the first Duke of Newcastle and his family, the artist illustrated the nobleman's book on horsemanship. He died at the age of 79, in Antwerp. Among his well known paintings are: St. Norbert ; Ecstasy of St. Bonaventura ; St. Francis Adoring the Sacrament ; Entombment of Christ ; Neptune and Amphitrite ; and the Flight of Cl lia. Sprache: Französisch Gewicht in Gramm: 1550.
Published by Paris, 1655
Seller: Antiquariat Steffen Völkel GmbH, Seubersdorf, Germany
Art / Print / Poster
Blatt-Format: 42 x 27 cm. - Original-Kupferstich nach Abraham van Diepenbeeck von 1655. -- gut erhalten. - Rare original engraving after Abraham van Diepenbeeck from 1655. -- in very good condition. || Abraham van Diepenbeeck (1596-1675) was a Dutch painter of the Flemish School. He was baptised in the Dutch city of 's-Hertogenbosch, as son of the glass painter Jan van Diepenbeeck. He became a pupil and assistant of Peter Paul Rubens, who highly influenced his work. He mostly dealt with mythological and historical subjects, as well as portraits. Around 1629, he moved to Antwerp, where he began to enjoy success through glass painting. Among his works are windows in the Antwerp cathedral representing the "Acts of Mercy". He did similar work at the church of the Dominicans, where he painted scenes from the "Life of Saint Paul". In 1632 he travels to Fontainebleau and Paris, where he copies frescoes by Francesco Primaticcio and Nicolò dell Abbate. In 1636, he becomes a citizen of Antwerp. Van Diepenbeek was admitted to the guild of painters in 1638, and became director of the Royal Academy of Fine Arts (Antwerp) in 1641. After a trip to Italy, van Diepenbeeck began to paint chiefly in oil and to work on illustration. Among these are 58 designs engraved by Cornelis Bloemaert for Michel de Marolles' "Tableaux du Temple des Muses". During the reign of Charles I of England, van Diepenbeeck travelled to England where, besides painting portraits of the first Duke of Newcastle and his family, the artist illustrated the nobleman's book on horsemanship. He died at the age of 79, in Antwerp. Among his well known paintings are: St. Norbert ; Ecstasy of St. Bonaventura ; St. Francis Adoring the Sacrament ; Entombment of Christ ; Neptune and Amphitrite ; and the Flight of Cl lia. Sprache: Deutsch Gewicht in Gramm: 1500.
Published by Ziegers und Lehmanns, Nurnberg, 1700
Seller: DuBois Rare Books, New York, NY, U.S.A.
Loose_leaf. Condition: Good. German Edition. Copper plate engraving on laid paper with hand coloring after Abraham van Diepenbeeck. From the German Edition of William of Newcastle's book on horsemanship, "New method and extraordinary invention to dress horses and work them according to nature". Sheet size: 28.3 x 37.3 cm. Print condition: heavy printers fold thru center, longish creases in 2 or 3 spots, moderate to heavy foxing, strongest just inside printed borders; a 5 cm. long closed tear one third the way past printers fold on the right, ending just into first band of green color, and another smaller tear right at print number lower right border. A pleasing piece despite it's flaws.
Mary kneeling to the left, resting her left hand on the Bible, the Angel appearing to the right, kneeling on a cloud, with lily in his hand. The dove appears above surrounded by flying seraphs and angels. Page from a "Missale Romanum" after 1724 l Engraving on paper with margins; plate mark: 270 x 173 mm, total: 335 x 212 mm.
A putto in the clouds, playing with bubbles.From a set of four plates depicting allegories of the four elements. an anonymous engraver after Cornelis van Dalen II, possibly Arnold Houbraken. Numbered at bottom right: '3'. Titled below: 'AER.' Engraving on paper with margins; plate mark: 183 x 129 mm, total: 257 x 170 mm; some stains on the bottom; on the margin above traces of the previous binding. On verso traces of previous mounting In very good condition. Hollstein 16 (copy). Watermark with fool's cap.
Published by 1649, 1649
Seller: Galerie Joseph Fach GmbH, Oberursel im Taunus, Germany
Art / Print / Poster
Condition: sehr guter Zustand. Kupferstich von P. Pontius (1603-1658), nach einem Selbstbildnis. 16,3:11,6 cm. Wurzbach 64; Drugulin 4636; Hollstein 70. Für: Joannes Meyssens 'Images d'hommes d'esprit', 1649. - An einer Seite unter Verlust der Plattenkante beschnitten, kleiner brauner Fleck.
Heroisches Reiterstandbild von Wilhelm Cavendish, dem 1. Herzog von Newcastle (1592-1676), mit Wappen, verschiedenem Kriegsgerät, Lorbeerkranz und Palmzweig vor einer Küstenlandschaft mit Schiffen. Das Blatt stammt aus der deutsch-französischen Ausgabe von Cavendish's Reitschul-Lehrbuch Neu-eröffnete Reit-Bahn, welches in deutsch-französischer Übersetzung 1700 und 1764 in Nürnberg erschienen ist (frz. Erstausgabe: Methode et invention nouvelle de dresser les chevaux, Antwerpen 1657). Wilhelm bzw. William Cavendish war der Neffe von William Cavendish, dem 1. Herzog von Devonshire. 1628 wurde er durch König Karl I. zum Herzog von Newcastle ernannt. Als überzeugter Royalist stand er im Bürgerkrieg auf der Seite des Königs und musste England nach der Schlacht von Marston Moor 1644 verlassen. Im Exil in Antwerpen betrieb er eine beliebte Reitschule und verfasste zwei bedeutende Werke zur Reitlehre, die im 18. Jahrhundert als klassische Lektüre auf diesem Gebiet galten: Methode et invention nox (1658) und A New Method and Extraordinary Invention to Dress Horses and Work them according to Nature (1667). Wilhelm Cavendish's Reitlehre basiert auf den Anschauungen von Antoine de la Baume Pluvinel (1555-1620), dem Reitlehrer von Ludwig XIII. Pluvinel und Cavandish waren Vertreter einer gewaltfreien Lehrmethode in der Reiterei (im Gegensatz zur Gewaltmethode der zeitgenössischen italienischen Schule der Reitkunst), die von der Ansicht geleitet wurde, dass das Pferd durch Verständnis für seinen Charakter, Lob und Geduld auch ohne Gewalt zur Mitarbeit gebracht werden kann. Die verschiedenen Reitfiguren kommen durch ein Herausarbeiten der natürlichen Bewegungen des Pferdes zustande und verdeutlichen so die Kunst des Reitens. Cavendish gilt weiterhin als Erfinder des bis heute umstrittenen Schlaufzügels, aber auch des Kappzaums zur Schonung des Mauls. 1660 kehrte Cavendish - während der Stuart-Restauration - nach England zurück und wurde dort in der Westminster Abbey beigeset William Cavue Reitschule Methode et invention nouvelle de dresser les chevaux wurde erstmals 1658 in Antwerpen publiziert und war mit Kupferstichen von Abraham van Diepenbeeck illustriert. Van Diepenbeeck (1596 -1675) war ein niederländischer Glasmaler und Zeichner, der u.a. in der Werkstatt von Peter Paul Rubens ausgebildet wurde. Als klassische Lektüre der Reitkunst im 18. Jahrhundert erschien das Buch in mehreren Ausgaben in Antwerpen und London sowie schließlich in deutscher Übersetzung auch in Nürnberg. Die erste deutsche Übersetzung Neu-eröffnete Reit-Bahn erschien 1700 mit 85 Tafeln bei Johann Zieger und Georg Lehmann (übersetzt von Johann Philipp Ferdinand von Pernauer, französischer Paralleltext von Jacques de Solleysel). Eine weitere Ausgabe folgte 1764 in der Rapsischen Buchhandlung in Nürnberg. Die beiden deutschsprachigen Ausgaben sind mit denselben Tafeln illustriert. Diese nehmen kompositorisch auf die früheren Ausgaben mit den Illustrationen van Diepenbeeccks Bezen jedoch stilistisch i?tz?gen des Herzogs und der Sockelinschrift. Das hier vorliegende Blatt stammt aus einer der beiden deutschen Ausgaben von 1700 und 1764 (Digitalisat der Ausgabe von 1700 bei google-books: fol. 9 r). Der K?nstler bzw. Stecher des Blattes ist unbekannt. Das vorliegende Motiv geh?rt zu einer Gruppe von vier einleitenden doppelseitigen Allegorie- bzw. Portr?tstichen, die auf das Thema des Buches hinf?hren und Wilhelm Cavendish als standhaften Reitmeister und milit?rischen F?hrer inszen.
Seller: Antiquariat Hardner, Dresden, Germany
Kein Einband. Condition: Gebraucht. Bleistift, braune Feder auf Bütten am linken Rand auf Büttenpapier geklebt. 16,6 x 18,3 cm (Blatt). 27,1 x 17,7 cm (Untersatzpapier). Unten auf Untersatzpapier alte Zuschreibung mit Feder "A:v:Diepenbeek". Zeichnung.
Publication Date: 1658
Seller: Pictura Prints, Art & Books, Overasselt, Netherlands
Art / Print / Poster
Condition: Good. Abraham van Diepenbeeck (illustrator). 'Parade du trot pour la main gauche'Engraving, handcolouring on hand laid (verge) paper. Sheet size: 55,5 x 47,7 cm. (21,9 x 18,8 inch). Image size: 51 x 39 cm. (20,1 x 15,4 inch).From the book by W. Cavendish - Methode et invention nouvelle de dresser les cheveaux, 1658.Made by 'Theodor van Kessel' after 'Abraham van Diepenbeeck'. Theodor van Kessel (1620-1696) was a flemish engraver, he worked for David Teniers the younger. Abraham van Diepenbeeck (1596-1675) was a Dutch glaspainter, painter and drawer, who belonged to the Antwerp school. Condition: Good, given age. Wormholes and restored tears in the upper margin, because of a small margin extra paper from that time is added on the right margin, old restoration of a wormhole in the left lower corner. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.Keywords: HORSE TRAINING-COSTUMESRBOS-T.15-large.
Published by Londres: Jean Brindley, 1737, 1737
Seller: Wittenborn Art Books, San Francisco, CA, U.S.A.
Art / Print / Poster
Condition: Good. Original engraving. 46.6 x 58cm. sheet size. Centerfold. Tear without loss in upper margin .OCLC Number 228726949Text on the print:A portrait of a squire holding the reins of a horse, landscape behind. Plate 10 of the Duke of Newcastle's treatise on horsemanship, .References : Huth, 23; Podeschi 26 and 49; Lowndes, 1663; Wing N884-87; Brunet I, 1700; Graesse II, 93; Mellon Books on the Horse and Horsemanship (1783) p. 49; Mennessier de la Lance II, p. 250; Nissen ZBI 848.
Published by Londres: J. Brindley, 1737, 1737
Seller: Wittenborn Art Books, San Francisco, CA, U.S.A.
Art / Print / Poster
Condition: Good. Original engraving. 46.6 x 58cm. sheet size. Centerfold. Tear without loss in upper margin .National; Portrait Gallery NPG D38714; OCLC Number 228726949Text on the print:"Apres l'homme le Cheval le plus noble animal,Est rendu par ce Seigneur si juste et si égal,Par cette Methode, que tout le monde admire,Qu'on voit aisément, qu'il est sujet de Son EmpireSon assiette si belle, ses aides si secrettes;Tout à la neglicence, encore, si bien faittes,Nous sont un argument assés valide et puissant,Qu'il est à ses talons et Bride obeïssant,Et que tous les Chevaux sont assujettis à sa loÿ;Puis qu'ils luy obeïssent comme à leur propre Roy. S'il montoit un Diable tres-robuste,Ce Diable jroit en touts Airs fort Iuste.M.D.V.".References : Huth, 23; Podeschi 26 and 49; Lowndes, 1663; Wing N884-87; Brunet I, 1700; Graesse II, 93; Mellon Books on the Horse and Horsemanship (1783) p. 49; Mennessier de la Lance II, p. 250; Nissen ZBI 848.
S.l.s.d. (Antwerpen, 18th century ?), in-4°, 26 x 22 cm, engraved title + 48 engraved plates, 19th century half leather. Suite of 48 engravings and a title made after drawings by van Diepenbeeck and engraved by F.Bouttats, P. van Lisbetten, A.Lommelin, Gaspar Bouttats, Martin Bouche. The plates have captions in Latin, French and Dutch. The suite depicts the life of the Florentine nun Maria de Pazzis. This edition is in all probability a 19th century reprint. We could not trace where this or the first edition were published (Antwerp ca. 1700 ?).
Seller: Antiquariaat Arine van der Steur / ILAB, Den Haag, Netherlands
Half-length figure of elderly S. Augustine as a bishop. He holds a pastoral in his left hand, the right hand rests on an opened book on a table. Putti with a flaming heart are flying above his head. Unreadable inscription under the putti. Beyond the saint is a window on the left and a column on the right.Inscription identifying the saint at bottom: S. AVRELI AVGVSTINVS.Inscribed on verso: INV. NR. 155.Bishop of Hippo in north Africa and one of the four Latin (western) Fathers. Born at Tagaste in Numidia; son of St Monica. Often shown with a child on the shore.[NL] Figuur ten halve lijve van bejaarde Augustinus als bisschop. Antieke tekening vanAbraham van Diepenbeeck (1596- 1675). Drawing on paper, black chalk, pen in brown, washed in brown; total: 142 x 111 mm; remargined, in good condition. Mounted on cardboard passepartout.
Published by Apud Vidua Cnobbaert, 1652
Book First Edition
Couverture rigide. - Apud Vidua Cnobbaert, Anvers 1652, in-16 (10,5x7,5cm), (24 p.) 191 pp., relié. - Seconde édition, après celle de 1631. Elle est illustrée d'un très beau titre frontispice et de 94 figures à pleine page, gravés en taille-douce par Andries Pauwels et Jacobus Neefs d'après les dessins d'Abraham Van Diepenbeeck, élève et ami de Pierre-Paul Rubens avec qui il travailla sur plusieurs compositions. La gravure de la page 152 a été imprimée à l'envers. Les gravures sont d'une belle exécution et d'un noir profond. Notre exemplaire est bien complet du feuillet b4 (comprenant la gravure des tonneaux) qui manque souvent, mais pas du feuillet blanc A8 (p.15-16) supprimé par le relieur comme dans la grande majorité des exemplaires. Reliure postérieure en plein vélin de réemploi portant quelques inscriptions anciennes à la plume, dos lisse muet. Une très discrète restauration au dos de la page de faux-titre. L'ouvrage est constitué de deux parties : l'une traite des vices de la parole (loquacité, tromperie, injure, vulgarité, faux témoignage.) et la seconde propose des remèdes. Les quatrains présentent en regard de très beaux emblèmes composés par Abraham Van Diepenbeeck et montrant toutes sortes de scènes de la vie quotidienne ainsi que de nombreux animaux comme des éléphants, des lions, des oiseaux, des serpents ou des plantes. Bel exemplaire de ce rare livre d'emblèmes « de poche », uvre d'un chanoine brugeois issu de la branche bâtarde des ducs de Bourgogne. [ENGLISH TRANSLATION FOLLOWS] Linguae vitia & Remedia emblematice expressa per illustrem ac Rever Apud Vidua Cnobbaert, Anvers 1652, 16° (10,5x7,5cm), (24 p.) 191 pp., bound. Second edition after the first published in 1631. Beautiful engraved title and 94 emblematic full-page engravings by Andries Pauwels et Jacobus Neefs after Abraham van Diepenbeeck, friend and pupil of Peter Paul Rubens with whom he worked on several compositions. Plate on p.152 printed upside down. Beautifully executed and deeply contrasted engravings. Complete with b4 (with an engraving) often missing. Blank A8 is missing, like most copies. Later vellum binding with some notes in ink. A very small restoration to the verso of the half-title page. The work is divided into two parts: one on the vices of speech (loquacity, deceit, insult, vulgarity, false testimony.) and the second with a remedy to each one. The quatrains are accompanied by beautiful emblems by Abraham Van Diepenbeeck with daily life scenes as well as numerous animals such as elephants, lions, birds, snakes, and plants. A fine copy of this rare pocketbook of emblems, written by a Bruges Canon descendant of an illegitimate branch of the House of Burgundy. (24 p.) 191 pp.
Published by Printed by J[ohn] L[egat] for Andrew Hebb, and are to be sold at the signe of the Bell in St. Pauls Church-yard, London, 1640
Seller: Liber Antiquus Early Books & Manuscripts, Chevy Chase, MD, U.S.A.
Signed
Hardcover. Condition: Fine. Bound in 18th c. speckled calf, worn at the corners and extremities, re-backed. In addition to the engraved title, there is a full-paged engraving (with a medallion portrait) of Ovid, and fifteen full-page engravings by Salomon Savery (1594-1665) after drawings by Francis Clein (1582-1658). This copy is EXTRA-ILLUSTRATED with the complete suite of 59 plates from Michel de Marolles' "Tableaux du Temple des Muses" (Paris 1655), comprising a portrait of Marolles and 58 plates of emblematic engravings after Abraham van Diepenbeeck (with two after Pierre Brébiette). A number of the engravings depict scenes from Ovid. A very good copy, engraved portrait frontispiece engraved title-page lightly soiled and with light marginal staining, title with short marginal tears; 18th c. inscription (a quotation from a letter by Boxhorn to Peter Scriverius) at head of engraved t.p. signed "Delaporte 1722" (inscription slightly shaved). Occasional minor stains or marginal blemishes. Small oval bookplate, "JKS". Contemporary pen & ink cupid figure on verso of one plate pointing at the facing plate. I. Sandys and the translation of Ovid: "In 1621 Sandys came to Virginia, and during his residence there as secretary of the Colony he occupied his leisure time in completing his translation of Ovid [on his estate in present day Sury -across the James River from Williamsburg], publishing it on his return to England in 1626. His stay in this country was short, but his translation of Ovid is considered "the first utterance of the conscious literary spirit articulated in America". (Quoted from Wither to Prior). "Sandys was the youngest son of Edwin Sandys, archbishop of York. He entered St. Mary hall, Oxford, in 1589; but nothing further is known of him until, in 1610, he began his travels in Turkey, Greece, Egypt, Italy, Armenia, and, of course, all of the major sites in the Holy Land. In August, 1621, he went to America, as treasurer of the English company for the colony of Virginia, with the governor of the colony, his brother-in-law, Sir Francis Wyatt. There can be no doubt that, before he went, the first five books of his translation of Ovid's Metamorphoses had appeared in print. No copy of this publication has been traced; and Sandys, in his preface to the whole translation, published in 1626, implies that the work was done during his residence in Virginia. However, there is an elegy by Drayton addressed to Sandys, which was written very soon after Sandys' departure, and contains historical allusions to events in the Thirty Years' war which show that it was composed in the winter of 1621-2. Drayton praises the first five books of the Metamorphoses already translated, and begs his correspondent to "let's see what lines Virginia will produce." Aided by such encouragement, Sandys persevered, dedicating the day, as he tells Charles I, "to the service of your Great Father, and your Selfe, that unperfect light, which was snatcht from the houres of night and repose" to the completion of his translation, and, probably, the polishing of its earlier books. "Sandys returned from Virginia about 1626, when the first complete edition of his Ovid was published. He was appointed a gentleman of the privy chamber to Charles I, and was able to spend the remainder of his life in long intervals of leisure, living at the country houses of his relations and consorting with the poets and wits whom Falkland attracted round him." ("The Cambridge History of English and American Literature" Volume VII) Sandys' accompanying commentaries and explanations, based on Sandys' reading and personal experiences, contain frequent reminders that the work and its translator were intimately connected with the New World. These references are of two kinds; those to Florida, Mexico, and the West Indies were the product of his reading, those to Virginia stem directly from his personal experiences. There are also several references to the Indians of South America, particularly of Peru (Book IX, I75, i82; Book XI, 2I2).Sandys quotes 'Acosta' as the source for some of these Indian references; Jose de Acosta, who first published two books of hisNatural History of the Indiesin 1588 (See Richard Beal Davis.America in George Sandy's "Ovid",1947.) II. Sandys in Virginia: "In 1621 the Virginia Company found it necessary to set up a new office -a resident treasurer- in the colony to look after financial matters and to direct and to supervise the development of staple commodities. "While in Virginia, George Sandys had a plantation and a well-fortified stockade with 30 guns, a "peece" of ordnance, 20 swords, "powder, lead and shott" and included armor "Steele Coats and Coats of Male." In 1624, there were only about 450-500 people in Virginia, and most of these were men and boys. Twenty-four people lived on the plantation of George Sandys. On the plantation there were only three heads of household: George Sandys, Robert Sheppard, and Zachary Cripps. We counted nine people in the household of George Sandys, all of them male servants, including one "hired" servant. There were two freemen in the household of Zachary Cripps, and nine freemen and one freewoman in the household of Robert Sheppard. William Benge, who arrived on the Marygold, was one of the freemen listed in the household of Robert Sheppard. "During his tenure as the first colonial treasurer of Virginia, Sandys built the first watermill, promoted the establishment of iron-works, worked toward the completion of the glass-works, and in 1622 introduced ship-building. The program, which he directed, was not rewarded with a high degree of success. Virginia was, as yet, not able to maintain these enterprises, as his report of the glass project indicates: 'The ill successe of the glasse workes is allmost equall unto this [that of the shipwrights]: first the covering of the house, ere fully finished, was blowne downe, by a tempest noe sooner repaired but the Indians came uppon us, which for a while deferd the proceedin.