Borcht Hendrik (3 results)

Rare first separately published French edition of an important and influential interpretation of the stories of the Old and New Testament, in the popular form of 113 engraved illustrations by Pieter van der Borcht (1535-1608), from Mechelen, and explanatory text by the anti-denominational Dutch mystic Hendrik Jansen (van) Barrefelt, also known as "Hiël" (ca. 1530-1594?). Barrefelt initiated two series of engravings for pictorial Bibles around 1582, believing that the contemplation of the biblical images would speak to a wide audience and bring them closer to God, though he also believed that other pictorial Bibles distorted the Bible's meaning. He enlisted Van der Borcht to produce two series of etched and engraved illustrations of Bible stories and wrote brief commentaries to help people understand the images. Hamilton convincingly argues that the present series B was designed to appeal more to Protestants and the other series A to appeal more to Catholics. Hamilton calls these pictorial Bibles Barrefelt's "most successful" publications, "both in his lifetime and after."With an early owner's name partly obscured with an ink wash on the title page. Slightly browned, a few quires with faint water stains, and an occasional marginal tear or early restoration, but still generally in good condition. The vellum of the binding is wrinkled and shows several small tears, holes and cuts, and some early repairs and restorations.l A. Hamilton, "From Familism to Pietism: the fortunes of Pieter van der Borcht's biblical illustrations and Hiël's commentaries .", in: Quaerendo XI (1981), pp. 271-301, at pp. 287-289; KVK & WorldCat (7 copies, some incomp.); New Hollstein . Pieter van der Borcht, p. 133, 3a (1 copy) & plates 335-422 excluding 365, 367, 371, 385, 400; STCN 080084095 (2 copies); cf. R. Dekoninck, "Entre réforme et contre-réforme: le 'Imagines et figurae bibliorum' de Pieter van der Borcht et Hendrik Jansen van Barrefelt .", in: Quaerendo XIX (1999), pp. 96-131; Poortman, Bijbel en prent II, pp. 23-24 & 39; P. Visser, "Jan Philipsz Schabaelje and Pieter van der Borcht's etchings .", in Quaerendo XVIII (1988), pp. 35-76, esp. pp. 67-69; TB 633 & 634 (the 2 earlier eds.). 17th-century vellum, sewn on 3 vellum supports, laced through the joints. With a general title page plus a divisional title page for the New Testament, each with Colijn's woodcut device (Archangel Michael vanquishing Satan, in a cartouche with motto "hoc custode tutus"), 113 Bible scenes printed from 35 (Old Testament) and 48 (New Testament) engraved illustration plates (plate size 10 x 22.5 cm) by Pieter van der Borcht (New Testament plates 7-9, 18-19 & 24-48 include 2 scenes each), and 1 woodcut decorated initial. Set in roman types with incidental italic. Pages: [6], 35, [1 blank]; [1], [1 blank], 48 pp.

First edition. First edition. [3], 60 [of 61] leaves. Engraved title and fifty-nine (of sixty) engraved plates (19 x 25 cm plus margins) affixed at gutters to tabs. Text in triple columns on versos in Latin, Dutch and French. 1 vols. Oblong 4to (19 x 25 cm plus margins). First edition of this collection of fine engravings of scenes from the Old Testament, executed by one of the most prominent and productive of Plantin's artists. The production does not bear a formal imprint and the letterpress on the engraved title is affixed on slips within small panels within the overall engraving. A fourth panel includes a quotation in Latin from Isaiah: the entry in OCLC derived from the copy at the British Library suggests that copy may have a slip bearing an imprint, albeit fictitious, in its place: "Exprimebat Iacobus Villanus, Anno Domini M.D. LXXXI." After the engraved title, each of the following rectos bears a full-plate engraved scene, with explanatory text in three languages printed on the verso of the preceding leaf in triple columns. The three preliminary leaves print tri-lingual prefatory notes, recto and verso. The author of the explanatory text, was the spiritual leader of the religious sect that split off from Henrik Niclae's "Family of Love." The new group was christened by later scholars as the "second Family of Love," and Plantin and members of his circle entertained associations with its membership. Its leader was referred to as "Hiël" (Life of God) and assumed the occasional pseudonym "Renatus Christianus." The engravings capture a broad range of Old Testament scenes, from the literal and occasionally somewhat pastoral, to vivid depictions of spiritual and allegorical subjects. Lacking plate sixty. Tear across upper forecorner of plate 27 neatly mended; plate 50 severely torn and mended, the mend costing a substantial portion of one column of text on verso; a few other very short marginal mends or occasional splits along tabs at gutters; seven plates including the title show old tidemarks which, although present and affect the images, are not terribly offensive; other occasional marginal smudging and soiling; still, a reasonably good example of a very rare book [3], 60 [of 61] leaves. Engraved title and fifty-nine (of sixty) engraved plates (19 x 25 cm plus margins) affixed at gutters to tabs. Text in triple columns on versos in Latin, Dutch and French. 1 vols. Oblong 4to (19 x 25 cm plus margins).

Very rare 1662 edition (first issue), in the original Dutch, of an important and influential interpretation of the stories of the Old and New Testament, in the popular form of (originally) 119 engraved illustrations by Pieter van der Borcht (1535-1608), from Mechelen, and explanatory text by the anti-denominational Dutch mystic Hendrik Jansen (van) Barrefelt, also known as "Hiël" (ca. 1530-1594?). Barrefelt initiated two series of engravings for pictorial Bibles around 1582, believing that the contemplation of the biblical images would speak to a wide audience and bring them closer to God, though he also believed that other pictorial Bibles distorted the Bible's meaning. He enlisted Van der Borcht to produce two sets of etched and engraved illustrations of Bible stories and wrote brief commentaries to help people understand the images. Hamilton convincingly argues that the present series B was designed to appeal more to Protestants and the other series A to appeal more to Catholics. Hamilton calls these pictorial Bibles Barrefelt's "most successful" publications, "both in his lifetime and after."Lacking 7 leaves with 14 engravings, and heavily trimmed at the head. Fortunately the text of Barrefelt's commentaries is unaffected and the pictorial images of Van der Borcht's engravings almost unaffected. Several leaves are detached and there are several other defects. Since only one or possibly no complete copy of this issue is known to survive and only one complete copy of the later issue of this edition, one must be grateful that the present copy has survived with all preliminary leaves and with about 85% of the engravings and commentaries.l A. Hamilton, "From Familism to Pietism: the fortunes of Pieter van der Borcht's biblical illustrations and Hiël's commentaries .", in: Quaerendo XI (1981), pp. 271-301, at pp. 294-295; KVK & WorldCat (3 copies, at least 2 incomp.); New Hollstein . Pieter van der Borcht, p. 133, 5 (same 3 copies, at least 2 incompl.) & plates 335-422; STCN (2 of the same 3 copies, both incompl.; cf. 1671 reissue, 1 compl. & 1 incompl.); Poortman, Bijbel en prent II, p. 39, c1 (see also pp. 23-24); cf. R. Dekoninck, "Entre réforme et contre-réforme: le 'Imagines et figurae bibliorum' de Pieter van der Borcht et Hendrik Jansen van Barrefelt .", in: Quaerendo XIX (1999), pp. 96-131; P. Visser, "Jan Philipsz Schabaelje and Pieter van der Borcht's etchings .", in Quaerendo XVIII (1988), pp. 35-76, esp. pp. 67-69. Early 19th-century half vellum, sewn on 2 tapes (but now detached), marbled sides (small shell pattern, brown with yellow veins), with the remains of a gold-tooled spine-label that originally read "BIBELSCHE|FIGUEREN|1662". With a general title-page plus a separate title-page for the New Testament alone, each with the same new woodcut rendition of the device Michiel Colijn used in his 1613 editions (Archangel Michael vanquishing Satan in an oval cartouche with motto "hoc custode tutus"), 97 (of 119) engraved and etched Bible scenes printed from 32 (of 38) Old Testament and 42 (of 50) New Testament plates (plate size 10 x 22.5 cm) by Pieter van der Borcht (31 of this edition's New Testament engravings contain 2 scenes each, so that its 88 engravings contain 119 scenes), 1 large woodcut headpiece and 1 woodcut decorated initial. Set in textura types with incidental roman and italic. Lacking 7 leaves containing 14 engravings. Pages: 44 [lacking 15-16, 41-44]; 52 [lacking 41-48] pp.