Vinckboons David (12 results)

No Binding. Condition: Good. Postcard in Good condition, with writing on reverse. Unmailed. Cards are sent in stiff mailers. Postcard.

Antwerpen, Ars Patriae & 's-Gravenhage, Martinus Nijhoff, 1954. VIII,158,[1] pp. Col. frontispiece & 74 b./w. ills. Orig. hardcover (green cloth with gilt lettering). 8vo. - Without a dust jacket; 4 leaves with a stain on the outer edge. Text in Dutch. With a 15-page summary in English in an original loosely attached stapled booklet. - On the uper pastdown is pasted a photographic reproduction of a part of a map showing the artist's former living environment at the Nieuwmarkt in Amsterdam. On the next page is pasted a large photo (1960s?) of the artist's former home in the Sint Antoniesbreestraat in Amsterdam.

München, Prestel Verlag, [1980]. [94] pp. (= pages 35 - 128). B./w. ills. Orig. hardcover (blue cloth with gilt lettering on spine), d./j. 4to. - Dust jacket with light shelfwear (sl. dam. along the edges). Scientific publication in German, published in: Münchener Jahrbuch der bildenden Kunst, Dritte Folge, Band XXXI (1980).This publication is an important reference work regarding the drawings of David Vinckboons. - - This yearbook also contains six other art historical contributions by different authors (1 in English, 5 in German).

Soest, Davaco Publishers, 1977. VIII,158,[2],14,[1]; [48] (= pages 59-106) pp. Col. frontispiece & [85] b./w. ills, partly on plts. Orig. hardcover (red brown cloth with gilt lettering), d./j. 8vo. - Dust jacket with very light shelfwear (sl. worn along the edges & spine sl. discol.).Expanded reissue of the original edition published by Ars Patria, Antwerpen & Martinus Nijhoff, The Hague,1954. This is a complete reprint including the English summary that was published separately with the first edition, and a reprint of the article "Nog meer over David Vinckboons" by Korneel Goossens, originally published in the Jaarboek van het Koninklijk Museum voor Schoone Kunsten, Antwerp, 1966. The article is a supplement to the previously published work and provides a description of works that could still be considered unknown at the time of publication of the 1954 edition. - Text in Dutch. With a 15-page English summary of the original work, and a 5-page French summary of the 1966 contribution.

2. Antwerpen / The Hague, Ars Patriae - Martinis Nijhoff, 1954, small in-4°, 28 x 21 cm, 158 pp, black/white illustrations, publisher's cloth with dustjacket. An English summary of 15 pp is loosely inserted.

Original Kupferstich von ca. 1600. -- Platten-Maße: ca. 19,5 x 22 cm; mit schmalen Rändchen. -- gut erhalten. || Original copper engraving from c. 1600. --- With narrow margins. -- in good condition. // 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. la Gewicht in Gramm: 15.

Frontispiece with title written on a stag's hide at centre, held up by two dogs on a large pedestal, a fisherman at left with his nets hanging over an oar, dead fish and fish-traps hanging from the pedestal behind him, a huntsman standing on a dead wild boar at right, dead birds and weaponry hanging from the pedestal, a horse behind him; after David Vinckboons; frontispiece of a series of ten plates.Titled in Latin and Dutch at centre, in fourteen lines: 1612 / HAS VENATIONIS, AUCUPII, ET / PISCATIONIS FORMULAS A / DAVIDE VINCBOINS PICTORE / INVENTAS ET DELINEATAS, / NICOLAUS PISCATOR CHAL- / COGRAPHUS, ĈRI INCISAS, / IN PICTURĈ AMATORUM / ET ADMIRATORUM GRATIAM, / HOC LIBELLI, SPECTATORI / BENEVOLO FRUENDAS, DEDICAT.and: Beminners deser konst, v wert alhier ghetoont, / Den lust des Jaghens van Vogels Visschen en Dieren, / Dus vrij v gelt besteet, en niet v buers verschoont, / Want met gemak en rust kont gh˙ dit Wilt bestieren.and: Gedruckt tot Amsterdam b˙ Claes Ianß Visscher.Numbered and signed in lower right: 1 and CIV.[NL] Twee honden boven op een rek waaraan jacht- en visbenodigdheden hangen houden een doek in hun bek, waarop de serietitel in het Latijn en Nederlands weergegeven staat. Daaronder het impressum. Links staat een visser, rechts een jager met zijn paard. Op de grond honden naast de jachtbuit. Antieke gravure door Pieter Serwouters. Engraving and etching on laid paper, with some margin; total: 133 x 300 mm; state II/2 (?); evident traces of handling, some brown staining especially on the bottom, small tears on the outer margins. Overall in fair condition. Hollstein 20.

No legatura. Condition: Buono. Amsterdam, 1618. Primo stato. Incisione in rame all'acquaforte e bulino, b/n, cm 44,5 x 67,5 (il foglio), in lastra: 'Amstelodami Joannes Jansonius, DV Boons invent., G. Swanenburch Sculp., Anno 1618', doppio titolo in latino e in tedesco. In un contesto di euforia semplice e popolare, gli abitanti del villaggio sono adunati a festa: una folla danzante o impegnata nei giochi popolari, un tavolo di mangiatori sulla sinistra, un uomo che sta orinando su un muro poco dietro (e che con la faccia rivolta verso il lettore sembra invitarlo a guardare), uomini, donne, bambini e pollami in corsa ovunque; tutta la scena è popolata da una moltitudine di contadini, alcuni dei quali ballano con la testa ribaltata in estasi, altri mangiano e bevono copiosamente. La stampa è un invito alla festa. Ma potrebbe anche voler dare una lettura morale, indicando il comportamento volgare dei popolani dal quale sarebbe bene astenersi, per non mettere a rischio salute e denaro. Questi tipi di scene a soggetto popolare con villaggi in festa erano in voga nel sedicesimo secolo, soprattutto nei Paesi Bassi. Pieter Bruegel il Vecchio (1526 / 30 circa - 1569) fu uno dei primi a realizzare questi soggetti; lo seguirono Jacob Savery (1565/67 - 1603) e David Vinckboons the Elder (1576 1630 / 31) e il soggetto guadagnò terreno. Willem van Swanenburgh, uno dei più validi incisori olandesi del diciassettesimo secolo, fu particolarmente ricco di talento nel rendere sulla lastra l'atmosfera dei disegni accuratamente realizzati e puliti del Vinckboons: egli elabora l'inciso con linee sottili e tratteggi raffinati, enfatizzando le parti in ombra con fitte reti di tratteggi incrociati e disegnando figure illuminate dal sole e il fogliame solo con linee di contorno. Esemplare con margini rifilati (sciupati i laterali), peraltro in buona morsura e in bello stato di conservazione l'inciso. .

NEWS BROADSIDE OF THE NAVAL BATTLE OF GIBRALTAR (1607) "Vera vehementis pugnae navalis effigies, quae a classe armata Regis Hispaniae atque illustris Dominorum Ordinum Provinciarum Confoederatarum navibus praesidiariis, sub auspicio nobilis magnanimi archithalassi Iacobi Heemskerckii Amstelodamensis, peracta est sub propugnaculis civitatis Gibraltar, die XXV Aprilis anno MDCVII." [True representation of the fierce naval battle, fought by the armed fleet of the King of Spain and by the warships of the Illustrious Lords of the United Provinces, under the command of the noble and magnanimous arch-admiral Jacob van Heemskerck of Amsterdam, beneath the fortifications of the city of Gibraltar, on the 25th day of April in the year 1607.] Etching and engraving printed from three copper plates, made by Claes Jansz. Visscher in 1607 after a drawing by David Vinckboons. First state (of two). Size: 43.2 × 84.7 cm. During the Eighty Years' War, a Dutch fleet surprised a Spanish fleet lying at anchor in the Bay of Gibraltar. In the four-hour engagement that followed, the entire Spanish fleet was destroyed. The Dutch fleet, consisting of twenty-six smaller warships and four merchant vessels, was commanded by Jacob van Heemskerck. The Dutch flagship, shown at the centre of the composition, was Aeolus, with Pieter Willemsz. Verhoeff serving as Van Heemskerck's flag captain. Other Dutch vessels included De Roode Leeuw, commanded by Vice-Admiral Laurens Jacobsz. Alteras (lower left in the image); De Tijger, under Rear-Admiral Lambert Hendricksz; De Zeehond, De Griffioen, De Gouden Leeuw, De Zwarte Beer, De Witte Beer, De Friesche Pinas, De Morgenster, and De Olifantstromp, commanded by Captain Harpert Maertenz Tromp and his nine-year-old son, the future renowned admiral Maarten Harpertszoon Tromp. The Spanish fleet, consisting of twenty-one ships, including ten of the largest galleons, was commanded by Don Juan d'Álvarez d'Ávila. The Spanish flagship San Augustín was commanded by Don Juan's son. Other vessels included Nuestra Señora de la Vega and Madre de Dios. The Dutch fleet sailed on 25 March 1607 under the command of Admiral Jacob van Heemskerck. Its objective was the destruction of the Spanish fleet, thereby facilitating peace negotiations. Upon reaching the Iberian Peninsula, Van Heemskerck learned that a major Spanish fleet was located in the Gulf of Cádiz. The Spaniards were taken by surprise by the appearance of the Dutch fleet. They were unable to put to sea but did manage to man their ships with some 4,000 soldiers. The vessels were drawn as far back into the bay as possible and arranged in a neat line. Observing the small Dutch ships, Don Juan Álvarez compared them to his own "floating castles" and asked a captured sea captain from Rotterdam whether the Dutch would truly dare to attack. The Rotterdam captain replied that he had no doubt they would. Van Heemskerck left several ships at the entrance to the bay to prevent the enemy's escape. The attacking vessels were ordered to concentrate on the Spanish flagship. The Dutch fleet sailed into the bay, ignoring the coastal batteries. During the initial approach to the Spanish flagship, Van Heemskerck was killed when a cannonball tore off his leg. To preserve the morale of the crew, his death was kept secret until after the battle. Several galleons caught fire, and one Spanish ship exploded when its powder magazine was hit. The Dutch captured the Spanish flagship but did not take it as a prize; instead, they allowed it to run aground in the bay. During the destruction of the Spanish ships, the Dutch deployed rowing boats and killed hundreds of Spanish soldiers and sailors attempting to reach the shore. The Dutch losses amounted to 100 men, including Admiral Van Heemskerck, with 60 others wounded. The Spaniards lost their entire fleet of twenty-one ships and 4,000 men, including Admiral Álvarez. Partly as a result of the destruction of this Spanish fleet, peace negotiations began in 1608, culminating in the Twelve Years' Truce of 1609. At the top of the print are five small scenes showing the ships in the bay, a "true likeness of the distinguished commander-in-chief at sea Jacob van Heemskerck of Amsterdam," his funeral procession, and his tomb in the Oude Kerk in Amsterdam. At lower left is an inset map of the Strait of Gibraltar. Literature: Frederik Muller "De Nederlandsche geschiedenis in platen : beredeneerde beschrijving van Nederlandsche historieplaten, zinneprenten en historische kaarten" (1863-1882), no. 1241. Hollstein's Dutch & Flemish Etchings, Engravings and Woodcuts ca. 1450 - 1700, no. 19-1(2) Price: Euro 6.500,-.

Royal-Size Bible: Christ healing the demoniac; Christ at the side of a pond at right, cities and mountains in left background; after David Vinckboons; from a series of 130 engravings (plus title-page) forming a Picture Bible.Inscribed at bottom: Ejicit è misero Dominus Cacodaeomona Mito Protinus Obsessus verba diserta sonat spiritibus Christus stygiis dominatur, et illos, Cogit ad imperium cedere sede sua. Luce 11. 14.This same plate was used to illustrate another episode in the Bible, namely Christ healing the blind [John 9], mentioned in the literature as Hollstein 24 (see Rijksmuseum inv. RP-P-1889-A-14436). The scene on the bottom right is then changed into the new subject.Lettered with production details, in lower left of the image: David Vinckboins inventor; and Joannes Londerseel sculpsit; and CIVi?cher excudit.[NL] Antieke gravure, prent, door graveur Jan van Londerseel. Bosrijk landschap met in de verte een tegen de heuvels gebouwde stad. Op de voorgrond een moerasgebied waarin Christus rechts onder toeziend oog van omstanders een demon uitdrijft bij een man die niet kon spreken. Aan de andere kant van het moeras slaan een boer en boerin met kind het wonder vanaf een afstand gade. Onder de voorstelling de titel in het Latijn en een verwijzing naar de Bijbeltekst in Luc. 11:14 en Mat. 9:32. In Statenvertaling Matteüs 9:32 staat het als volgt beschreven: "Als dezen nu uitgingen, ziet, zo brachten zij tot Hem een mens, die stom en van den duivel bezeten was. En als de duivel uitgeworpen was, sprak de stomme." In de Nieuwe Bijbelvertaling 21 staat: "Terwijl ze het huis weer verlieten, bracht men iemand bij Hem die bezeten was en niet kon spreken. Nadat de demon was uitgedreven, begon de stomme te spreken."De Amsterdamse uitgever Claes Jansz. Visscher (II) produceerde vanaf de jaren '30 van de zeventiende eeuw grote Bijbelse prenten op zogenaamd royaal-formaat papier (ca. 480 x 580 mm). Na zijn dood in 1652 zette zijn zoon Nicolaes Visscher (I) het bedrijf voort en zo ook de uitgave van Royaalbijbelprenten. Toen Nicolaes in 1679 overleed nam zijn zoon Nicolaes Visscher (II) het bedrijf over en gaf kort hierna, omstreeks 1680, een fondslijst uit. Hierin worden 130 prenten met Bijbelse voorstellingen op royaalpapier beschreven. Complete prentbijbels op royaal-formaat werden door vader en zoon Nicolaes Visscher uitgegeven onder de titel Historiae Sacrae Veteris et Novi Testamenti. De bladen werden echter ook los verkocht en konden worden gecombineerd met Royaalbijbel-prenten van andere uitgevers.Verschillende Amsterdamse uitgevers brachten namelijk ook bijbelprenten op royaal-formaat uit, onder wie Clement de Jonghe en Cornelis Danckerts. De door de firma Visscher uitgegeven prenten zijn veelal vervaardigd door anonieme prentmakers naar voorbeeld van verschillende zestiende- en zeventiende-eeuwse Bijbelse prenten en prentreeksen. Veelal moesten de composities worden aangepast aan het grotere en langgerekte royaal-formaat.Daarnaast zijn er ook grote bladen van bekende prentmakers zoals Jan van Londerseel, Pieter Nolpe, Jacques de Gheyn (II) en Jan Harmensz. Muller opgenomen in de categorie 'Bybelsche Figuren, op Royaal-bladen' in de fondslijst van Visscher. Prent mogelijk gebruikt in: Historiae Sacrae Veteris et Novi Testamenti (Royaalbijbel). Amsterdam: Nicolaes Visscher (I) en (II), [1652-1702]. In de fondslijst van Nicolaes Visscher II (ca. 1680) is het onderwerp van deze prent onder de titel 'Bybelsche Figuren, op Royaal-bladen. bestaande uyt de volgende historien.' als volgt genummerd: 87. Engraving on paper, two conjoined sheets; total: 432 x 538 mm; state III/3; some repaired tears on the margins, some rubbing and yellowing on the most external portions of the paper; large fleur de lis in a crowned shield watermark on the left section. Mounted on cardboard passepartout. Hollstein 20.

View of the castle of Nyenroy, nearby Amsterdam. From the series of the four seasons representing castles in the vicinity of Amsterdam. Text below cut off. l Etching on paper, trimmed within platemark; total: 177 x 244 mm; wo states known; small brown ink stain within representation otherwise in great conditions. Hollstein 17; W. 2.

Soldiers forcing their way into a cottage; a peasant woman and her child standing at left, a village in background; after David Vinckboons; first state before number.Lettered within image, in lower center: DVBoons Inue.; and BA Bolswerd: excu:.Lettered in lower margin with series title and with two columns containing two lines of Dutch verse each: Hou boer doet op . / . daer blyuen.This is the first plate of a set of four showing the horrors of war inflicted upon the peasants, after designs by David Vinckboons (Hollstein 14-17); for a complete set in first state (published by Bolswert) see British Museum invv. 1937,0915.320-323. It is not clear if they were only published by Bolswert or also engraved by him. For an impression of second state (published by Visscher) see BM inv. Gg,4M.42.Although the series title is lettered on this plate, it is numbered '2' in the second state.[NL] Een Spaanse soldaat met hellebaard schopt tegen de deur van een boerenwoning. Andere soldaten zwaaien met een stukje papier en sommeren de bewoner de deur te openen. Een rijk geklede vrouw met kind en een arme vrouw met kind kijken toe. Het Nederlandse vers verwoordt de sommering door de Spanjaarden.Prent naar ontwerp van David Vinckboons, de originele tekening van Vinckboons bevindt zich in Parijs. Prent uit serie van vier prenten Boerenverdriet: de kwellingen van de Spaanse oorlog. Engraving on paper, trimmed within platemark; total: 218 x 286 mm; pasted on thicker paper; dirt on the lower margin; state I/2; Hollstein 314; W 22; Le Bl. 281.