Call Jan (8 results)

A magnificent series of detailed views of the house and gardens at Rosendael, in the Veluwe near Arnhem. The shape of the gardens at Rosendael were modernized by Baron Johan van Arnhem (1636-1717). He turned it into one of the most sumptuous stately houses and gardens of the late 17th century, and also regularly invited his friend, the Dutch Stadhouder and King of England William III (1650-1702), to stay there. The present collection is the first print series fully depicting this still existing estate.Pieter Schenk I (1660-1711) originally published the present views in his 1702 Paridisus Oculorum, together with print series of The Loo, Dieren, Voorst, Duinrel and the "Praetorium" of the Swedish King. The six parts were also issued separately with the dedications to the owners also serving as title-pages. Hollstein supposes that all six parts first appeared individually and soon after together with the collective title and contents, but the literature does not distinguish the two printings or notes differing states in the plates. The main palace of Rosendael was built in 1616, but after the estate came to Johan van Arnhem by marriage in 1667, he added some buildings. He devoted most of his attention to the gardens and waterworks, however, with their extensive cascades, fountains and statuary. The architect Jacob Pietersz. Roman (1640-1716) appears to have been responsible for much of the work on the gardens. The general title-page to the six parts of the Paradisus Oculorum gives the impression that he made the drawings, but those for Rosendael are elsewhere attributed to Jan van Call the elder (1656-1706). Although the palace survives, the gardens were revised several times in the 18th century and given a wholly new layout in 1837, so that the present views form an important record of their early form. The great tower, the only surviving part of the estate's mediaeval castle, is the largest of its kind in the Netherlands.The leaves are slightly browned around the edges, with a few small brown stains on some of the leaves. Otherwise in very good condition.l The Anglo-Dutch Garden 73 & pp. 188-191; Hollstein (Dutch & Flemish), XXV, p. 293; Springer, Bibl. Overzicht, pp. 43-44; STCN 304482188 (4 copies); Tiele, Bibl. 966; Wurzbach II, pp. 574-577. Modern half parchment, with the title and author lettered in gold on the spine, marbled paper sides. With an engraved dedication also serving as a title-page, and 16 unnumbered engraved views (15 x 18.5 cm). Pages: [17] ll.

Magnificent and rare colour-printed print series, the second part of the Admirandorum quadruplex spectaculum, published by Schenk ca. 1695.The prints are the result of an early experiment with multi-colour printing using a technique patented by Jan Teyler in Nijmegen, though it had already been used on rare occasions. With this so called "à la poupée" technique, each printing plate is inked in different colours (dabbed onto the plate with a cloth pad or ball) and then printed in multiple colours in a single print run. Since the colours had to be inked again after each run (like a monotype, but using an engraved or etched image), each print is unique, varying slightly in the composition of the colours. The result was a "printed painting" with deep purples, vivid oranges, cool turquoise blues and lush greens, with up to eight colours per impression to enhance perspective in landscapes, represent the volume of objects and record natural colours of birds, flowers and human figures.Colour printing remained rare far into the 19th century, but at the end of the 17th century, several people experimented with various techniques, especially in the Netherlands. In 1688 Johan Teyler (1649-1709), a Dutch painter, engraver and mathematician at Nijmegen, was granted a patent for a colour printing process in a novel manner that involved using different colours of ink at the same time when printing engravings or etchings. Pieter Schenk and Jan van Call knew Teyler from the time they lived also in Nijmegen, where Jan van Call studied mathematics with Teyler, and both Van Call and Teyler were members of the Bentvueghel club of artists in Rome.Some marginal staining, but generally in good condition. Magnificent colour-printed plates of Dutch palaces.l Hollstein 25 (1981), 181; 1440-60. Cf. Van Beers et al., Johannes Teyler: Nederlandse kleurendruk rond 1700; Van Delft, "Admirandorum quadruplex spectaculum", in: Stijl; Van Eeghen, "Petrus Schenk en zijn 'Afbeeldinge der voornaamste gebouwen van Amsterdam' ", in: Amstelodamum, 66 (1974), pp. 117-136; New Hollstein D&F (Johannes Teyler and Dutch Colour Prints), comp. by Ad Stijnman, ed. by Simon Turner, (2017), part III, pp. 182-278; Stijnman, Engraving and etching 1400-2000, pp. 347-355; Stijnman, "Colour printing in intaglio before c. 1700", in: Stijnman & Savage, eds., Printing colour 1400-1700, pp. 43-46; Turner, "Opus typo-chromaticum: the colour prints of Johannes Teyler", in: Stijnman & Savage, eds., Printing colour 1400-1700, pp. 196-206. Loose leaves. 4to (20 x 24.5 cm). 15 (from a series of 25) colour-printed plates (plate size ca. 13 x 17 cm).

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1700 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: 195 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: 195.

LeatherBound. Condition: NEW. LeatherBound edition. Condition: New. Reprinted from [ca. 1700] 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: 206.

Two plates with views of Sorgvliet (Zorgvliet, Zorg-vliet, Catshuis, Sorghvliet, Park Sorghvliet).Under the representations are the explanations in Latin and Dutch, with the address of the publisher: 'P. Schencl Exc: Amstelod: C.P.'.Inscribed below: 'Curifugium, ad viam Scevelingiam, villa Comitis Portlandia / Sorgvliet gelegen aan de Schevelinger wegh, Het Lusthuys van de Graaf van Portland AND 'Exoticarum plantarum area acuata Curifugii / Orangerie van Sorgvliet.'According to the Hollstein, "the contents of his publication are divided into four parts and include at least 19 Rhenish views, 25 Views of palaces owned by the Orange, 18 Views of The Hague and 17 of the one hundred views of Amsterdam." Etching on paper with margins; plate marks: ca. 128 x 167 mm, total: 168 x 219 mm; some light staining and smudges along the margins. The Orangerie print has a stain in the right below corner within the illustration. Hollstein 181 (Schenck).  .

Jan van Call (illustrator). 'DE PIRAMIDE'Shows the obelisk in Kleve's public garden.Made by Johannes Teyler after Jan van Call.Medium: Engraving on handlaid paper.Sheet size: 22 x 17.8 cm (8.66 x 7.01 inch). Image size: 16.8 x 13 cm. (6.61 x 5.12 inch).PYRAMID-OBELISK-KLEVE-GERMANY-NASSAU-SIEGEN | 6011 (2)BACKGROUND INFORMATIONPrint was part of a series called "Veues et perspectives de la ville de Cleves et sa cour . le Tout dessine et grave par les plus habiles maistras." published by Gerad Valck in Amsterdam. Teyler probably applied his colouring technique on a plate from this series. Teyler prints are very scarse.Biography engraver: Johannes or Johan Teyler (1648-c.1709) was a Dutch Golden Age painter, engraver, mathematics teacher, and promoter of the technique in color printmaking now known as à la poupée.Biography artist: Jan van Call (1655-1703) was an artist born, according to Descamps, at Nijmegen in 1655. He is said to have attained considerable proficiency in painting without the help of an instructor. His first attempts were made in copying the landscapes of Jan Brueghel, Paulus Bril, and Willem van Nieulant, and he studied attentively the principles of perspective and architecture. He afterwards travelled through Switzerland to Italy, and, during a residence of some years at Rome, formed an ample collection of designs from the most picturesque views in the environs of that capital. He returned through Germany to his native country, and established himself at the Hague, where he died in 1703. His drawings are more esteemed than his pictures; they are purchased at considerable prices in the Netherlands, where they are found in the choicest collections. It is believed that he occasionally worked in conjunction with Bakhuisen. A series of views from his drawings, chiefly representing scenes on the Rhine, have been published by Schenk. He was also clever as an engraver, his plates being principally landscapes from his own designs. Condition: good, given age. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Etching inked à la poupée in seven different colors (black, blue, brown, green, orange, red, red-brown) reproducing the view of the hofvijver, the Mauritshuis, the Haags Historisch Museum, the Torentje and the Binnenhof, the heart of The Hague. Some noblemen and noblewomen are walking on the left.Extremely charming impression, cut within plate mark and pasted down on a plywood board.On verso is a tag reading: J.A. ROTH - Seisdam 19 - MIDDELBURG / Orgels - Piano - Verhuren - Transport - Repareren.[NL] Seven kleurendruk geplakt op hout. Charmant gezicht op hofvijver, Mauritshuis, Haags Museum, Torentje en Binnenhof. Diverse gekleurde sjiek geklede figuren aan de linkerzijde wandelend over de Lange Vijverberg. Etching colored à la poupée, trimmed within plate mark, pasted on plywood, total 210 x 351 mm. Some stains in the sky further in good condition. New Hollstein 97.

Jan van Call (illustrator). 13 prints of a set of a 16 prints series with views in Kleve, showing its architecture. At the time Kleve was under the juridiction of Nassau-Siegen and the Dutch Republic.Made by Jan van Call after own design.Medium: Engraving on handlaid paper.Sheet size: 25 x 19.2 cm (9.84 x 7.56 inch). Image size: 16.2 x 13 cm. (6.38 x 5.12 inch).VIEWS-KLEVE-GERMANY-NASSAU-SIEGEN | 6011 (2)BACKGROUND INFORMATIONPart of a series called "Veues et perspectives de la ville de Cleves et sa cour . le Tout dessine et grave par les plus habiles maistras." published by Gerad Valck in Amsterdam.Biography artist: Jan van Call (1655-1703) was an artist born, according to Descamps, at Nijmegen in 1655. He is said to have attained considerable proficiency in painting without the help of an instructor. His first attempts were made in copying the landscapes of Jan Brueghel, Paulus Bril, and Willem van Nieulant, and he studied attentively the principles of perspective and architecture. He afterwards travelled through Switzerland to Italy, and, during a residence of some years at Rome, formed an ample collection of designs from the most picturesque views in the environs of that capital. He returned through Germany to his native country, and established himself at the Hague, where he died in 1703. His drawings are more esteemed than his pictures; they are purchased at considerable prices in the Netherlands, where they are found in the choicest collections. It is believed that he occasionally worked in conjunction with Bakhuisen. A series of views from his drawings, chiefly representing scenes on the Rhine, have been published by Schenk. He was also clever as an engraver, his plates being principally landscapes from his own designs. Condition: good, given age. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.