Wandelaar Jan (55 results)

Condition: Good.

Condition: New. pp. 658.

Condition: New. pp. 658.

Condition: New.

Paperback. Condition: New.

Condition: New. pp. 658.

Condition: New. In.

Condition: New. In.

Jan Wandelaar (illustrator). Hugo de Groots Bewys van den waren Godsdienst. Mitsgaders zyne andere stichtelyke gedichten en gezangen. Vermeerdert met het leven des Schryvers. Amsterdam, Evert Visscher, 1728. Fifth edition. A complete and well-preserved early 18th-century Dutch edition of Hugo Grotius' celebrated apologetic work, illustrated with an engraved frontispiece by Jan Wandelaar and an engraved portrait of the author after Michiel Jansz. van Mierevelt. This fifth edition of Bewys van den waren Godsdienst ("Proof of the True Religion") presents Grotius' influential rational defense of Christianity, first published in the early seventeenth century and widely read throughout Europe. Written in a clear and reasoned style, the work argues for the existence of God through philosophical and natural-theological reasoning, drawing upon classical antiquity as well as Scripture. Grotius proceeds to defend Christianity as the true religion, comparing it to other belief systems and emphasizing the authority of Christ and divine revelation. The volume further includes moral and ethical reflections, devotional poetry, and religious songs. As stated on the title page, this edition is enlarged with a biography of the author, with which the book opens. The engraved frontispiece is signed "J. Wandelaar inven. fecit," indicating that Jan Wandelaar (1690-1759) both designed and engraved the plate. Wandelaar was one of the notable Dutch engravers of the eighteenth century, known for his refined and detailed work. The volume also contains a finely executed engraved portrait of Hugo Grotius ("Hugo de Groot, Pensionaris der Stad Rotterdam"), after the original painted likeness by the distinguished Delft portraitist Michiel Jansz. van Mierevelt (1566-1641), whose portraits defined the visual image of many leading figures of the Dutch Golden Age. Hugo Grotius (1583-1645), one of the most important intellectual figures of the Dutch Golden Age, is internationally renowned as a jurist and founding thinker of modern international law, yet his theological writings were equally significant in his own time. Bewys van den waren Godsdienst remained one of his most enduring and widely circulated works. This 1728 Amsterdam edition is complete and carefully collated; all pages are present. The engraved portrait and frontispiece are included and in good condition. The title page bears the engraved vignette and imprint: "T'Amsterdam, By Evert Visscher, Boekverkooper, in de Dirk van Hasselt-steeg, 1728." Condition: The book has been later bound in a simple but solid half binding with marbled boards and green spine. The binding is firm and functional. The text block is sound. Pages show age-related browning and scattered foxing, as to be expected in a book of this period. The title page has been reinforced on the verso. Overall a complete, honest, and attractive working copy of this important theological work. A desirable early 18th-century edition of Grotius' major religious treatise, enhanced by engravings associated with two notable figures of Dutch art, and suitable for collectors of early modern theology, Dutch Golden Age literature, and seventeenth- and eighteenth-century Dutch engraving.

In full vellum . Clean inside with no markings and tight binding. There is a chip out of the top of the half title page ( probably name removal ). Else very good. Beautiful frontispiece illustration and vignette on title page, as well as a further vignette in the text, all by Jan Wandelaar. The full scripts of the following plays are in this volume: Lucifer, Adam in Ballingschap, Noach, Josef in Dothan, Josef in Egypten, Josef in 't Hof, Jefta, Samson, David in Ballinghschap, David Herstelt, Gebroeders, Adonias, Salomon, Peter en Pauwels, Jeruzalem Verwoest, en Pascha. Hardback. No dj.

From the first edition of one of the greatest of all Anatomical Atlases. Tabula V, which features a human skeleton in a three-quarter view and seen from the rear is portrayed in a walking motion with the left hand raised and extended. Elephant folio, ca. 620 by 475 mm, single folio sheet, now mounted with the use of non-evasive corner tabs and protected by mylar. Very well preserved, fully intact with only the most minor evidence of age. ONE OF THE MAGNIFICENT PLATES FROM "AMONG THE MOST ARTISTICALLY PERFECT OF ANATOMICAL ATLASES." Wandelaar placed his skeletons and musclemen against lush ornamental backgrounds to give them the illusion of vitality, using contrasts of mass and light to produce a three-dimensional effect. The most famous plate in the atlas depicts a skeletal figure standing in front of an enormous grazing rhinoceros, sketched by Wandelaar from the first living specimen in Europe, which had arrived at Amsterdam Zoo in 1741" (Norman). The plates in this large folio work, and in the four supplementary works in large folio with which it is bound, are unsurpassed for their cool, elegant aesthetic and scientific accuracy. They were drawn and engraved by Jan Wandelaer, a pupil of the engravers Jacob Fokema and Guillem van der Gouwen, and the painter Gerard de Lairesse, who prepared the drawings for Bidloo's atlas. Prior to working for Albinus Wandelaer worked for Friedrik Ruysch. Albinus, however, provided Wandelaar with the opportunity for the full expression of his talents as a draftsman and engraver. In an attempt to increase the scientific accuracy of anatomical illustration, Albinus and Wandelaar devised a new technique of placing nets with square webbing at specified intervals between the artist and the anatomical specimen and copying the images using the grid patterns. Wandelaer placed each figure in a carefully chosen landscape setting, and the artistic results are so pleasantly successful that the anatomical figures, although composed of many separate parts, appear to be actually stepping out of the picture.

From the first edition of one of the greatest of all Anatomical Atlases. Tabula IX, which features Albinus and Wandelaar's famous "Muscle Man", a skinned figure whose musculature is visible and defined, as viewed in walking profile with the left arm raised and the right foot forward, his head is turned slightly away from the viewer. Elephant folio, 620 by 475 mm, single folio sheet, now mounted with the use of none-evasive corner tabs and protected by mylar. Very well preserved, fully intact with only the most minor evidence of age. ONE OF THE MAGNIFICENT PLATES FROM "AMONG THE MOST ARTISTICALLY PERFECT OF ANATOMICAL ATLASES." Wandelaar placed his skeletons and musclemen against lush ornamental backgrounds to give them the illusion of vitality, using contrasts of mass and light to produce a three-dimensional effect. The most famous plate in the atlas depicts a skeletal figure standing in front of an enormous grazing rhinoceros, sketched by Wandelaar from the first living specimen in Europe, which had arrived at Amsterdam zoo in 1741" (Norman). The plates in this large folio work, and in the four supplementary works in large folio with which it is bound, are unsurpassed for their cool, elegant aesthetic and scientific accuracy. They were drawn and engraved by Jan Wandelaer, a pupil of the engravers Jacob Fokema and Guillem van der Gouwen, and the painter Gerard de Lairesse, who prepared the drawings for Bidloo's atlas. Prior to working for Albinus Wandelaer worked for Friedrik Ruysch. Albinus, however, provided Wandelaar with the opportunity for the full expression of his talents as a draftsman and engraver. In an attempt to increase the scientific accuracy of anatomical illustration, Albinus and Wandelaar devised a new technique of placing nets with square webbing at specified intervals between the artist and the anatomical specimen and copying the images using the grid patterns. Wandelaer placed each figure in a carefully chosen landscape setting, and the artistic results are so pleasantly successful that the anatomical figures, although composed of many separate parts, appear to be actually stepping out of the picture.

From the first edition of one of the greatest of all Anatomical Atlases. Tabula V, which features Albinus and Wandelaar's famous "Muscle Man", a skinned figure whose musculature is visible and defined, as viewed from behind standing with the left arm raised, right arm turned and his weight shifted to the right foot. Elephant folio, 620 by 475 mm, single folio sheet, now mounted with the use of none-evasive corner tabs and protected by mylar. Very well preserved, fully intact with only the most minor evidence of age. ONE OF THE MAGNIFICENT PLATES FROM "AMONG THE MOST ARTISTICALLY PERFECT OF ANATOMICAL ATLASES." Wandelaar placed his skeletons and musclemen against lush ornamental backgrounds to give them the illusion of vitality, using contrasts of mass and light to produce a three-dimensional effect. The most famous plate in the atlas depicts a skeletal figure standing in front of an enormous grazing rhinoceros, sketched by Wandelaar from the first living specimen in Europe, which had arrived at Amsterdam zoo in 1741" (Norman). The plates in this large folio work, and in the four supplementary works in large folio with which it is bound, are unsurpassed for their cool, elegant aesthetic and scientific accuracy. They were drawn and engraved by Jan Wandelaer, a pupil of the engravers Jacob Fokema and Guillem van der Gouwen, and the painter Gerard de Lairesse, who prepared the drawings for Bidloo's atlas. Prior to working for Albinus Wandelaer worked for Friedrik Ruysch. Albinus, however, provided Wandelaar with the opportunity for the full expression of his talents as a draftsman and engraver. In an attempt to increase the scientific accuracy of anatomical illustration, Albinus and Wandelaar devised a new technique of placing nets with square webbing at specified intervals between the artist and the anatomical specimen and copying the images using the grid patterns. Wandelaer placed each figure in a carefully chosen landscape setting, and the artistic results are so pleasantly successful that the anatomical figures, although composed of many separate parts, appear to be actually stepping out of the picture.

Condition: molto buono. Incisione in rame, in plano, mm.560x400, presentata in elegante pass-partout a due finestre, con al verso la versione schematizzata dell'incisione. Tratta dalla prima edizione di una delle più celebri opera di Anatomia: Tabulae sceleti et musculorum corporis humani  [Leiden: Joannem & Hermannum Verbeek, 1740]. Wandelaar era solito rappresentare le sue anatomie sovrapponendole ad uno sfondo ornamentale in modo di dare all'incisione un effetto un'illusione di vitalità e dinamismo. Le tavole furono incise e disegnate da Jan Wandelaer, allievo del più celebre Jacob Fokema e Guillem van der Gouwen, e del pittore Gerard de Lairesse, il quale preparò i disegni per l'atlante di Bidloo. Albinus offrì a Wandelaar la possibilità di esprimere a pieno a livello artistico. Bellissima e rara  incisione originale dedicata al sistema muscolare. Book.

Condition: molto buono. Incisione in rame, in plano, mm.560x400, presentata in elegante pass-partout a due finestre, con al verso la versione schematizzata dell'incisione. Tratta dalla prima edizione di una delle più celebri opera di Anatomia: Tabulae sceleti et musculorum corporis humani [Leiden: Joannem & Hermannum Verbeek, 1740]. Wandelaar era solito rappresentare le sue anatomie sovrapponendole ad uno sfondo ornamentale in modo di dare all'incisione un effetto un'illusione di vitalità e dinamismo. Le tavole furono incise e disegnate da Jan Wandelaer, allievo del più celebre Jacob Fokema e Guillem van der Gouwen, e del pittore Gerard de Lairesse, il quale preparò i disegni per l'atlante di Bidloo. Albinus offrì a Wandelaar la possibilità di esprimere a pieno a livello artistico. Bellissima incisione originale con lieve traccia d'umido nella pare inferiore. . Book.

Condition: Good. Folio. . Contemporary roan with gilt spine, worn along edges of spine, but tight Pages fresh and crisp. Very good. Bookplates and old ink inscription of previous private owners on inside front cover. 30 x 48.5 cm. Text in French and Latin. . See collation below.OCLC only lists the English language edtion of the same year.References : Brunet III: 599; Cohen de Ricci: 768. .In -folio relié pleine basane brune, dos à nerfs orné et doré (Reliure de l'époque). [5] ff., 247 pp., [1] f., (249 254) pp., [2] ff. Orné d'un frontispice, une vignette armoriée de dédicace et de 130 figures in texte à mi-page d'après Lebrun, Leclere, Maas, Picard, Punt, J. Romain, Tosca, de Wit and Vandelaar par divers sculpteurs. Edition bilingue francol-atine imprimée sur 2 colonnes. Bon état, oxydation des ff. et rousseurs, usures à la reliure.

Paperback. Condition: New.

Original Kupferstich-Portrait. -- Blattmasse: ca. 36 x 24 cm -- etwas gebräunt und fleckig, sonst gut erhalten. || Original copper engraved portrait. -- somewhat browned and stained, otherwise // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 1500.

Half-length portrait of Robert Hennebo (1685-1737) in an oval. Copy after an 'ad vivum' drawing by Wandelaar, earlier engraved by Houbraken. First state, without inscription on the bottom l Etching and engraving on paper with margins; plate mark: 151 x 100 mm, total: 246 x 166 mm, mounted on cardboard (above margin); fading pencil notes on the bottom external margin.

Half-length portrait of Robert Hennebo (1685-1737) in an oval. Copy after an 'ad vivum' drawing by Wandelaar. Under the portrait four lines of text in Dutch:'Zie ROBERT HENNEBO door Kunst verbeeldt naar 't leven, / Wiens byzyn ieder een vermaak en vreugt kan geeven:/ Maar blinkt zyn blyde geest in 't smaaklyck aangezigt, / Die straalt noch beter door in boertig maatgedicht. / J.H.' Signed on the bottom: 'I. Wandelaar ad vivum delin. / J. Houbraken fecit.' Etching and engraving on paper with some margins; plate mark: 146 x 98 mm, total: 192 x 111 mm; left margin cut on plate mark.

'Socio ditata labore': With the just vanquished dragon on the right, Jason and the Argonauts are preparing to take off with Medea and the Golden Fleece. Etching and engraving on hand laid paper, sheet size 243 x 156 mm., platemark 127 x 83 mm., made by Jan Wandelaar after his own design. This print was used as a title vignette in: Covens & Mortier's 'Atlas Nouveau, contenant toutes les parties du Monde [.]', Amsterdam : Covens & Mortier, 1742. However, there is printed text immediately above and below the image on the title page (and the page is a lot larger than here), so this may be a proof printing or separate printing of the plate used in that book. In excellent condition, minimal soiling in the lower left margin corner.

Jan Wandelaar (illustrator). 'HERMANUS BOERHAAVE'Portrait of Hermanus Boerhaave (1668-1738), a Dutch botanist, chemist, Christian humanist, and physician of European fame. He is regarded as the founder of clinical teaching and of the modern academic hospital and is sometimes referred to as "the father of physiology," along with Venetian physician Santorio Santorio (1561-1636). Boerhaave introduced the quantitative approach into medicine, along with his pupil Albrecht von Haller (1708-1777) and is best known for demonstrating the relation of symptoms to lesions. He was the first to isolate the chemical urea from urine. He was the first physician to put thermometer measurements to clinical practice. His motto was Simplex sigillum veri: 'Simplicity is the sign of the truth'. He is often hailed as the "Dutch Hippocrates".Made by Jacob Houbraken after Jan Wandelaar.Medium: Engraving on hand laid (verge) paper.Sheet size: 34.6 x 26.6 cm (13.62 x 10.47 inch). Image size: 23 x 15.7 cm. (9.06 x 6.18 inch).PORTRAIT-HERMANUS BOERHAAVE | PORTRAIS - MISCBACKGROUND INFORMATIONSource: unknown, to be determined.Biography engraver: Jacobus Houbraken (1698-1780) was a Dutch engraver and the son of the artist and biographer Arnold Houbraken (16601719), whom he assisted in producing a published record of the lives of artists from the Dutch Golden Age.Biography artist: Jan Wandelaar (1690-1759) was an 18th-century painter, illustrator and engraver from the Northern Netherlands. Condition: good, given age. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1727 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. Pages: 329 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: 329 Aubriet, Claude,Boerhaave, Herman,Vaillant, Se?bastien,Verbeek, H.,Verbeek, J.,Wandelaar, Jan,

(um 1730). Plattenmaß: ca. 15,5 x 20,3 cm, am unteren Bildrand mittig typographisch betitelt, (leicht fleckig)---- Jan Wandelaar war ein niederländischer Maler, Kupferstecher und Radierer - 10 Gramm.

Frontispiece to Pieter Langendijk's 'Het Wederzijds huwelijksbedrog,' a comedy.The frontispiece shows a scene of the play in the background, while in the front are allegorical figures, wih a putto holding a mask in his hand.Titled at bottom center and signed: 'J: Wandelaer inv. / J: Schynvoet. fec.' ca. 1714. Etching and engraving on paper, with small margins; total: 153 x 86 mm; despite some traces of wear in great condition.

[EN] Half-length portrait of the poet Robert Hennebo (1685-1737) in an oval.Copy after an 'ad vivum' drawing by Wandelaar, earlier engraved by Houbraken.Under the portrait four lines of text in Dutch: 'Zie ROBERT HENNEBO door Kunst verbeeldt naar 't leven, / Wiens byzyn ieder een vermaak en vreugt kan geeven:/ Maar blinkt zyn blyde geest in 't smaaklyk aangezigt, / Die straalt noch beter door in boertig maatgedicht. / J.H.'This portrait is included as frontispiece to'Hennebo's Verzamelde dicht-werken. Op nieuw nagezien, gezuiverd van veele fouten tegen taal- en dichtkunde, en met eene voorreden, waarin 's dichters leven.[NL] Portretbuste in ovaal van dichter Robert Hennebo. Onder het ovaal een vierregelige tekst in het Nederlands. Etching and engraving on paper with small margins; plate mark: 151 x 100 mm, total: 170 x 113 mm, mounted on dark pink paper (above margin); some dirt on the bottom close to the plate mark.

Condition: guter Zustand. Wandelaar, Jan. Jupiter amoureux de Calisto. Jupiter verführt Callisto.1732. Kupferstich / Linienstich. Originale Künstlergrafik, von Jan Wandelaar. 18,2 x 23,6 cm (Darstellung), 19,5 x 24,5 cm (Platte), 21 x 27 cm (Blatt).Aus: Antoine Banier, Les Metamorphoses d'Ovide traduites en françois. Avec des Remarques et des Explications historiques (Amsterdam: Wetstein & Smith 1732). Papier etwas angeschmutzt und leicht berieben. Bis an den Plattenrand beschnitten. Insgesamt gut erhalten.Jan Wandelaar (1690 Amsterdam - 1759 Leiden). Niederländischer Maler, Kupferstecher und Radierer. Schüler von Johannes Jacob Folkema und Willem van der Gouwen. Ab 1741 an der Universität Leiden immatrikuliert. Stach nach Vorlagen von Claude Aubriet die Abbildungen in Sébastien Vaillants Botanicon Parisiense (1727). Seine Anatomischen Abbildungen die er für Frederik Ruyschs Opera omnia anatomico-medico-chirurgica huc usque edita (1737) und die Tabulae sceleti et musculorum corporis humani (1747) von Bernhard Siegfried Albinus fertigte, sind zudem von besonderer Bedeutung. Außerhalb der Darstellung in der Platte signiert rechts unten J. Wandelaar fecit, mittig bezeichnet J. de Wit delin. und links G. Maas inv. Außerdem oberhalb der Darstellung außerhalb der Platte betitelt und links bezeichnet FAB. V. - Französischer Rückentext. 18,2 x 23,6 cm (Darstellung), 19,5 x 24,5 cm (Platte), 21 x 27 cm (Blatt).

In a landscape, a personification of Poetry tramples some snakes and a mask.She is accompanied by three putti, one of them leaning on the coat of arms of the city of Amsterdam. Behind her Knowledge (Cognitio) holding a torch and an empty frame and a Fama (Fama) blowing the trumpet. Below the frame is Envy (Invidia). In the right background Pegasus at the well Castalia.Unsigned. The Rijksmuseum holds another impression (inv. RP-P-OB-61.524).[NL] Poëzie in een landschap vertrapt slangen en een masker. Ze wordt vergezeld door drie putti, één van hen leunt op het wapen van de stad Amsterdam. Achter haar Kennis (Cognitio) die een fakkel en een leeg kader vasthoudt en Faam (Fama) die op de bazuin blaast. Onder het kader ligt Afgunst (Invidia). Rechts op de achtergrond Pegasus bij de bron Castalia. Engraving with some etching on paper; total: 197 x 134 mm; some light smudges on the external margins and some light staining, otherwise in good condition.

Emblematic frontispiece to G. Suikers en I. Verburg's: 'Algemene kerkelijke en wereldlijke geschiedenissen des bekenden aardkloots.' in five volumes, published in Amsterdam by Rudolph & Gerard Wetstein between 1721 and 1728.The frontispiece is populated with many allegorical figures: Time and Fame in the center and history, Truth and Athena among the others are surrounding the pedestal on which can be read: 'ALGEMENE GESCHIEDENISSEN des BEKENDEN AARD-KLOOS van de SCHEPPINGE at tot de doodt vab WILHELM den III koning van Engelandt'.Signed and dated on the bottom right: 'J. Wandelaar / inven / et fecit / 1721'.[NL] Menigte allegorische figuren rond een sfinx op een sokkel. Links Geschiedenis en een schrijvende vrouwelijke personificatie gekroond met een toren. Vader Tijd ontrolt een papier, in de lucht de Faam. Rechts de Waarheid: een naakte vrouw met een boek en de zon op haar hoofd. Achter haar Minerva, die met haar lans een duivelse figuur de aarde in duwt.Willem III - Engeland Engraving and some etching on laid paper with margins; plate mark: 325 x 218 mm, total: 389 x 244; some very light foxing on the margin above mounted in passepartout.

Allegorical frontispiece to the first volume of the History of the world by Isaak Verburg and Geerlof Suikers.The title is engraved on a stone on the top of which is a sphinx. Various figures surround the central, Father Time, reading from an unrolled scroll, guided by Fame. On the right foreground, the naked Truth flanked by Athena/ Minerva, killing Envy / Ignorance with a spear. On the left Ecclesia and a personification of History, writing on a book. Towards the background, other allegories and historical buildings like the Colosseum and the pyramids.Signed at bottom right: 'J. Wandelaar/ inven:/ et fecit / 1721''. With the address of the publishers and with date at the bottom.This allegorical plate is bound with the actual title page of the first volume, which is printed in black and red ink letterpress with a small vignette with the motto: "TERAR DUM PROSIM".Other two folios in this lot, one with the explanation of the allegory in the frontispiece, in Dutch language.[NL] Menigte allegorische figuren rond een sfinx op een sokkel. Links Geschiedenis en een schrijvende vrouwelijke personificatie gekroond met een toren. Vader Tijd ontrolt een papier, in de lucht de Faam. Rechts de Waarheid: een naakte vrouw met een boek en de zon op haar hoofd. Achter haar Minerva, die met haar lans een duivelse figuur de aarde in duwt. Engraving and letterpress on paper; plate mark: 325 x 219 mm, total: 418 x 261 mm; some light smudges on the external margins and a light brown stain in the center. Rather dirty paper on the binding, otherwise in good condition.