tag:blogger.com,1999:blog-11216540504545531022024-03-18T21:04:10.634-07:00Antiquariaat Arine Van der Steur Old & Rare Books, Prints, Manuscripts and Documents from the Low CountriesUnknownnoreply@blogger.comBlogger22125tag:blogger.com,1999:blog-1121654050454553102.post-50924397523102714782018-02-07T07:38:00.000-08:002018-02-07T10:53:56.825-08:00From sketch to press: On printmaking<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZksAywit921LChJXSkXhECYNHNxdHtB7tXZSi6q39UQCgGkDLb5rvwhLy6nqC0_O1gllfVCvj8FPMNjCn49QGginp_ADIBWWCJWRnppgcc8QorMQyHKhyphenhyphenPHzrj2OvnLWtVVNme2vplQja/s1600/64887_3.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1120" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZksAywit921LChJXSkXhECYNHNxdHtB7tXZSi6q39UQCgGkDLb5rvwhLy6nqC0_O1gllfVCvj8FPMNjCn49QGginp_ADIBWWCJWRnppgcc8QorMQyHKhyphenhyphenPHzrj2OvnLWtVVNme2vplQja/s200/64887_3.jpg" width="140" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://arinevandersteur.nl/deathmask-with-sunflower-and-dagger-63880.html" target="_blank">64888</a></td></tr>
</tbody></table>
Rarely we are allowed to see and reconstruct the creative process behind a print. Let's face it, it is almost impossible to picture in our mind the amount of work an artist invested in turning his idea into something visible also to other people. The long and complex process from the sketch to the press is very well documented in a series of items in our collection.<br />
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Of the print <i>Deathmask with sunflower and dagger </i>(<a href="https://arinevandersteur.nl/deathmask-with-sunflower-and-dagger.html" target="_blank">64887 </a>and <a href="https://arinevandersteur.nl/deathmask-with-sunflower-and-dagger-63880.html" target="_blank">64888</a>) by <a href="https://rkd.nl/explore/artists/80774" target="_blank">Laurent Verwey van Udenhout (1884-1913) </a><span style="color: blue;"><b>Antiquariaat Arine van der Steur</b></span> has the very original sketch, drawn on the verso of cardboard, the preparatory drawing, on its recto, and three impressions of the finished plate in different states.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg32ZhDY8OP0qzNThti5DtbN571laZ5RQOeV2Geg9JpllmsCJ5DhIXIagsM5EcDNEHdvUN9B4fotksWUgON01wM7dYD7-Qdc1Cd4OjoBs5iJfSCK_qS8Y6KwDGgiAZj3hJI_WJFmhOckV_f/s1600/64887_2.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1150" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg32ZhDY8OP0qzNThti5DtbN571laZ5RQOeV2Geg9JpllmsCJ5DhIXIagsM5EcDNEHdvUN9B4fotksWUgON01wM7dYD7-Qdc1Cd4OjoBs5iJfSCK_qS8Y6KwDGgiAZj3hJI_WJFmhOckV_f/s200/64887_2.jpg" width="143" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://arinevandersteur.nl/deathmask-with-sunflower-and-dagger.html" target="_blank">64887 </a>verso</td></tr>
</tbody></table>
In the sketch, Verwey van Udenhout clearly studied the space of the representation, drawing a border which is slightly smaller than the actual plate.<br />
Here, the artists designed the shadows that the various objects would have to project on the background when invested by a light coming from the right (in the sketch, from the left in the print).<br />
In particular, he made sure that the dagger, the sunflowers with split stem and the death mask would emerge from the background with the help of their dark cast shadows.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-JucDH31kLqxQ5qmuYS5X-nGLLy-NQ5bFiwDALTKf8l8r49qUwZUf18FaVPoGcx39KFWeaDG_jOKEFTVA5bbS1D57h99za4ut_LxqZOurhUIqQxGAPK2xT3KYmCXwox_kZ8xBO0kCrpZT/s1600/64887_1.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1128" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-JucDH31kLqxQ5qmuYS5X-nGLLy-NQ5bFiwDALTKf8l8r49qUwZUf18FaVPoGcx39KFWeaDG_jOKEFTVA5bbS1D57h99za4ut_LxqZOurhUIqQxGAPK2xT3KYmCXwox_kZ8xBO0kCrpZT/s200/64887_1.jpg" width="140" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://arinevandersteur.nl/deathmask-with-sunflower-and-dagger.html" target="_blank">64887 </a>recto</td></tr>
</tbody></table>
For the preparatory drawing, the artist used the plate to trace, all around it, the actual external margins including the final composition. Now the focus is on all the chromatic values. The drawing looks very similar to the final result, in reverse, in terms of dark and lit areas. Visible are the most essential lines, defining the shapes of the three objects.<br />
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Finally the three states of the etching.<br />
The first state in our collection looks like a painting. Before pressing the etching, the artist probably brushed the surface of the plate with acid to obtain a soft brownish tone all over the impression. Such a tonal veil would be visible only for very few impressions. The lines are still thin and didascalic, whereas the other prints show a progressive flattening of the plate.<br />
Likely Verwey van Udenhout retouched the grooves with dry point, to make them more visible once pressed. In later impression, the initial tone is completely vanished.<br />
The ultimate effect is rather harsh, the lines are very dark and broad, and contribute to give the idea of a bas-relief rather than a work on paper.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQn8QMeoFe_fJ3mzNVQA0JIPDwEOdR4nSXWB46FLs72niEba1y2u8ySQb_YljtAZaLob9_3SONr-OPoOn-_FO-mk-lJEvTmd0Pe7sWtsuEtHvuRZpc5qzMmViA1qdoyJDfm00ToQyQMjr_/s1600/64887_64888+collage.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="724" data-original-width="1600" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQn8QMeoFe_fJ3mzNVQA0JIPDwEOdR4nSXWB46FLs72niEba1y2u8ySQb_YljtAZaLob9_3SONr-OPoOn-_FO-mk-lJEvTmd0Pe7sWtsuEtHvuRZpc5qzMmViA1qdoyJDfm00ToQyQMjr_/s640/64887_64888+collage.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">left to right: early state and other proof in 64887 and 64888</td></tr>
</tbody></table>
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The same creative process is also visible in another couple of sketch-etching by the same artist (<a href="https://arinevandersteur.nl/portrait-of-a-man-with-a-moustache-a-sketch-and-three-impressions.html" target="_blank">64976</a>). Here, though, the composition is somewhat dissimilar between the original drawing and the final result: the man with a moustache is sitting, but in another position and with a different gaze in the eyes. The focus of the artist is always the facial expression, rendered with the high printing quality the young Verwey van Udenhout had achieved.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGYOtCMW6lQFrB3l7wxUy3v9nNOQ62RMI4OOXE0kj1kiuSFQooui7vAHrHOSDxS1O0hwvPM2r7JccxO4cFwh-kLFBitwMhavlsnMpr5ZM_U_0J1x3WA0z8TVPOlGkZbn-EIvm8T7YnYyo9/s1600/64976_3.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1091" data-original-width="1600" height="435" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGYOtCMW6lQFrB3l7wxUy3v9nNOQ62RMI4OOXE0kj1kiuSFQooui7vAHrHOSDxS1O0hwvPM2r7JccxO4cFwh-kLFBitwMhavlsnMpr5ZM_U_0J1x3WA0z8TVPOlGkZbn-EIvm8T7YnYyo9/s640/64976_3.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://arinevandersteur.nl/portrait-of-a-man-with-a-moustache-a-sketch-and-three-impressions.html" target="_blank">64976</a></td></tr>
</tbody></table>
<i>Anna Bianco</i>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-74823677237214757382017-02-09T07:59:00.000-08:002017-02-09T07:59:49.189-08:00The Optical print: Viewing the world from the comfort of your sofa<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVzk9TyxNGWa3HiGwzlBRlmM5eGrFP2h2tGx_60hoFge-DTy-ZPrVCnhiFbwlyvNQz3xJ68B6BYXZJRpNXManxT0SrlDEFFXmqrOppHIJQudnBWUQUcecw77_B5kJnnFdrauF9_oyp7Q4/s1600/OPT130_2.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVzk9TyxNGWa3HiGwzlBRlmM5eGrFP2h2tGx_60hoFge-DTy-ZPrVCnhiFbwlyvNQz3xJ68B6BYXZJRpNXManxT0SrlDEFFXmqrOppHIJQudnBWUQUcecw77_B5kJnnFdrauF9_oyp7Q4/s640/OPT130_2.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><!--[if gte mso 9]><xml>
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Place de St. Jaques a Londres, </span></i></b><span lang="EN-GB" style="font-family: "constantia" , "serif"; line-height: 115%;">ca. 1750-1800, </span><span lang="EN-GB" style="font-family: "constantia" , "serif"; line-height: 115%;">298 x 445 mm, etching/engraving/watercolour/illuminated</span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"> </span></span></h4>
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<span style="font-size: small;"><span style="font-family: inherit;"> </span></span></h4>
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<span style="font-size: small;"><span style="font-family: inherit;"> </span></span></h4>
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-family: inherit;">O</span>ptical
prints, also known as the 'Vue d’Optique', <span style="font-family: inherit;">a<span style="font-family: inherit;">re</span></span> curious objects. These prints are characterized by mirrored titles, an exaggerated perspective effect and multilingual descriptions. Once mass
produced as tourist prints, nowadays these objects are increasingly valued for
their artistic character. The preserved optical prints give us an very
interesting eye on how the 18th century elite viewed the world. </span></span></div>
<br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6EmQxdWvbuVLF7fAEX9R691NLxhZH9gLP_ZAT6LK2Fk172zI4uLxq7Eufap2TZqD_PtuVnGylXejFsGwHesGFuvGsI476vXNGztTfFqRGxubOCr8oAhty56YwF3PndJygkX1jC5uBicTQ/s1600/Amst+day+and+night+blog.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6EmQxdWvbuVLF7fAEX9R691NLxhZH9gLP_ZAT6LK2Fk172zI4uLxq7Eufap2TZqD_PtuVnGylXejFsGwHesGFuvGsI476vXNGztTfFqRGxubOCr8oAhty56YwF3PndJygkX1jC5uBicTQ/s640/Amst+day+and+night+blog.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><b><i><span lang="EN-GB" style="color: #0f243e; font-family: "constantia" , "serif"; line-height: 115%;"><span style="font-family: "constantia" , "serif";">'</span>t
Stad Huys van Amsteldam </span></i></b><span lang="EN-GB" style="font-family: "constantia" , "serif"; line-height: 115%;"> </span></span><br />
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<span style="font-size: xx-small;"><span lang="EN-GB" style="font-family: "constantia" , "serif"; line-height: 115%;">Daumont, Paris, </span></span><span style="font-size: xx-small;"><span lang="EN-GB" style="font-family: "constantia" , "serif"; line-height: 115%;"><span style="font-size: xx-small;"><span lang="EN-GB" style="font-family: "constantia" , "serif"; line-height: 115%;">ca. 1750-1800, </span></span></span></span><span style="font-size: xx-small;"><span lang="EN-GB" style="font-family: "constantia" , "serif"; line-height: 115%;"><span style="font-size: xx-small;"><span lang="EN-GB" style="font-family: "constantia" , "serif"; line-height: 115%;"><span style="font-size: xx-small;"><span lang="EN-GB" style="font-family: "constantia" , "serif"; line-height: 115%;">300 x 450 mm, etching/watercolour </span></span> </span></span> </span></span></div>
</td></tr>
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<span style="font-size: small;"><span style="font-family: inherit;">These
beautiful etched or engraved prints were usually hand coloured. Some of them
are even made to be illuminated. This means that the contours of buildings,
windows and stars are perforated with
dots and figures. On the back of the print a piece of translucent paper is pasted. </span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">On top of this the holes are coloured. When held in front of the light you get
the illusion of a landscape by night, like a magic lantern. The Print <i>‘t Stad
Huys van Amsteldam</i> is a <span style="font-family: inherit;">good</span> example of such an illuminated version.</span></span></div>
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<span lang="EN-US" style="font-family: "constantia" , "serif"; font-size: 7.0pt;"><i style="mso-bidi-font-style: normal;">Egerton & Wm.
Smith & Co. (British) Zograscope</i>, early 19th century. Wood, glass,
paper, and paint. Joseph Allen Skinner Museum, Mount Holyoke College. Mount
Holyoke College Art Museum, South Hadley, Massachusetts. Photograph Laura Shea.
SK 2006.1957.1.INV. For more images of this incredible instrument, please
visit:<span style="mso-spacerun: yes;">
</span>http://museums.fivecolleges.edu/detail.php?t=objects&type=ext&id_number=MH%20SK%202006.1957.1.INV
(last accessed January 2017). We are grateful to the Joseph Allen Skinner
Museum for providing us with these beautiful images. </span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">Illumination
was not what these print were intended for. Their main feature was the
perspective effect. When viewed under a so called 'zograscope', also known as a 'optical diagonal machine', the perspective of the scene was enhanced, giving
the print a 3D-like effect. <span style="font-family: inherit;"><span style="font-family: inherit;">T</span></span>he print was <span style="font-family: inherit;">layed <span style="font-family: inherit;">in the zograscope or on a <span style="font-family: inherit;">flat surface. <span style="font-family: inherit;">A</span> mirror allowed, finally, <span style="font-family: inherit;">the lettering to be read straight</span></span></span></span>. Throughout time the zograscope became rare, but fortunately optical
prints were so beautiful they remained a popular collector's item on it’s own
merit. </span></span></div>
<br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;">As
mentioned, optical prints were produced as tourist souvenirs. This explains
subjects as architecture, land- and cityscapes. Yet there are also other kinds
of optical prints, made to tell stories. For example biblical scenes and news
worthy events as <i>the great fire of New York</i>. Optical prints are therefore a
genre going beyond picturesques mementos.</span></span></div>
<br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmWVTrR0w3wzS0QOa5eIjZ9iGnJJY6XyEiLYhWGOWkMPlNRup4NMYjiI_BRSgThvFiwvEbPnv3tY-WCJBCd5rmojTizPX0W8hzEk18eFKVJiewgEJr0HAVbqnEbPxOWSV4EfjCZFGJQf0/s1600/OPT116_1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmWVTrR0w3wzS0QOa5eIjZ9iGnJJY6XyEiLYhWGOWkMPlNRup4NMYjiI_BRSgThvFiwvEbPnv3tY-WCJBCd5rmojTizPX0W8hzEk18eFKVJiewgEJr0HAVbqnEbPxOWSV4EfjCZFGJQf0/s320/OPT116_1.jpg" width="320" /></a></td></tr>
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</xml><![endif]--><span style="font-size: xx-small;"><span lang="EN-US" style="font-family: "constantia" , "serif"; line-height: 115%;">Habermann, Franz
Xaver</span><b><span lang="EN-US" style="color: #0f243e; font-family: "constantia" , "serif"; line-height: 115%;"><i> </i></span></b></span><br />
<span style="font-size: xx-small;"><b><span lang="EN-US" style="color: #0f243e; font-family: "constantia" , "serif"; line-height: 115%;"><i>Representation du Rue terrible a
Nouvelle York</i></span></b></span><span style="font-size: xx-small;"><span lang="EN-US" style="font-family: "constantia" , "serif"; line-height: 115%;"> </span></span><br />
<span style="font-size: xx-small;"><span lang="EN-US" style="font-family: "constantia" , "serif"; line-height: 115%;">Augsbourg, </span></span><span style="font-size: xx-small;"><span lang="EN-US" style="font-family: "constantia" , "serif"; line-height: 115%;">ca. 1750-1790, </span></span><span style="font-size: xx-small;"><span lang="EN-US" style="font-family: "constantia" , "serif"; line-height: 115%;">295
x 412 mm, etching/engraving/watercolour</span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;">Optical
prints find their origin in the early 18th century, but their popularity came
to a head in the second half of that century. The most famous publishers of
optical prints arose in ‘printing capitals’ like Paris, Augsburg and London. In
Paris, firms like <i>Basset</i> (active 1700-1865) and <i>Daumont</i> (active 1740-1775) were
important printers. Although smaller houses as <i>Huquier fils.</i> (active
1750-1805), <i>Mondhare</i> (active 1762-1829) and <i>Hocquart</i> (active 1800-18..) also
printed a fair share of Vue d’Optique. </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;">
<br />
</span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;">Augsburg in
Germany was the centre of European printmaking. Many optical prints found their
origin here. <i>Georg Balthasar Probst </i>(1732-1801) was the most important optical
printer of Augsburg. His prints, mostly after works of popular artists, are
known for their clear and detailed looks. His oeuvre contains cityscapes from
all over the world (China to Delft and
New York to St. Petersburg), but he also printed allegorical scenes like the <i>planet series</i> or biblical scenes like the <i>The plagues of Egypt</i>. </span></span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin6S4DYe839DOaHbuAbaev_ZbZPNlEz6rFv_53Xrl_MKXY_S5xtnFS4Cr5_vmGT6O0g_Rfv_trlyDJuDAQxq2FTLnNYV0uHTiz9sd72DnjzJ6h9HBjANrNGTtYlzVuI5MpsZKNWZYUoVM/s1600/OPT053_1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin6S4DYe839DOaHbuAbaev_ZbZPNlEz6rFv_53Xrl_MKXY_S5xtnFS4Cr5_vmGT6O0g_Rfv_trlyDJuDAQxq2FTLnNYV0uHTiz9sd72DnjzJ6h9HBjANrNGTtYlzVuI5MpsZKNWZYUoVM/s320/OPT053_1.jpg" width="320" /></a></td></tr>
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</xml><![endif]--><span style="font-size: xx-small;"><b><i><span lang="EN-GB" style="color: #0f243e; font-family: "constantia" , "serif"; line-height: 115%;">Le
Iuppiter cinqutiéme Planéte et Son in influxion</span></i></b><span lang="EN-GB" style="font-family: "constantia" , "serif"; line-height: 115%;"> </span></span><br />
<span style="font-size: xx-small;"><span lang="EN-GB" style="font-family: "constantia" , "serif"; line-height: 115%;">Georg Balthasar Probst, Augsbourg, </span></span><span style="font-size: xx-small;"><span lang="EN-GB" style="font-family: "constantia" , "serif"; line-height: 115%;">ca. 1750-1800</span></span><span style="font-size: xx-small;"><span lang="EN-GB" style="font-family: "constantia" , "serif"; line-height: 115%;"> </span></span><br />
<span style="font-size: xx-small;"><span lang="EN-GB" style="font-family: "constantia" , "serif"; line-height: 115%;">346 x 424 mm (plate: 327 x 417 mm), etching/engraving/watercolour </span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-family: inherit;"> </span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-family: inherit;">This blog is
a teaser to our new catalogue</span><i><span style="font-family: inherit;"> </span><a href="https://issuu.com/antiquariaatvandersteur/docs/39catalogue" target="_blank">Catalogue 39: Optical Prints</a></i>. One hundred and forty-six of our most beautiful and
extraordinary optica<span style="font-family: inherit;">l prints</span> are described and <span style="font-family: inherit;">illustrated</span> in this catalogue and it will
give you an example of how 18th century well<span style="font-family: inherit;">-</span>to<span style="font-family: inherit;">-</span>do men and women looked at the
world from the comfort of their sofas. </span></span><br />
<br />
</span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><i><span style="font-size: x-small;"><span style="font-family: inherit;">Sanne
Hansler</span></span></i></span></span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span>
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<br />
<span style="font-size: small;"><span style="font-family: inherit;"></span></span><span style="font-size: small;"><span style="font-family: inherit;"></span></span>
</div>
</span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-67535435554512133912016-11-02T08:01:00.000-07:002016-11-03T02:19:56.386-07:00When an intern stumbles onto Sappho <!--[if gte mso 9]><xml>
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<i>Come to me now thus, Goddess, and release me <br />
From distress and pain; and all my distracted<br />
Heart would seek, do thou, once again fulfilling,<br />
Still
be my ally! </i></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">From
“Ode to Aphrodite” by Sappho, translated by John Myers O’Hara </span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">When I
first started my internship at ‘Antiquariaat van der Steur’ I was happy to discover that they had a large collection of Classical Literature.</span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">These
books are still such an important part of today’s literature, so I was glad to examine these books. The first few works I focused on
were already very interesting: the first one happened to be a <a href="https://antiquariaatvandersteur.blogspot.nl/2016/09/study-material-old-textbook-examined.html" target="_blank">fable book</a> with
beautiful binding, but my eye was caught by book. At first sight, it was
not the most special book on the shelves at ‘Van der Steur’, but this work
contained some overwhelming poems. These poems are written by Sappho, one of
my favourite authors in Classical Literature and as it appeared also one of the favorite authors of Arine. This surprised me, because her name is not well known in general. </span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzOkWqNiabCxHnalIelYey59wCo5ocDBV9NxL0wcSNpUjKaUaG8dyFnw3Xy4sMbOfgnNM2HFaLcvzGVn9giteUiLgG020y4Ur39FbrdyJRL31VPeYyuOOADocR0R2XcsZixe2Xfow9hC7z/s1600/Sappho1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzOkWqNiabCxHnalIelYey59wCo5ocDBV9NxL0wcSNpUjKaUaG8dyFnw3Xy4sMbOfgnNM2HFaLcvzGVn9giteUiLgG020y4Ur39FbrdyJRL31VPeYyuOOADocR0R2XcsZixe2Xfow9hC7z/s320/Sappho1.jpg" width="297" /></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Sappho was a Greek woman of whom's life not much is known for certain.
Everything we know is from her own poetry, but this is not necessarily
biographical. What we do know though is that she was from the island of Lesbos
and was probably born into an aristocratic family. Today, most of her poetry is
lost. Only fragments remain on papyrus, or as quotations in other ancient
works. Sometimes a whole poem has survived and sometimes as little as a single word. The
oldest surviving fragment of Sappho is the <i>Tithonus</i> poem, found in 1922. The
only poem that has survived completely is <i>Ode to Aphrodite</i>. It was preserved
in ‘Dionysius of Halicarnassus’ On Composition’, where the writer quoted the
full text of the poem as an example of “smooth” or “polished” writing. The poem
was also partially preserved on a second century papyrus roll, discovered at
Oxyrhynchus in Egypt. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsE0G8DZPw7spX0azysZQbz8nbsT4mG6pBhiX3BUvseWYeKHzNmZiUCPld_WZKsy09MzHgwEi8yupVMHiVk-CYOVQS8YmxZUUbFuP81T3yees5SSmdHUyZZdQV3w1p395ddDBIC9aDxiky/s1600/Sappho2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsE0G8DZPw7spX0azysZQbz8nbsT4mG6pBhiX3BUvseWYeKHzNmZiUCPld_WZKsy09MzHgwEi8yupVMHiVk-CYOVQS8YmxZUUbFuP81T3yees5SSmdHUyZZdQV3w1p395ddDBIC9aDxiky/s200/Sappho2.jpg" width="145" /></a></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br />
Sappho’s poetry is known for its clear language, simple thoughts and use of
direct quotation. She also uses unexpected word-play quite often. An example from fragment 96: </span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span>
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><i>“Now she stands out among Lydian women as after sunset the
rose-fingered moon exceeds all stars”</i></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span>
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This is a variation of the Homeric
epithet “rosy-fingered Dawn.” </span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">In antiquity Sappho’s poetry was highly admired
and she was referred to as the “tenth Muse”. She influenced other ancient
poets, such as Catullus and Ovid, who wrote a poem as a letter from Sappho to
her supposed love Phaon. Even in modern literature Sappho is of great influence for other poet. For example Housman and Tennyson, who re-wrote the <i>Tithonus </i>poem of Sappho. </span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhGu7gXNBK7qoK4bDRVqFryqBCLc3tMsT6lxZw-QX4b3AuWDZ5qAzNGksYobpuvcZ4MHMO7WlxiVwQDwu47IU8levKnL5KpcAgeG3xvrlns6pTVEVZgtGXu1lNgSW47Dr9Z5MC8vTGC6YJ/s1600/Sappho3.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhGu7gXNBK7qoK4bDRVqFryqBCLc3tMsT6lxZw-QX4b3AuWDZ5qAzNGksYobpuvcZ4MHMO7WlxiVwQDwu47IU8levKnL5KpcAgeG3xvrlns6pTVEVZgtGXu1lNgSW47Dr9Z5MC8vTGC6YJ/s200/Sappho3.jpg" width="200" /></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;">In the 20<sup>th</sup> century however, Sappho was not known for only her
poetry, but she became a symbol of homosexuality, although her sexuality is
still debated. She wrote a lot of poems about unrequited love for other women,
who she taught at school, but she also wrote her
poems for men. There are still a lot of controversies around her life. Her poetry
though is written so thoughtfully and with such grace, that her sexuality is of
minor detail. This feeling of unrequited love is universal and I believe that
this is the main reason why so many people are influenced and touched by her
poetry. </span></div>
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'Les Poesies d'Anacreon et de Sappho' at ‘Van der Steur’ has two parallel columns: one for Greek and one for
the early French translation by Anne Dacier. The French translation of her
poems are very delicate.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV2SINKjioYl4tx1QexMmJy7-iRvhyphenhyphenNK9I-nj_DYRWFJfv4Avx81ootCT_jgf7yafnh0Eky6B3dP2yPXOEniW9lDEM67I9jsq-TBbTUghbn_cr1lNPLW5e_4qSZf6UrRGH93mifENRGVvw/s1600/Sappho5.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV2SINKjioYl4tx1QexMmJy7-iRvhyphenhyphenNK9I-nj_DYRWFJfv4Avx81ootCT_jgf7yafnh0Eky6B3dP2yPXOEniW9lDEM67I9jsq-TBbTUghbn_cr1lNPLW5e_4qSZf6UrRGH93mifENRGVvw/s200/Sappho5.jpg" width="200" /></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Anne Dacier was not an experienced translator when she
translated this work, but after this work she translated quite a few Greek and Latin
texts, including the Illiad and Odyssey by Homer, Greek tragedies, Latin
comedies and the works of Horatius, Callimachus and Aristophanes. </span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This book
initiated a stellar career for Anne Dacier. </span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br />
This book has a special place in our collection because it has been of great importance for Classical Literature, but also of great importance for Anne Dacier and it is one of the few versions that was actually printed in Greek. This book will always be special.</span></div>
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<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><i>Sterre van der Sijde </i></span></div>
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<h2>
<span style="font-family: inherit;"><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Innocence illustrated: Early British
Children’s Books<span style="mso-spacerun: yes;"></span></span></b></span></h2>
<h2>
<span style="font-family: inherit;"><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"></span></span></b></span></h2>
<br />
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<span style="font-family: inherit;"><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"></span></span></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The industrial age brought a new
worldview to the British Empire. A small group of wealthy Victorians called the
shots while the large majority of the population led a less glorious existence.
They may have had jobs, but the circumstances in which they lived were far
below standard. The arts also suffered under the overwhelming power of
industry. Inventiveness was hard to find. </span></span></div>
<br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.antiqbook.com/search.php?action=search&l=nl&searchform=antiqbook&o=steu&full=A+Romance+of+the+Three+R%92s&action=search&l=nl&catalog=&author=&title=&description=&year=&century=&keyword=&since=&sBn=" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAZ4Od-iboUpkzxlEKtC3cH2cYqR70qfLlV6q5rqgmco4_rIeQPhBHaYhO7ENqlx7VwB6PtZ3_cShwRB6hEOb5IIpZFSPI5JTFMbfE0BSHB0qtyTgPpboUt2PXxuAqnQTYJzYDbfmSN_I/s200/37421-Romance+of+the+three+R%2527s+%25282%2529.jpg" width="193" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.antiqbook.com/search.php?action=search&l=nl&searchform=antiqbook&o=steu&full=A+Romance+of+the+Three+R%92s&action=search&l=nl&catalog=&author=&title=&description=&year=&century=&keyword=&since=&sBn=" target="_blank"><span style="font-family: inherit; font-size: xx-small;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><i style="mso-bidi-font-style: normal;"> A Romance of the Three R’s </i>(1886)</span></span></a></td></tr>
</tbody></table>
<span style="font-family: inherit;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">At the end of the century a group of
socialist artists felt it was time for a change. ‘The Arts and Crafts Movement’
was founded under the leadership of designer and philosopher, William Morris
(1834-1896). The Movement believed that the conditions of the working class
would improve if they got acquainted with aesthetic objects. The movement’s
goal was to bring art to the common people. <br /><br />One of the first and most
influential followers of the movement was the illustrator Walter Crane
(1845-1915). Crane was a student of the socialist engraver W. J. Linton
(1812-1897) and dedicated his life to idealistic illustration, design and the
applied arts. Crane got his inspiration from a broad spectrum of existing
styles like Japanese prints, Medieval/Renaissance prints and the art of the
Pre-Raphaelites. The latter is beautifully displayed in the faces of Crane’s
figures. <br /> </span></span></div>
<br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.antiqbook.com/search.php?action=search&l=nl&owner_id=steu&full=A+Flower+Wedding" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKsqYK4X2u1Idwlb3ZSeVyt2NmtL6iQLsm19YkwFwG9xoupNxaiLfpVkw5p6IHHPYuoMlopmEwgp53OR6ILsiauh8s-D8Kiy03IRS_4M0mKxOq957RAPQA0Lqy4AyiH1sl8l48aVgXGpo/s320/37732-Flower+wedding+%25281%2529.jpg" width="320" /></a></td></tr>
<tr align="center"><td class="tr-caption"><a href="http://www.antiqbook.com/search.php?action=search&l=nl&owner_id=steu&full=A+Flower+Wedding" target="_blank"><span style="font-family: inherit; font-size: xx-small;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><i style="mso-bidi-font-style: normal;">A Flower Wedding</i> (1905)</span></span></a></td></tr>
</tbody></table>
<span style="font-family: inherit;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The children’s books by Crane were
extraordinary because he did not divide the book into text and illustrations.
He combined these two to make one piece of art, a synthesis of the arts, a
picture book in the modern sense of the word. This meant that Crane designed
every part of the book himself. A beautiful example of this skill can be found
in the book <i style="mso-bidi-font-style: normal;"><a href="http://www.antiqbook.com/search.php?action=search&l=nl&searchform=antiqbook&o=steu&full=A+Romance+of+the+Three+R%92s&action=search&l=nl&catalog=&author=&title=&description=&year=&century=&keyword=&since=&sBn=" target="_blank">A Romance of the Three R’s</a> </i>(1886),
in which the search for the metaphors of reading, writing and arithmetic is
depicted. Another illustration of this expertise is shown in <a href="http://www.antiqbook.com/search.php?action=search&l=nl&owner_id=steu&full=A+Flower+Wedding" target="_blank"><i style="mso-bidi-font-style: normal;">A Flower Wedding</i></a> (1905). Here Crane characterizes
the guests of the wedding party as if they were flowers and plants. Crane always signed his works with
his initials and a small drawing of a crane (bird). For his children’s books,
Crane frequently collaborated with the talented wood engraver and colour
printer Edmund Evans (1826-1905). <br /><br />Another illustrator who also
collaborated with Evans was Crane’s female competitor, Kate Greenaway
(1846-1901). Greenaway was not directly involved in the ‘Arts and Crafts
Movement’, but was seen more as a follower of Oscar Wilde’s ‘Aesthetic
movement’. Her illustrations were based on her own childhood memories. She drew
innocent children playing outdoors, dressed in ‘Victorian’ Regency clothing.
These costumes, invented by Greenaway, became so popular that a London manufacturer
started producing them and are now referred <span style="font-family: inherit;">to </span>as Victorian, although they are
not in principle. Greenaway’s illustrations are wonderfully soft and endowed
with child-like virtue and charm. Her most famous book probably is <a href="http://www.antiqbook.com/search.php?action=search&l=nl&owner_id=steu&full=Under+the+window%2C+Pictures+%26+rhymes+for+children.+By+Kate+Greenaway.+Engraved+and+printed+by+Edmund+Evans.+London%2C+George+Routledge+%26+sons%2C+n.+d.+%5B1878%5D." target="_blank"><i style="mso-bidi-font-style: normal;">Under the Window</i></a> (1878) in which her
illustrations are accompanied by sweet rhymes. But one of her most wanted works
is <a href="http://www.antiqbook.com/search.php?action=search&l=nl&owner_id=steu&full=The+Language+of+Flowers" target="_blank"><i style="mso-bidi-font-style: normal;">The Language of Flowers</i></a> (1884)
which was meant as a handbook for pious Victorian women that made floral
arrangements.<br /> </span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.antiqbook.com/search.php?action=search&l=nl&owner_id=steu&full=The+Language+of+Flowers" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhypuj9N9urabhL3rbf5Mz66JTuQ3sBJJVVdmUJUs54crQ_vMMtmhYoCVCWQHvoJJdRrW-A4X5ZnuEnWAgExyYDb2gAbf9Sn92DByQNl0gJZ3-vgrfApu4pTbHTbmn2JSp94HV8-3fWdV8/s200/42632-Language+of+flowers+%25282%2529.jpg" width="168" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.antiqbook.com/search.php?action=search&l=nl&owner_id=steu&full=The+Language+of+Flowers" target="_blank"><span style="font-size: xx-small;"><span style="font-family: inherit;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><i style="mso-bidi-font-style: normal;">The Language of Flowers</i> (1884)</span></span></span></a></td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.antiqbook.com/search.php?action=search&l=nl&owner_id=steu&full=Marigold+Garden" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI6_B4tqe-ukhDHbGXHm5Wt71uixa7Z9bxtCPhewrq_w7i71Gs6uDUMWJDsIbuG4Tu5I2iybRS164Y__6rCSolva04Ire6lr-OcWHeFh4ZLyhVTQC7AIYiNICIEfrz4ulzt8YHfF9dHII/s200/50914-Marigold+gardens+%25281%2529.jpg" width="149" /></a></td></tr>
<tr align="center"><td class="tr-caption"><a href="http://www.antiqbook.com/search.php?action=search&l=nl&owner_id=steu&full=Marigold+Garden" target="_blank"><span style="font-size: xx-small;"><i>Marigold Garden</i> (1885)</span></a></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.antiqbook.com/search.php?action=search&l=nl&owner_id=steu&full=Under+the+window%2C+Pictures+%26+rhymes+for+children.+By+Kate+Greenaway.+Engraved+and+printed+by+Edmund+Evans.+London%2C+George+Routledge+%26+sons%2C+n.+d.+%5B1878%5D." imageanchor="1" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh654pV_rZoWGXuN_OzkL04CKxfSNbHP0OO8GR1H9OVLj5c205LgFP_Ic8_5lDgW_6D6oKN1nFYLMBDH3t-KwciELI_yJPYfIeghCIWC4Rblqp_ta-IL1fc0GCbRYMcb3F-2bLq_FZ9j_o/s200/43868-+Under+the+window+%25282%2529.jpg" width="200" /></a></td></tr>
<tr align="center"><td class="tr-caption"><a href="http://www.antiqbook.com/search.php?action=search&l=nl&owner_id=steu&full=Under+the+window%2C+Pictures+%26+rhymes+for+children.+By+Kate+Greenaway.+Engraved+and+printed+by+Edmund+Evans.+London%2C+George+Routledge+%26+sons%2C+n.+d.+%5B1878%5D." target="_blank"><span style="font-size: xx-small;"><i>Under the Window</i> (1878)</span></a></td></tr>
</tbody></table>
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<span style="font-family: inherit;"></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://issuu.com/antiquariaatvandersteur/docs/38catalogue" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="https://issuu.com/antiquariaatvandersteur/docs/38catalogue" border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM4AIYj144hwv3bEiGtWDnigngD_18uJbDj_sCVjWiX9d9wQxuuXsF0QmfFsGCqgJ6OpImMvKD4PAPCZAyhUjLC8OwTPGvZMUFb6aKtEj1PvhqstkTrWQqmj5-Vg9n9gwffmbzRz6RYoy8/s200/Cover+catalogus+38.jpg" width="140" /></a></div>
<span style="font-family: inherit;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Crane and Greenaway are key figures
in late 19th century book illustration because of their break with tradition.
They and the British illustrator Randolph Caldecott (1846-1886), were the first
to start working with black outlines and soft flat colours instead of the more
sketchy style of contemporary illustrators like John Tenniel (<i>Alice in
Wonderland</i>). Crane and Greenaway stood at the dawn of the modern picture book. <br /><br />Has this blog sparked your interest
for book illustration and children’s literature? Please check out our newly
released catalogue <span style="color: #674ea7;"><b><i>The Illustrated Storybook </i></b></span>at <a href="http://www.antiquariaatvandersteur.nl/">http://www.antiquariaatvandersteur.nl/</a>
or through the following link <a href="https://issuu.com/antiquariaatvandersteur/docs/38catalogue">https://issuu.com/antiquariaatvandersteur/docs/38catalogue</a>. </span></span></div>
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<span style="font-family: inherit;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><i>Sanne Hansler </i> </span></span></div>
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<span style="color: #444444;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI3yFT2ohj1fWWOdqwURomz96K_zMITTxBkmbpeESlXn9_HChtKcgMvb9uUzjQpymcWbxpIxlKAeypcACy4fvEsx-oF-8UGyqnZwcbX7pwWxZpJz1atqwqPVLUw8VVPWUrNlWMh5y2raSI/s1600/kl001_5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI3yFT2ohj1fWWOdqwURomz96K_zMITTxBkmbpeESlXn9_HChtKcgMvb9uUzjQpymcWbxpIxlKAeypcACy4fvEsx-oF-8UGyqnZwcbX7pwWxZpJz1atqwqPVLUw8VVPWUrNlWMh5y2raSI/s320/kl001_5.jpg" width="192" /></a><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;">As you may know
we, at<b style="mso-bidi-font-weight: normal;"> Van der Steur</b>, live amongst
the mysterious history of more than 40.000 books and prints. Logically we are
unable to read each and every one of them. This is why it can be very
refreshing when a new intern stumbles upon an object that tells a greater story
than just the one that is written inside. When our intern Sterre van der Sijde took
a book from the shelf in our section dedicated to classical literature she
noticed immediately that the book in her hands was special. This beautiful
work, titled <i>Fabulae Aesopi Graecè & Latinè</i> is not bound in linen,
leather or blank parchment as could be expected. Oddly enough it is bound in a
parchment manuscript page with rubrication (sentences in red ink) and decorated
initials. </span></span></div>
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<span style="color: #444444;"> <span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;"> </span></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: #444444;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs3NNlZOxH4EyG2RELauXkrLQ29JQ-_y5K9mi0w4AuLIDaXPEH8xxLvRkWLaLNBmICobhnrYXouMpPElpN-KPDje9stceemsEwudqBa2YyGTGcJ-dP0LHSzRMI4cWUqlkYpbCh3-F_hoP3/s1600/FullSizeRender.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs3NNlZOxH4EyG2RELauXkrLQ29JQ-_y5K9mi0w4AuLIDaXPEH8xxLvRkWLaLNBmICobhnrYXouMpPElpN-KPDje9stceemsEwudqBa2YyGTGcJ-dP0LHSzRMI4cWUqlkYpbCh3-F_hoP3/s200/FullSizeRender.jpg" width="200" /></a><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;">When opened, the
book shows that it concerns the 1672 version of the fables of the Greek slave
Aesopus (600 BC) and those of the Latin poet Avianus (400 to 500 AD), written
in Greek and Latin in parallel columns. </span></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: #444444;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: #444444;"><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;">The book concludes with the poem ‘Batrachomyomachia’
or ‘Battle of the frogs and mice’, attributed to Homer. This book was first
published in Amsterdam in 1626 as a study book for Latin and Greek scholars.
The particular edition was provided by the academic Daniel Heinsius (1580-1655)
from Leiden and copied at least eleven times without any major changes. It
appeared to be in use for this purpose until 1727. </span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="color: #444444;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi25FXatm2wgshcmc7cbMGvoSluMBLdArk34IP0qT0PWGPfDG1jSYP-MHZyAJIdlhWQOPDNCtMmcetl5SppKXH7EHfpYlYJd7R92gdVAhAQyZ_Aw4NlqVB4FLMk-AYJ53c2A9G3PmODdokx/s1600/kl001_2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi25FXatm2wgshcmc7cbMGvoSluMBLdArk34IP0qT0PWGPfDG1jSYP-MHZyAJIdlhWQOPDNCtMmcetl5SppKXH7EHfpYlYJd7R92gdVAhAQyZ_Aw4NlqVB4FLMk-AYJ53c2A9G3PmODdokx/s200/kl001_2.jpg" width="200" /></a></span></div>
<span style="color: #444444;"><br /></span>
<br />
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: #444444;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: #444444;"><span style="color: #444444;"><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;">Can you remember
how your study books looked after toiling with them for a year? If they looked
a bit like mine I find it astonishing that this small fable book survived this
well for almost 350 years. </span></span></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: #444444;"><span style="color: #444444;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilmhTT-9MgWNSrOxaYc2u9PmNRDosHVxR47lHg1t20YccA88s3iDP9B1FjVBbC95In-q9g1aVhdK0Gt0nBU5oam6ci9JQ1Slaq8Y9VPKCwbau5bO6Are7GaW_Q4n8tuPila8sC0uSabV_q/s1600/FullSizeRender+%25281%2529.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilmhTT-9MgWNSrOxaYc2u9PmNRDosHVxR47lHg1t20YccA88s3iDP9B1FjVBbC95In-q9g1aVhdK0Gt0nBU5oam6ci9JQ1Slaq8Y9VPKCwbau5bO6Are7GaW_Q4n8tuPila8sC0uSabV_q/s320/FullSizeRender+%25281%2529.jpg" width="320" /></a><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;">The fables in
this book feature exquisite woodcarvings by the Swiss/Dutch woodcutter and
engraver Christoffel van Sichem (1581-1658). Van Sichem made prints after
portraits by his father, Christoffel van Sichem the Elder, and leading artists
such as Bloemaert and Goltzius. For this fable book he made forty-one beautiful
illustrations. The clearness of the cuts gives a modern feel to the plates. The
illustration on page 73, ‘the fox and the goat’, is the only woodcut left that
shows the monogram of van Sichem. </span></span></span></div>
<span style="color: #444444;"><span style="color: #444444;"><br /></span></span>
<br />
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: #444444;"><span style="color: #444444;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: #444444;"><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;">Besides the
unusual binding, function and decoration there is definitely something else to
talk about. On the recto of the first flyleaf, in between the stamps of
institutions that previously owned the book, is an indication present of two
V.I.P. from the past. The handwritten text: “Ex libris Joh: Conradi Zwinglij.
Ao: 1693” and “Martini Usterii 1780”. The first name 'Johannes Conradi Zwinglij
(Zwingli)' sounds familiar because the surname Zwingli was made famous by the
Swiss reformer <span style="color: #252525;">Huldrych Zwingli (1484-1531). </span><span style="color: #212121;">Whether Johannes Conradi is a distant relative is not
clear. The second name mentioned is Martini Usterii, better known as </span><span style="color: #252525;">Johann Martin Usteri (1763-1827). </span></span></span><br />
<span style="color: #444444;"><span style="color: #444444;"><br /></span></span>
<span style="color: #444444;"><span style="color: #444444;"><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;"><span style="color: #252525;">Usteri, who was 17 when
he signed this little book, was a famous swiss poet and engraver who was best
known for his romantic idylls and historical prints. It's quite interesting to
imagine</span><span style="color: #212121;"> to what extent an artist like Usteri
could have been influenced by the fable illustrations he saw in his youth. </span></span></span></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: #444444;"><span style="color: #444444;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjocmerYenczWSSiTSYiPDdNcDVZMazP98dmHzWi5poLYW8dOPDL3AZYX-2Ds_Or1IifdBvitgQMDkbhIGMsX22VWoo6-hnM0KF4vdjDYe8ksIir-FQWyQLbufhvQBKc0clEvZWk6pKvsZ0/s1600/kl001_3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="157" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjocmerYenczWSSiTSYiPDdNcDVZMazP98dmHzWi5poLYW8dOPDL3AZYX-2Ds_Or1IifdBvitgQMDkbhIGMsX22VWoo6-hnM0KF4vdjDYe8ksIir-FQWyQLbufhvQBKc0clEvZWk6pKvsZ0/s200/kl001_3.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG7YXTPAEAsXlLrGRO4TYJ77t-Y8F8CnE7wVGUdAbDw6eo_uD74N0AlvwPylWoKAswWzPFw4-q0p9pED-bApATgOb0uq8SBOw8r3a50wd6dKTtIg1p_tSeR8WyaNbDXNjUmPhT1U7df79o/s1600/kl001_4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG7YXTPAEAsXlLrGRO4TYJ77t-Y8F8CnE7wVGUdAbDw6eo_uD74N0AlvwPylWoKAswWzPFw4-q0p9pED-bApATgOb0uq8SBOw8r3a50wd6dKTtIg1p_tSeR8WyaNbDXNjUmPhT1U7df79o/s200/kl001_4.jpg" width="200" /></a><span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;">If
there is one thing that we have learned from this little work of art, it is
that our collection is like a treasure chest waiting to be discovered. </span></span></span></div>
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<span style="color: #444444;"><br /></span></div>
<span style="color: #444444;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi25FXatm2wgshcmc7cbMGvoSluMBLdArk34IP0qT0PWGPfDG1jSYP-MHZyAJIdlhWQOPDNCtMmcetl5SppKXH7EHfpYlYJd7R92gdVAhAQyZ_Aw4NlqVB4FLMk-AYJ53c2A9G3PmODdokx/s1600/kl001_2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"> </a><span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;"> </span></span><br />
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: #444444;"><br /></span>
<span style="color: #444444;"><br /></span>
<span style="color: #444444;"><i><span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;"> </span></i></span><br />
<span style="color: #444444;"><br /></span>
<span style="color: #444444;"><br /></span>
<span style="color: #444444;"><br /></span>
<span style="color: #444444;"><br /></span>
<span style="color: #444444;"><br /></span>
<span style="color: #444444;"><i><span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;">Sanne Hansler</span></i></span></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-45510494883817229402016-07-13T05:27:00.000-07:002016-07-13T05:37:11.176-07:00On the move, finding pearls: a love story<div style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .5pt; mso-element: para-border-div; padding: 0cm 0cm 1.0pt 0cm;">
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<b><span lang="EN-US" style="mso-ansi-language: EN-US;">Moving pearls</span></b><b><span lang="EN-US" style="mso-ansi-language: EN-US;">: A love story<br />
</span></b><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">Eeuwigduurende
liefdes almanak by Philomúsus Philokaus (Albertus van Twist) and Philander
Mirtillo, 1721</span></i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVAivZfu3uBEv9YdsUrclkqkfMNzJdi7zPbWFVP4jN6bSeHvcDL6bTBPLvuUKah4eouc-zxW1Jbn1uIPB4BJUtQ_G0x-8DZLVOcmTv-WZb7T-nzuAkZGBwmUYHvYMWV7-40fuSZcynsuhG/s1600/finding+pearls+liefdesalmanak_3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVAivZfu3uBEv9YdsUrclkqkfMNzJdi7zPbWFVP4jN6bSeHvcDL6bTBPLvuUKah4eouc-zxW1Jbn1uIPB4BJUtQ_G0x-8DZLVOcmTv-WZb7T-nzuAkZGBwmUYHvYMWV7-40fuSZcynsuhG/s200/finding+pearls+liefdesalmanak_3.jpg" width="200" /></a><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">It was only until the end of the eighteenth century that the ideals of Enlightment
became generally accepted. Almanacs changed as a result, the astrological
predictions made way in favor of other features. Increasingly the compilers of
these almanacs replaced the weather forecasts and similar incongruity, in the
words of Amsterdam based publisher Theodorus Crajenschot ‘soortgelyke
ongerymtheden’, by something more meaningful ‘iets wezenlyks’. For him that was
‘een korte Schets van De kragt der liefde’, a short text about the power of
love, written in his <i style="mso-bidi-font-style: normal;">Nuttige en aangename
staatsalmanach</i> from 1787. <br />
<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Ever
since, love has been a rich source of inspiration for the makers of almanacs.
Many flirts have been celebrated, first mainly in short verses which
accompanied the calendars and later royally in long poems. In nineteenth
century almanacs one can speak of a real ‘romantic story’-boom. Most of them
illustrated with beautiful idyllic prints. But there is only one that is way
out in front: the <i style="mso-bidi-font-style: normal;">Eeuwigduurende liefdes
almanak</i> from 1721. </span></div>
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<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">The Eeuwigduurende liefdes almanak</i> is
one of the first alamancs that is playfully aimed by the writer and publisher
who called himself by the antique name Philomúsus Philokaus, admirer of muse
and beauty, and thus puts himself in the mythological tradition. This cheeky
man placed elements from traditional calendars in amatory/amorous context, like
the twelve months of the year of love ‘de twaelf maenden van ‘t jaer der
liefde’. Visit is the first month, Hope the fifth, the eight month is called
Connection, Regret the eleventh which is followed by Indifference. Also other
elements of life and cycles from the year of love are described in the same
style as noted above.<span style="mso-spacerun: yes;"> </span><br />
<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><br />
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<span style="mso-tab-count: 1;">
</span>Back
to the frolic author of this richly illustrated work, who hid his real identity
behind the pseudonyms Philomúsus Philokaus and Philander Mirtillo from Cyprus (which
is known as the place where the Roman goddess Venus first touched land after
she was born on open sea). Revealing the person behind the almanac became an
obsession short after its publication in 1721. Contemporaries tried to light
the veil of mystery by spreading pamphlets. This quest ended at the student
Albertus van Twist, who aimed to immortalize his impossible love for Johanna
Susanna Alensoon. Van Twist, born in Hulst in 1696, registered as a law student
in Leiden in 1718. If the pamphlets are right, he paid more interest about
lessons of love than the actual law classes. These pamphlets are written by
fellow students and other witnesses of Van Twists flirts. The <i style="mso-bidi-font-style: normal;">Eeuwigduurende liefdes almanak</i> is thus a
key almanac, there are real people behind the fictive names in the poems, which
makes this book extraordinary amid other Dutch almanacs. Besides the unusual content,
there are more reasons for this book to be very special. Already in the early<a href="https://www.blogger.com/blogger.g?blogID=1121654050454553102" name="_GoBack"></a> eighteenth century, right after publishing, this book was rare,
concluding by the fact that in later years the author himself bought copies of
the book. During all centuries the almanac has always been appreciated. A small
note which is found in the book tells one that on November 12<sup>th</sup> 1931
the book was to be sold at the price of 25 gulden, a little fortune at that
time (comparable with 500 euros nowadays). <br />
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<br />
<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>You
might want to know what happened to the romantic Mister Van Twist. Luckily
everything turned out well for him. He promoted in 1721, the year of publishing,
and moved back to Zeeuws-Vlaanderen, where he got married twice, gave life to a
lot of children and finally made it to bailiff. <o:p></o:p><br />
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<span lang="EN-US" style="font-size: 9.0pt; line-height: 115%; mso-ansi-language: EN-US;">Note to all Dutch readers: on the website of the
Digitale bibliotheek der Nederlandse Letteren (DBNL) one can find an
interesting article about the Liefdesalmanak. Please find attached a link to
the article ‘<i style="mso-bidi-font-style: normal;">Een Leidse student op
vrijersvoeten</i>’ by Bianca Nesselaar:
http://www.dbnl.org/tekst/_med009199601_01/_med009199601_01_0014.php<o:p></o:p></span></div>
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<span lang="EN-US" style="line-height: 115%;">Click<a href="http://www.antiqbook.com/search.php?action=search&l=nl&searchform=antiqbook&o=steu&full=liefdesalmanak&action=search&l=nl&catalog=&author=&title=&description=&year=&century=&keyword=&since=&sBn="> here</a> for more information about the book. </span></div>
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<span lang="EN-US" style="line-height: 115%;">Benthe van Houtum</span></div>
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Arinehttp://www.blogger.com/profile/16471673219921579557noreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-3572256557769548242016-06-25T05:24:00.000-07:002016-06-25T07:43:14.766-07:00Moving Pearls: 300 years of struggle<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Moving Pearls: 300 years of struggle</span></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br />
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Jacobs
Worstelinge</i></b> by Jan Janszn Calckman/Kalckman <br />
Published by J. van Poolsum in 1716, Utrecht<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkCr24kmXPlLw53KcBwyJQ3GLhbXhZLb9tDvKsgoIadyI5CryPV8Zr6iqQqMqXIuUm428_nWOaTIupCgMb6xXTLTViYM8DP6lv3fXBS2VoUV_nI98txVXTVBfDP-Qg_pImhp730IJqvHF2/s1600/jacobs+worsteling_3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkCr24kmXPlLw53KcBwyJQ3GLhbXhZLb9tDvKsgoIadyI5CryPV8Zr6iqQqMqXIuUm428_nWOaTIupCgMb6xXTLTViYM8DP6lv3fXBS2VoUV_nI98txVXTVBfDP-Qg_pImhp730IJqvHF2/s200/jacobs+worsteling_3.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8oqQm85vN6XjNjLsCfapp3ayN1QgNmfLcxLK298Kj72xPKZtm_DWhHFq6-nwj15L28oSTsIJqbrsw4cpx8Yx4o725IalFn66EzA8rRdkcp5mXasBfuzXyaV58FSz-GKsMzg6ReYY8JPlA/s1600/jacobs+worsteling_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8oqQm85vN6XjNjLsCfapp3ayN1QgNmfLcxLK298Kj72xPKZtm_DWhHFq6-nwj15L28oSTsIJqbrsw4cpx8Yx4o725IalFn66EzA8rRdkcp5mXasBfuzXyaV58FSz-GKsMzg6ReYY8JPlA/s200/jacobs+worsteling_1.jpg" width="139" /></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;">In a world in which human existence is constantly
changing, it is a permanent struggle leaving behind the old and accepting the
new. Letting go of something that is deeply cherished never goes without pain,
struggle and suffering. This is not just a contemporary theme, but was already
touched on in the old Bible story of Jacob wrestling with God which has inspired
many authors over time. <br />
<span style="mso-tab-count: 1;"> </span></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span>
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">One
beautiful example is the small book <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Jacobs worstelinge</i></b><a href="https://www.blogger.com/blogger.g?blogID=1121654050454553102#_ftn1" name="_ftnref" style="mso-footnote-id: ftn;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[1]<!--[endif]--></span></span></a>
written by the devoted Calvinist Jan Janszoon Kalckman (1565-1641) and
published in 1716 by J. van Poolsum. This book, exactly 300 years old, relates
Kalckman’s account of the old Bible story (Genesis 32:22-32).</span></div>
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To
know Jacob’s story is to know that his life was one of never ending struggle.
Early in his life, God promised Jacob that he would create not only a great
nation through Jacob, but a whole company of nations. This expectation made
Jacob a man of fears and anxieties, fearful that this was about to happen at
any moment. He was also afraid that his brother would carry out his vow and
kill him. Anxious for his life, Jacob concocted a bribe and sent a caravan of
gifts along with his women and children across the River Jabbok in hopes of
pacifying his brother. Physically exhausted, alone in the desert wilderness,
facing certain death, Jacob was divested of all his worldly possessions. He was
powerless to control his fate. He collapsed into a deep sleep on the banks of
the Jabbok River. He had a vision of two family members who wanted to kill him but
he was too spent to struggle any more. However, his real struggle actually
began at this point. After fleeing his family history, wrestling with God
Himself was a different matter altogether. <br />
<span style="mso-tab-count: 1;"> </span><br />
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<span style="mso-tab-count: 1;">
</span>One
night an angelic stranger visited Jacob. They wrestled through the night until
daybreak, at which point the stranger crippled Jacob with a blow to his hip
that disabled him and left him with a limp for the rest of his life. It was by
then Jacob knew what had happened. “I saw God face-to-face, and yet my life was
spared” (Genesis 32:30). In the process, Jacob the deceiver received the new
name Israel, “He struggles with God.” However, the most important event occurs
at the conclusion of that struggle: God “blessed him there” (Genesis 32:29).<br />
<br />
The
book starts with the <i style="mso-bidi-font-style: normal;">“voorreden aan den
christelijke lezer”</i> – an introduction to the Christian reader – by J.J.
Kalckman. Kalckman attracted a lot of attention with his work <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Antidotum,
tegengift vant gebruyck of ongebruyck vant orgel</i></b>, which he wrote only
one year before his death in 1641. This work was a direct critical response to
the work of the Dutch Golden age poet and composer Constantijn Huygens (1596 –
1687), and is a plea against the use of the organ during Christian/religious
worship. <br />
<br />
But
it is Kalckman’s narration of Jacob wrestling with God that Antiquariaat Van
der Steur is proud to have in its collection. This very rare book, printed in
the smallest letters – <span style="mso-spacerun: yes;"> </span>the reader too
wrestles through the pages – and vellum covered, celebrates its 300<sup>th</sup>
year of existence this year. It is a beautiful little book, a true historical
treasure. Amen.<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Benthe van Houthum<br />
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<span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">The </span><a href="https://en.wikipedia.org/wiki/Masoretic_text" title="Masoretic text"><span lang="EN-GB" style="color: windowtext; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; text-decoration: none; text-underline: none;">Masoretic Bible text</span></a><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"> reads as follows.:</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span lang="EN-GB" style="font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">The same night he arose and took his two wives,
his two female servants, and his eleven children, and crossed the ford of the
Jabbok. He took them and sent them across the stream, and everything else that
he had. And Jacob was left alone. And a man wrestled with him until the
breaking of the day. When the man saw that he did not prevail against Jacob, he
touched his hip socket, and Jacob's hip was put out of joint as he wrestled
with him. Then he said, “Let me go, for the day has broken.” But Jacob said, “I
will not let you go unless you bless me.” And he said to him, “What is your
name?” And he said, “Jacob.” Then he said, “Your name shall no longer be called
Jacob, but Israel, for you have striven with God and with men, and have
prevailed.” Then Jacob asked him, “Please tell me your name.” But he said, “Why
is it that you ask my name?” And there he blessed him. So Jacob called the name
of the place Peniel, saying, “For I have seen God face to face, and yet my life
has been delivered.” The sun rose upon him as he passed Peniel, limping because
of his hip. Therefore to this day the people of Israel do not eat the sinew of
the thigh that is on the hip socket, because he touched the socket of Jacob's
hip on the sinew of the thigh.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 5.0pt;">
<i><span lang="EN-GB" style="font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">—</span></i><i><span lang="EN-GB" style="font-family: "times new roman"; font-size: 12.0pt;"> </span></i><a href="http://www.biblegateway.com/passage/?search=Genesis+32%3A22-32&version=ESV"><i><span lang="EN-GB" style="color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; text-decoration: none; text-underline: none;">Genesis
32:22-32</span></i></a><span lang="EN-GB" style="font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
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<div style="mso-element: footnote-list;">
<!--[if !supportFootnotes]--><br clear="all" />
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<!--[endif]-->
<br />
<div id="ftn" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=1121654050454553102#_ftnref" name="_ftn1" style="mso-footnote-id: ftn;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[1]<!--[endif]--></span></span></a> Full title: <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Jacobs
Worstelinge, by forme van t’ Samensprekinge, tusschen Godt ende den armen Sondaer.
In Meditatien en Gebeden. Met neerstigheyt by een vergadert.</i></b></div>
</div>
</div>
Arinehttp://www.blogger.com/profile/16471673219921579557noreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-69524739910235865972016-06-03T22:05:00.002-07:002016-06-03T22:07:20.446-07:00On the move: finding pearls II: Jewish synagogue Naarden, Two Letters<div style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .5pt; mso-element: para-border-div; padding: 0cm 0cm 1.0pt 0cm;">
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">J<a href="https://www.blogger.com/blogger.g?blogID=1121654050454553102" name="_GoBack"></a>ewish
synagogue Naarden<br />
Two Letters<o:p></o:p></span></b></div>
</div>
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOBpjuhFP_D32cqbqhMhf8W6DUUc4hADp2vJpIlCyz5gt5EdTtQidpz5K5QBvgWmngf65-j4otZeSYt7PXxfJ03ikaZnZ_BBdJ3JPWEEZt6aGfqZuo78tFNO3k5XKjgkItX3m-jxDs8hkm/s1600/13335_Naarden_Joodse+Synagoge_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOBpjuhFP_D32cqbqhMhf8W6DUUc4hADp2vJpIlCyz5gt5EdTtQidpz5K5QBvgWmngf65-j4otZeSYt7PXxfJ03ikaZnZ_BBdJ3JPWEEZt6aGfqZuo78tFNO3k5XKjgkItX3m-jxDs8hkm/s200/13335_Naarden_Joodse+Synagoge_1.jpg" width="200" /></a>In the course of the 17th
century, a group of Portuguese Jews from Amsterdam settled in Naarden. Naarden
was a beloved place for rich Portuguese traders at that time. Initially the
Jews came together in a private house to practice their religion. In 1727 the
first synagogue, the Esnoga Magen David de Narda, was consecrated in the
Gansoordstraat. At first, the dead were buried around Amsterdam but after 1825
the Jews had their own cemetery inside the walls of Naarden. A Star of David on
the façade of the building at Kloosterstraat 78 still reminds one of this
graveyard.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirEHXRjMTvy1Sv2Viaav_6ohdp5lqZalkwiJrP8vBJ-VWYFxoQjc75jn9NQvUTW8BERJXCPLuxQkegx7A83fsb8V2x8JRqZ0TPOmq_Gts69aDyodCax-qVLsNS9N-7-nTibdRAj9dA9vX0/s1600/13335_Naarden_Joodse+Synagoge_3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirEHXRjMTvy1Sv2Viaav_6ohdp5lqZalkwiJrP8vBJ-VWYFxoQjc75jn9NQvUTW8BERJXCPLuxQkegx7A83fsb8V2x8JRqZ0TPOmq_Gts69aDyodCax-qVLsNS9N-7-nTibdRAj9dA9vX0/s200/13335_Naarden_Joodse+Synagoge_3.jpg" width="200" /></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;">
<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>In
the 19th century, the community of Portuguese Jews was in decline. It was in
this period that two letters were written about the Jewish Portuguese
synagogue. The first one is by M.C. de Leew and S.L. van Gelder and dated 19
August 1856. In this letter, the writers thank the owners of the Ring synagogue
in Naarden for the improvements and beautification that they made possible to
the Portuguese synagogue, and they noted that the ‘new’ place of worship will
be festively consecrated on the 31<sup>st</sup> of August. The second letter,
to J. Henriquez de Castro, is written by P. Verkerk Wz on 30 November 1856. This
document describes the current state of the restored synagogue. It also
includes the payment (?) to the building contractor E.J. Nijkerk and son.<span style="mso-spacerun: yes;"> </span></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBkn6VTPxSLDIVXL8FpYfUOo4aT5Ah2hTVVmP5Gda75IDuVzjmHmdaRs9RkZ8g2p_NtNSBLvSaxOlA3yrxyp-Ft4AYFzJ0NgxkJPLNAB4V9JfTvy167F62Cvo8iAvx6cmyIzNX5JA0aPrT/s1600/synagoge.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBkn6VTPxSLDIVXL8FpYfUOo4aT5Ah2hTVVmP5Gda75IDuVzjmHmdaRs9RkZ8g2p_NtNSBLvSaxOlA3yrxyp-Ft4AYFzJ0NgxkJPLNAB4V9JfTvy167F62Cvo8iAvx6cmyIzNX5JA0aPrT/s320/synagoge.jpg" width="320" /></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;">These
letters are true pearls, as documents concerning this synagogue are very rare
because of a monstrous act of pride. The Naarden synagogue was closed down in
1933 because of the decreasing number of religious practitioners. Furious at
the declining numbers, a man called S. Ph. Heilbron, burnt all the Naarden
synagogue’s archives. These two remaining letters, which give an interesting
insight in the history of the Naarden synagogue and the Dutch Jewish community,
are two of the few documents that survived </span><!--[if gte vml 1]><v:shapetype
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</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">this horrible deed.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Click <a href="http://www.antiqbook.com/books/bookinfo.phtml?nr=1372754921&l=nl&seller=">here</a> for more information.</span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span>
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Benthe van Houtum</span><br />
<br />Arinehttp://www.blogger.com/profile/16471673219921579557noreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-30668287323703018002016-05-18T21:44:00.004-07:002016-05-18T21:49:41.526-07:00<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">On the move: finding pearls<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><br /></span></b></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-ChfvdID8fj2OSFbvsfq5621MISMdqykt0Gj-uMQeHpVZxbzzU-Tj7eTJ89Dma3oRTx6TkE5wkweqCVznJ6sdUghy88SRaog2Gsq6DyRbj4Y7s8E4G9F5lEqhnqFpr3llrj3t8G0DfEr4/s1600/babylone_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-ChfvdID8fj2OSFbvsfq5621MISMdqykt0Gj-uMQeHpVZxbzzU-Tj7eTJ89Dma3oRTx6TkE5wkweqCVznJ6sdUghy88SRaog2Gsq6DyRbj4Y7s8E4G9F5lEqhnqFpr3llrj3t8G0DfEr4/s200/babylone_1.jpg" width="121" /></a><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>A recognizable situation: you’ve lost
something precious and been looking for it for ages. All of the sudden - when
you move or clean - it appears again. The joy you feel! <br />
<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>It
happened with the very special edition of the early eighteenth century book <i style="mso-bidi-font-style: normal;">La Babylone demasque’e</i> (1727). </span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH6ueIy5NYSYw_mPlGJxh-y9LwSsuSTkqYX1-GIWLNW-PN6CKMSd1EsDFiiy2eioG7S_9IVf9BdooihvVWjzgM8YWItLD6UdZMRhRDLlhVVD0BBWqvzxz29YurVprD98CzizKrhu8Ws1ug/s1600/babylone_5.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH6ueIy5NYSYw_mPlGJxh-y9LwSsuSTkqYX1-GIWLNW-PN6CKMSd1EsDFiiy2eioG7S_9IVf9BdooihvVWjzgM8YWItLD6UdZMRhRDLlhVVD0BBWqvzxz29YurVprD98CzizKrhu8Ws1ug/s200/babylone_5.jpg" width="200" /></a><span lang="EN-US" style="mso-ansi-language: EN-US;">This
almost 300 year old masterpiece is written by Johanna Dorothea Lindenear
(1664-1737) and is special in many ways. Besides the remarkable age, it is
written by a woman, which is unique for that time. The author is known for her
very interesting life story, which influenced this book greatly. Lindenaer, or
Johanna Dorothea Zoutelande or Madame de Zoutelandt, was a writer, memoirist
and translator from The Netherlands. In 1703 she got arrested in Maastricht.
Lindenear was accused of high treason and spying activities in connection to
the war of the Spanish succession. A year later she escaped and fled to Paris, where
she did her ‘confession of faith’ to the Roman Catholic Church. She also
continued professional writing, which she started with describing her memoires
while in prison. This combination le<a href="https://www.blogger.com/blogger.g?blogID=1121654050454553102" name="_GoBack"></a>d to the creation of <i style="mso-bidi-font-style: normal;">La Babylone demasque’e</i>. </span></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXumOdko_qA068qBfdAKKRxdRX56xUFS-gVFlP1Qo3W7rusiqWInfmRiJCJidQKOFybjaOKiW0_fYaF3Dj15J5XfseAKV0BC3Newi-XIcdS0MPBLvo5sysCmPXiYxbbvpejX0kbTAQHNjH/s1600/babylone_2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXumOdko_qA068qBfdAKKRxdRX56xUFS-gVFlP1Qo3W7rusiqWInfmRiJCJidQKOFybjaOKiW0_fYaF3Dj15J5XfseAKV0BC3Newi-XIcdS0MPBLvo5sysCmPXiYxbbvpejX0kbTAQHNjH/s200/babylone_2.jpg" width="113" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGngDAZI2Z60IXy_aVl4489-pROuGi5QfgldGN-vXUQdMvZy1IjzASASwLbgfjzOaUyPZvhKsNv42H_MAxQAZSh3nmV2AeGz5yq-Y7cUb-SzSPEhlpSLlHYRqbPI62wNHoYtnB97Me4Qes/s1600/babylone_6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGngDAZI2Z60IXy_aVl4489-pROuGi5QfgldGN-vXUQdMvZy1IjzASASwLbgfjzOaUyPZvhKsNv42H_MAxQAZSh3nmV2AeGz5yq-Y7cUb-SzSPEhlpSLlHYRqbPI62wNHoYtnB97Me4Qes/s200/babylone_6.jpg" width="200" /></a><span lang="EN-US" style="mso-ansi-language: EN-US;"><i style="mso-bidi-font-style: normal;">La Babylone demasqu’e</i> is written as a
letter from a Dutch protestant lady to Miss Van Zoutelande with questions about
her devotion to Catholicism. In five lengthy letters she gives extensive answers
to all of the questions, which comprises information on various religious factions
and many examples from the daily Catholic life.<br />
<span style="mso-tab-count: 1;"> </span>With
special attention we pack this book, just like all of our other outstanding
works, to reveal it again in The Hague.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">For more information about this book, click <a href="http://www.antiqbook.com/search.php?action=search&l=nl&searchform=antiqbook&o=steu&full=La+Babylone&action=search&l=nl&catalog=&author=&title=&description=&year=&century=&keyword=&since=&sBn=">here </a></span></div>
<div class="MsoNormal">
<span style="text-indent: 35.4pt;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 0px;">
<span style="text-indent: 35.4pt;">Benthe van Houtum</span></div>
<div class="MsoNormal" style="text-indent: 0px;">
</div>
<div style="text-indent: 47.20000076293945px;">
<br /></div>
<div style="text-indent: 47.20000076293945px;">
<br /></div>
<span style="text-indent: 35.4pt;"><br />
<br />
<br />
<br />
</span>Arinehttp://www.blogger.com/profile/16471673219921579557noreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-9578340948790848832016-03-16T08:34:00.001-07:002016-03-16T08:34:28.032-07:00A fake Potter: history of a small album of prints<!--[if gte mso 9]><xml>
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<br /></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_OZLV98wFX50PdnbFCNaejH6Bvt-1YehLmxJuhpw6cZTDR308uVz96X6Io8HZJyKEJJ9BLaDSXe6pdPUPoBanKAzv_AxzmfIQBxrBNBP2XspZcqpnJXZTejKihP9Kpwyh2j3Hj6UXKSHF/s1600/261149829.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_OZLV98wFX50PdnbFCNaejH6Bvt-1YehLmxJuhpw6cZTDR308uVz96X6Io8HZJyKEJJ9BLaDSXe6pdPUPoBanKAzv_AxzmfIQBxrBNBP2XspZcqpnJXZTejKihP9Kpwyh2j3Hj6UXKSHF/s640/261149829.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Friesian Horse</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQGELfEngwIGjYJAfoAHSmMv7_mLkN64rFCJyXAl587sfnJuB-RIRCOawaGD2t1ctOjM5qEoiClvZKXYo7R2GG8ThouAph_MtIYga_SWPnvlqhuE8p6pOQ87E4Jh-61KOOdiseLRUS_Dyg/s1600/261153399.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">In 1652,
Paulus Potter (1625-1654) produced a series of five prints of horses in
landscapes.<a href="https://www.blogger.com/blogger.g?blogID=1121654050454553102#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><sup><span style="mso-special-character: footnote;"><sup><span lang="EN-GB" style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[1]</span></sup></span></sup></a>
In 1974 Jan Verbeek suggested that these prints represent different seasons,
namely spring, late spring, summer, autumn and winter, and that the demeanour
and the condition of the animals correspond to the stages in human life.<a href="https://www.blogger.com/blogger.g?blogID=1121654050454553102#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><sup><span style="mso-special-character: footnote;"><sup><span lang="EN-GB" style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[2]</span></sup></span></sup></a>
</span></div>
<div class="MsoNormal">
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-5CV2SZMHlpNxf4Y0MnqXP5xyq-C0BbHaMOk5Fvp-Anb0lAMlLeI45chaO935niKwLvxfNhKnDhioIX2pnArPFNmNEgKyTRZ63923b96ItI-9Ng78rZ7U1tO9Igw5zB8rEcRTo6swWgfJ/s1600/261149825.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-5CV2SZMHlpNxf4Y0MnqXP5xyq-C0BbHaMOk5Fvp-Anb0lAMlLeI45chaO935niKwLvxfNhKnDhioIX2pnArPFNmNEgKyTRZ63923b96ItI-9Ng78rZ7U1tO9Igw5zB8rEcRTo6swWgfJ/s200/261149825.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Album</td></tr>
</tbody></table>
<br />
<br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The album in our collection contains remarkable copies of the second and
third states of this well-known series by Potter. It is highly likely that these
etchings were made by Ignace-Joseph de Claussin (France, 1766-1844). De
Claussin was an amateur engraver who travelled through England and the
Netherlands. He etched an impressive number of copies – more than 200 – after
the most famous Dutch masters in his collection: Rembrandt, Potter, Berchem, Du
Jardin. From literature we know that he definitely copied Potter’s <i style="mso-bidi-font-style: normal;">Vaches et taureaux</i>.<a href="https://www.blogger.com/blogger.g?blogID=1121654050454553102#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><sup><span style="mso-special-character: footnote;"><sup><span lang="EN-GB" style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[3]</span></sup></span></sup></a>
</span></div>
<div class="MsoNormal">
<br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc12dOdEkjR6Jk_CcaTNEr6DwCk7OEQPODpeMsBKHblGVs7WfzhFPGgXkVrdit4QckmAHogNRaKvZGZu3BpA4QtYYeFSzh-FUO4aLC5zJXZ6oaUslD6c4fFFloHuHdJq95b_KdZM1UhODp/s1600/261153387.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="454" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc12dOdEkjR6Jk_CcaTNEr6DwCk7OEQPODpeMsBKHblGVs7WfzhFPGgXkVrdit4QckmAHogNRaKvZGZu3BpA4QtYYeFSzh-FUO4aLC5zJXZ6oaUslD6c4fFFloHuHdJq95b_KdZM1UhODp/s640/261153387.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Worn-out horse</td></tr>
</tbody></table>
</span><br />
<br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The album
is bound in blue paper, with an annotation on the front: “Vente de Rigal en
1817 (...)” and a note pasted in the doublure with a brief description of the
volume in French. These prints are best seen in their original setting, in their
frail but at the same time effective binding. The plates however do not follow
the order proposed in 1974 by Jan Verbeek. Although he suggested that the
prints should have been read as a progression, from the young and healthy horse
to the worn-out and dead ones, the album is not in the order as proposed by
Verbeek which is: 1) the healthy clean <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Friesian</i></b>;<i style="mso-bidi-font-style: normal;"> 2)</i> the <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Neighing horse</i></b><i style="mso-bidi-font-style: normal;">; </i>3)
the <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Cropped
horse</i></b>;<i style="mso-bidi-font-style: normal;"> 4)</i> the <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Plough
horse</i></b>;<i style="mso-bidi-font-style: normal;"> </i>and finally 5) the <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Worn-out
horse</i></b>. In the album however, the <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Worn-out horse</i></b><i style="mso-bidi-font-style: normal;"> </i>is placed between the first two plates and the <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Cropped
horse</i> </b>is located at the end. </span><br />
<br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiRGeq5zl0Cif98YELIM9H-XCYbP8f4SWN4RuhHYmBi64I2d3fAqLMrRygls9531z7YlZBvHV73COJ1MXup4PRjUMu9HYoCR6CBl1_LzILsXC-dSFoAm5yh7ft23Z36va82l1G2CV_V7Jj/s1600/261153401.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="457" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiRGeq5zl0Cif98YELIM9H-XCYbP8f4SWN4RuhHYmBi64I2d3fAqLMrRygls9531z7YlZBvHV73COJ1MXup4PRjUMu9HYoCR6CBl1_LzILsXC-dSFoAm5yh7ft23Z36va82l1G2CV_V7Jj/s640/261153401.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Cropped horse </td></tr>
</tbody></table>
</span><br />
<br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The symbolism of decay was not taken into
consideration in this album. Instead, we think that the copyist arranged the
prints according to the order of another album of originals by Potter that he
might have seen previously. However, this remains speculation. </span><br />
<br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoiajaASeXSRUCluNWO6kbtIBp7stryeyBkQku4O5743j6k_0uHOzOebCtgZTsF6XgGPWsTUiKwgr-f0QBTJq3tQdEK3h5nWjkb92NcbFwzqJRJL_43-GmxmP4hF_HvtuOKikBrubUaosq/s1600/261153397.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoiajaASeXSRUCluNWO6kbtIBp7stryeyBkQku4O5743j6k_0uHOzOebCtgZTsF6XgGPWsTUiKwgr-f0QBTJq3tQdEK3h5nWjkb92NcbFwzqJRJL_43-GmxmP4hF_HvtuOKikBrubUaosq/s640/261153397.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Neighing horse</td></tr>
</tbody></table>
</span><br />
</div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The etchings
are very sharp, so they might be from among the first pressed. Overall the
plates are somewhat smaller than the originals, but they preserve the same
direction and the copyist carefully transcribed the date and the signature of
Potter on each plate. The etcher did his best to copy the originals faithfully,
yet his skills did not allow him to obtain the same successful results of
Potter. For example in the <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Neighing horse</i></b> the head of the
animal is very dark and flattened, especially in the neck area. Either the
etcher etched too deeply in the plate and his scratches are too close to each
other, or he did not know how to handle the mordant and its timing. Similarly,
the landscapes in the background suffer de Claussin’s inexperience. Potter was
able to create a thick atmosphere between the foreground with scant vegetation
beside the horses and the villages in the distance, whereas in the plates by
the French master the sense of a three-dimensional space is less perceivable,
due to the sharpness of the contours of the houses in the background. </span><br />
<br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQGELfEngwIGjYJAfoAHSmMv7_mLkN64rFCJyXAl587sfnJuB-RIRCOawaGD2t1ctOjM5qEoiClvZKXYo7R2GG8ThouAph_MtIYga_SWPnvlqhuE8p6pOQ87E4Jh-61KOOdiseLRUS_Dyg/s1600/261153399.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQGELfEngwIGjYJAfoAHSmMv7_mLkN64rFCJyXAl587sfnJuB-RIRCOawaGD2t1ctOjM5qEoiClvZKXYo7R2GG8ThouAph_MtIYga_SWPnvlqhuE8p6pOQ87E4Jh-61KOOdiseLRUS_Dyg/s640/261153399.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Plough horse</td></tr>
</tbody></table>
</span><br />
</div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">What is
further interesting is that we know that the album was sold at the sale of the
Count of Rigal in 1817 as a suite of copies.<a href="https://www.blogger.com/blogger.g?blogID=1121654050454553102#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><sup><span style="mso-special-character: footnote;"><sup><span lang="EN-GB" style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[4]</span></sup></span></sup></a>
In the sale catalogue these prints are praised for their similarity to the
originals: it is noted that they preserve the same direction but are smaller in
size. </span><br />
<br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">by Anna Bianco</span> </span><br />
<br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Ref. nr. <a href="http://www.antiquariaatvandersteur.nl/Webwinkel-Product-143270665/The-five-horses.html" target="_blank">60561 </a></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
<div class="MsoNormal">
<br /></div>
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<a href="https://www.blogger.com/blogger.g?blogID=1121654050454553102#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[1]</span></sup></span></sup></a><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US;"> Hollstein, F.W.H. <i style="mso-bidi-font-style: normal;">Hollstein's Dutch and Flemish Etchings,
Engravings and Woodcuts, Ca. 1450-1700</i>. </span><span style="font-size: 10.0pt;">Vol.
XVII. Amsterdam: Van Gendt &, 1976. Print. Andries Pauli (Pauwels) -
Johannes Rem. “Series of Horses” 9-13, pp. 216-218.<span style="mso-spacerun: yes;"> </span></span></div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<a href="https://www.blogger.com/blogger.g?blogID=1121654050454553102#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[2]</span></sup></span></sup></a><span style="font-size: 10.0pt;"> Verbeek, Jan. “Vroege staten van de etsen van Paulus
Potter. </span><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US;">1625-1645”.
<i style="mso-bidi-font-style: normal;">Antiek </i>vol. 10 (1974), pp. 854-861.
In the same school of thought is the article by Alexandra Turnbull ‘The Horse
in Landscape: Animals, Grooming, Labour and the City in the Seventeenth-Century
Netherlands’ included in <i style="mso-bidi-font-style: normal;">Shift: Queen’s
Journal of Visual & Material Culture</i>, no. 3 (2010), pp. 1-24, available
online (</span><a href="https://www.google.nl/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwii47Ll36TLAhWEZpoKHVdqAW4QFggdMAA&url=http%3A%2F%2Fshiftjournal.org%2Fwp-content%2Fuploads%2F2014%2F11%2Fturnbull.pdf&usg=AFQjCNGgWOozip1lyZvq-eXu8Z1FZvK_4A&sig2=8n4pEl5f2gWca7hQFO4RpA"><span lang="EN-US" style="color: #1155cc; font-size: 10.0pt;">link</span></a><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US;">). </span><span lang="EN-US" style="mso-ansi-language: EN-US;"></span></div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<a href="https://www.blogger.com/blogger.g?blogID=1121654050454553102#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[3]</span></sup></span></sup></a><span style="font-size: 10.0pt;"> Treydel, Renate. "Claussin, Ignace Joseph de<i style="mso-bidi-font-style: normal;">" Allgemeines Künstlerlexikon</i>. </span><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US;">Berlin, Boston: K.
G. Saur. 2015. </span><span lang="EN-US" style="mso-ansi-language: EN-US;"></span></div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<a href="https://www.blogger.com/blogger.g?blogID=1121654050454553102#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[4]</span></sup></span></sup></a><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt; mso-ansi-language: EN-US;">Catalogue Raisonné Des Estampes Du Cabinet De M. Le
Comte Rigal. </span></i><span style="font-size: 10.0pt;">Paris: Chez L'auteur,
1817. Print., lot 635, p. 288-289.</span></div>
</div>
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<![endif]-->Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-83179008217491201362016-03-03T06:43:00.000-08:002016-03-03T08:22:16.388-08:00Two 'Vinkenbaan' manuscripts<!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<b><span lang="EN-US" style="font-family: "" serif "" , "serif"; mso-ansi-language: EN-US;">The delightful
past time of catching small birds</span></b></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-AAnn4KuF6iM/VqYyNHzatWI/AAAAAAAAAL0/VvcCjCQhU2Q/s1600/pan.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="173" src="https://3.bp.blogspot.com/-AAnn4KuF6iM/VqYyNHzatWI/AAAAAAAAAL0/VvcCjCQhU2Q/s200/pan.jpg" width="200" /></a></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"></span>There
are those dishes that everybody knows, but no one ever had. Perhaps the most
famous one is the French delicacy of ortolan, a small bird that has to be eaten
completely at once, including the head. It is also famous because eating the
dish in the correct way requires wearing a blindfold. The consumption of this cute
bird was forbidden by the EU in 1999. The ortolan is a small bird that
resembles a finch and was difficult to catch, mostly with nets, <span style="mso-spacerun: yes;"></span>which must have been a hectic endeavor. </span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<a href="http://2.bp.blogspot.com/-5oG9C403mBo/VqYyM2YjHWI/AAAAAAAAALw/ye3_096fXc8/s1600/duin.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="196" src="https://2.bp.blogspot.com/-5oG9C403mBo/VqYyM2YjHWI/AAAAAAAAALw/ye3_096fXc8/s200/duin.jpg" width="200" /></a><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"> </span>In
Holland the catching of small birds with nets was popular in the 18<sup>th</sup>
and 19<sup>th</sup> centuries, but nowadays it has completely disappeared,
little known about and would be very much frowned upon. It was a must for every
owner of a larger country house with some land, a ‘buiten’, to have a range
where these small birds could be caught. These were called finch-ranges,
‘vinkenbanen’. There were especially many ranges in the dunes area, because
this was a natural reserve without any buildings and therefore used by birds to
travel along the coast. Because finching was almost exclusively possible in
areas that were owned by a landowner, it was the perfect activity for the upper
class. Therefore any records of attendees to a finch-range would make excellent
cultural-historical information about the upper-class networks of Holland. </span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-wCXkstOcy_E/VqYw0kApSCI/AAAAAAAAALY/1qft-0w6c5s/s1600/60094_11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306" src="https://1.bp.blogspot.com/-wCXkstOcy_E/VqYw0kApSCI/AAAAAAAAALY/1qft-0w6c5s/s400/60094_11.jpg" width="400" /></a></div>
<br />
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-fareast-language: NL; mso-no-proof: yes;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"> </span>This is exactly what
is on offer at Antiquariaat Van der Steur: two very rare books in which the
catchings and catchers at a number of finch-ranges are meticulously noted by
hand by the owners of the ranges. </span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-CCqcR9HBwE8/VqYxyxBp96I/AAAAAAAAALk/5QSK_FSOO8A/s1600/60094_11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="209" src="https://4.bp.blogspot.com/-CCqcR9HBwE8/VqYxyxBp96I/AAAAAAAAALk/5QSK_FSOO8A/s640/60094_11.jpg" width="640" /></a></div>
<br />
<span style="mso-tab-count: 1;"> </span>The first book is a large
register, bound in vellum, with about 200 written pages. In this <span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "MS Sans Serif";">Mr.
Paulus Cornelis Hoynck van Papendrecht (Dordrecht 1793 - Rotterdam 1877) noted
the amount of catches on his finch range at the Weilust estate (probably near
Rotterdam), over the years 1840-1858. </span>The
manuscript starts with recordings of the number of caught finches per day (3000
to 6000 finches a year). But Hoynck also gives an account of the weather, wind,
other caught birds, visitors, etc. Then follow notes on the contruction of the
range. The celebrated architect Zocher had designed the Weilust estate, but
when Hoynck asked him to do the finch range in 1839, Zocher recommended the
expert Manus Lokerman to do the job, who was a fincher himself and his father
too. <br />
<br />
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "MS Sans Serif";">
In the winter of 1839/40 Lokerman made a single 'druip' (open field) finch
range, but this was not to the liking of Hoynck, who preferred to have a double
range, by example of the famous double range of Jan Bondt (1766-1845) at the
Jachtduin estate in Bloemendaal. Lokerman followed the wishes of his client. <br />
The manuscript ends with lists of friends and acquaintances, who were given 25
to 50 finches per year as a gift, to take home as a pet or for consumption. </span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-np_1tIZelgM/VqYwvnSXNGI/AAAAAAAAALI/ixZ1XWifYF4/s1600/60094_4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="126" src="https://2.bp.blogspot.com/-np_1tIZelgM/VqYwvnSXNGI/AAAAAAAAALI/ixZ1XWifYF4/s200/60094_4.jpg" width="200" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; mso-layout-grid-align: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "MS Sans Serif";"><span style="mso-tab-count: 1;"> </span>The
other book is a 19th century copy of a part of the manuscript of Cornelis van
Lennep’s <i style="mso-bidi-font-style: normal;">Fasti fringillares</i>, a two
volume manuscript book on the finching practice, also with numbers of caught
birds (Van Lennep family archive 104-105). However, this copy has additional
information up to 1850 with catch numbers of the ranges Jagtduin, Spaarnberg,
Elswout, Watervliet, Huis te Bloemendaal, Manpad, Saksenburg, Roos en Beek,
Duinlust, Boekenrode en Weilust. </span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-oeL76dOIkF8/VqYwyZxP56I/AAAAAAAAALQ/ulAh-Oc3HWk/s1600/60094_5.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="126" src="https://4.bp.blogspot.com/-oeL76dOIkF8/VqYwyZxP56I/AAAAAAAAALQ/ulAh-Oc3HWk/s200/60094_5.jpg" width="200" /></a></div>
<br />
<br />
<span style="mso-tab-count: 1;"> </span>Together these books
contain valuable information about the practice of finching, an activity that
had a firm role in daily life and is completely faded away from memory.
Moreover, it shows us who visited who and what amount of finches they were
given by the host. There is really no comparison to this in our current times. <br />
<br />
<br />
by Hugo Rijpma<br />
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">B2284</span></b></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Antiqbook:<br />
</span><a href="http://www.antiqbook.com/search.php?action=search&l=nl&searchform=antiqbook&o=steu&action=search&l=nl&catalog=&author=&title=&year=&century=&keyword=&since=&sBn=&full=vinkenbaan"><span lang="EN-US" style="mso-ansi-language: EN-US;">http://www.antiqbook.com/search.php?action=search&l=nl&searchform=antiqbook&o=steu&action=search&l=nl&catalog=&author=&title=&year=&century=&keyword=&since=&sBn=&full=vinkenbaan</span></a><span lang="EN-US" style="mso-ansi-language: EN-US;"></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
Source: Matthey, Ignaz. <i style="mso-bidi-font-style: normal;">Vincken moeten vincken locken, Vijf eeuwen
vangst van zangvogels en kwartels in Holland. </i>Hollandse Studiën 39.
Verloren, Hilversum, 2002. </div>
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<![endif]-->Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-82713248657460335522016-01-21T05:01:00.001-08:002016-02-02T03:39:05.964-08:00How the raven became a gentleman: the evolution of the fable of the fox and the raven in book illustrations<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja_hdXtFOea6v0cNlWRGDhDVlmDBtHMhpan_YJbUMapw2BpGbALJUyhjoCUeKKfcCxO7LwED2Xp-ZE62zyiT44GF0fTo3Zg1ZRhqTNucbKOMl2mcNK6LRAnted1oq2ALFF1ssmLg5ZUdM7/s1600/Image+site.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAE0tBRwmjmWbpM-PdLbthq7ThqUgzE6YZ7mbEVZEw-VBVmg8vJo_KbWbXOQUXXDn3_noxOus6rYrTPdBVUb73n0s_l8ZhW0ochJHW07hNphHmci5Yh8c-jlDyYPrHjn3Ft2DtRu0ffyrp/s1600/60534_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAE0tBRwmjmWbpM-PdLbthq7ThqUgzE6YZ7mbEVZEw-VBVmg8vJo_KbWbXOQUXXDn3_noxOus6rYrTPdBVUb73n0s_l8ZhW0ochJHW07hNphHmci5Yh8c-jlDyYPrHjn3Ft2DtRu0ffyrp/s400/60534_2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;">Gustave Doré in: </span><span style="font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">De Fabelen van La Fontaine</span><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;">, 1895</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK2uXC4u-z4aNVaIvNDGYiM73kS20pf6TrVni1WXrylUwauatIOMFrRPuKF9bEs88XGX9zdAHFkgvG5P7AbjjaA_jWaqJTdcDQWK-VRf1lYd8xd8N2Rqv9asyMjHpMK4O6-p5eBC1oKlaz/s1600/lafontaine2244_2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK2uXC4u-z4aNVaIvNDGYiM73kS20pf6TrVni1WXrylUwauatIOMFrRPuKF9bEs88XGX9zdAHFkgvG5P7AbjjaA_jWaqJTdcDQWK-VRf1lYd8xd8N2Rqv9asyMjHpMK4O6-p5eBC1oKlaz/s320/lafontaine2244_2.jpg" width="208" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><span style="color: black; font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;">J. Punt in: </span><span style="font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Fabelen van J. De la Fontaine, </span><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;">1805</span></span></td></tr>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 14.66px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Practically everybody knows the story of the tortoise and the hare. The overconfident hare that decides to take a nap in the middle of a running contest, while the slow but modest tortoise follows through and finally wins the competition. A story that teaches us that slow but certain is better than fast and improvident and that teaches us morals about how to behave well in society. </span></div>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;">These fables find their roots in the sixth-century before Christ. It is thought that they were written by the Greek slave Aesop. Although his existence remains uncertain and none of his writings survived, numerous tales credited to him, were gathered across the centuries. Many of the tales are characterized by animals and lifeless objects that speak, solve problems, and have human characteristics.</span></div>
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<span style="color: black;"><span style="background-color: transparent; font-family: "calibri"; font-size: 14.66px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The representation of fables in pictures has a long history as well. </span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 14.66px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In comparison to other illustrative fashions the fable was a conservative one, which makes the development of the fable illustration a very interesting subject. From the fifteenth to the nineteenth century there has been little to none evolution in the way the fables were depicted. To demonstrate this, one can compare different illustrations of the fable ‘the fox and the raven’. In this fable a raven (or sometimes a crow) has found a piece of cheese and decides to eat it on a branch. The fox, who wants it for itself, flatters the bird, calling it beautiful and wondering whether its voice is too. While it starts singing, the cheese falls out of his beak and is eaten by the fox.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQlgIqi8u7NEfqTxColjQZVuEmMrWkJZhllRaE_SuM178AuwrniWqLFmQQSw2rswoIfA6HPOuwdBd4apdaYjD1FAcYFNf6Lxt818EWEiIGiqhVhsxqhBHqu8fJxPg7wofq0fz6TGNjbtpb/s1600/b075_3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQlgIqi8u7NEfqTxColjQZVuEmMrWkJZhllRaE_SuM178AuwrniWqLFmQQSw2rswoIfA6HPOuwdBd4apdaYjD1FAcYFNf6Lxt818EWEiIGiqhVhsxqhBHqu8fJxPg7wofq0fz6TGNjbtpb/s200/b075_3.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "calibri"; font-size: 15px; white-space: pre-wrap;"><span style="color: #666666;"><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline;">J. Gole in: </span><span style="font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline;">Sinryke Fabulen,</span><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline;"> 1685</span></span></span></td></tr>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 14.66px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The scene is originally portrayed in the same way over and over again as seen in the small selection of the work by J. Gole, J. Van Vianen and J. Punt. This goes on until the French illustrator and caricaturist J. J. Grandville (1803-1847) gets his hands on the story. Instead of disguising the moral of the story in animal figures, he gives the animals back their human characteristics and places the scene in the spirit of his age. The raven becomes an elite gentleman with his glasses and honorary medal, while the fox is depicted as a mischievous fellow of the lower class. </span></div>
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<tr><td style="text-align: center;"><img border="0" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ-F42yj8aIEv9xP7elydcm7KxpFDY0XVFTC2aky29BlsSwcN50IeaBvaL055f-ncaQQ5OwSDMx7kCHSVFSEembnoESpMxnCpLmlU8TUzdcTojYXYSYUoGzLJeSXU8QPhAven_SUwdgFUf/s200/phaedrus+3007_2.jpg" style="margin-left: auto; margin-right: auto;" width="200" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;">J. van Vianen in: </span><span style="font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Ezopische fabelen van Fedrus</span><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;">, 1703</span></span></td></tr>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 14.66px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span>
<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 14.66px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 14.66px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Another innovator of the fable illustration was the French illustrator and painter Gustave Doré (1832-1883). Doré perfectly represented the romantic ideas of his time in his illustrations. </span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 14.66px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">He did this by depicting the events of the fable in the corner and filling the predominant part of the plate with dark forests and wild cloudscapes, although his picture of the fox and the raven is more conservative than innovative.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg12MYEuBk0p-ED15P4HZCrM2KV-Y5B5HD0vvj_uEg7Ruwy7rG2QoC9XG0Bmw1y2oKv1lSigB3-r__p_3R9kE8_XFgE6isQh2Kbf6uA54mxHPOjCCB6vN9EoE32i8elQlAp6GefPhxBecgQ/s1600/60517_1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg12MYEuBk0p-ED15P4HZCrM2KV-Y5B5HD0vvj_uEg7Ruwy7rG2QoC9XG0Bmw1y2oKv1lSigB3-r__p_3R9kE8_XFgE6isQh2Kbf6uA54mxHPOjCCB6vN9EoE32i8elQlAp6GefPhxBecgQ/s320/60517_1.jpg" width="308" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;">J. J. Grandville in: </span><span style="font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Fables de La Fontaine</span><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;">, 1852</span></span></td></tr>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">De Rave om hoog op eenen boom gezeten</span></div>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Zou een stuk kaes, dat zy gerooft had, eten.</span></div>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Dit zag de Vos, en sprak aldus haer aen:</span></div>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Wat zytge, o Raef, met schoonheit aangedaen!</span></div>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Hoe schoon is uw gelaet! hoe schoon uw veren!</span></div>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Hoe zeer zoud gy elk een betrionferen,</span></div>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Indien ’t geluk, dat alles overheert,</span></div>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">U midelyk had met een’ stem vereert,</span></div>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Waer van gy ongelukkig blyft versteken!</span></div>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">De domme Raef begint hier op te spreken.</span></div>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Maer zy verliest terstond naer lekker aes.</span></div>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">De looze Vos schiet toe, gaet met de kaes.</span></div>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Voort stryken, en belacht dees grove botheit.</span></div>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">De Rave ziende in ’t einde hare zotheit,</span></div>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Sprak dus: Ik leer met schade dezen dag,</span></div>
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<span style="color: black; font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Dat wysheit meer dan sterkte en kracht vermag.</span></div>
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<span style="color: black;"><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span></span></div>
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<span style="color: black;"><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span></span><br />
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<span style="color: black;"><span style="color: #444444;"><span style="color: black;"><span style="font-family: "calibri"; font-size: 14.66px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Ezopische fabelen van Fedrus</span><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;">, 1703, 21-22 pp.</span></span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja_hdXtFOea6v0cNlWRGDhDVlmDBtHMhpan_YJbUMapw2BpGbALJUyhjoCUeKKfcCxO7LwED2Xp-ZE62zyiT44GF0fTo3Zg1ZRhqTNucbKOMl2mcNK6LRAnted1oq2ALFF1ssmLg5ZUdM7/s1600/Image+site.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja_hdXtFOea6v0cNlWRGDhDVlmDBtHMhpan_YJbUMapw2BpGbALJUyhjoCUeKKfcCxO7LwED2Xp-ZE62zyiT44GF0fTo3Zg1ZRhqTNucbKOMl2mcNK6LRAnted1oq2ALFF1ssmLg5ZUdM7/s640/Image+site.jpg" width="640" /></a></td></tr>
<tr align="center"><td class="tr-caption"><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #666666; text-align: center;">[left] (Probably) J. van Noord, 1791 </span></span><br />
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<span style="color: #666666;"><span style="background-color: transparent; font-family: "calibri"; font-size: 14.66px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;"><span style="text-align: center;">[right] </span></span>J. Desandré and W. H. Freeman in: </span><span style="background-color: transparent; font-family: "calibri"; font-size: 14.66px; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Fables de J. de la <span style="color: #666666;">Fontaine</span></span><span style="background-color: transparent; color: #666666; font-family: "calibri"; font-size: 14.66px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, 1868</span></span></div>
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<span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;"><span style="text-align: center;"><br /></span></span>
<span style="font-family: "calibri"; font-size: 14.66px; vertical-align: baseline; white-space: pre-wrap;"><span style="text-align: center;">by Sanne Hansler</span></span>
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<br />Arinehttp://www.blogger.com/profile/16471673219921579557noreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-54701494781649052962016-01-13T04:20:00.000-08:002016-01-28T03:03:54.363-08:00Steven Blankaart's ‘De borgerlyke tafel, om lang gesond sonder ziekten te leven’<!--[if gte mso 9]><xml>
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<!--StartFragment--><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6QucDzYqj8ofVzZ-mjRE5ty3Vsz8XlWbvXopdUlpIQFBIShE9domaKXlxmVbBS5ab-wN7bbKClUpj4caoj4uCt1oguGX-cYwruO7chKO4j-ym-fzE3Wbv7HSqjBHVISuKvx-BBGVc6-bp/s1600/borgerlijke+tafel+frontispiece_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6QucDzYqj8ofVzZ-mjRE5ty3Vsz8XlWbvXopdUlpIQFBIShE9domaKXlxmVbBS5ab-wN7bbKClUpj4caoj4uCt1oguGX-cYwruO7chKO4j-ym-fzE3Wbv7HSqjBHVISuKvx-BBGVc6-bp/s320/borgerlijke+tafel+frontispiece_1.jpg" width="201" /></span></a><span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif; font-size: 11pt; line-height: 115%;">With the New Year come new
resolutions. What more popular than the wish to eat healthier in the next year,
or at least until we feel better about ourselves or <span style="background-color: white;">swimwear </span>worthy.</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-US" style="font-family: "calibri"; font-size: 11pt; line-height: 115%;"><br /></span>
<!--EndFragment--><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: 11pt;">So how do you go about eating healthier? First of all you should know what to
eat and what not of course. These days it is all about the super foods, raw
food, no carbs, no fat (or is fat good now?) and so on. Every year seems to
have a new trend in what is healthy and what not. </span></span></span><br />
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif; font-size: 11pt; line-height: 16.86px;"><br /></span></span>
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif; font-size: 11pt; line-height: 16.86px;">Apparently hundreds of years ago people suffered from the same ideas as we do now. In fact it is the other way around: we still have this obsession with health trends, and have had this for a long time. In 1683 a book was published in Amsterdam called ‘<i>De borgerlyke tafel, om lang gesond sonder ziekten te leven</i>’ (The civil table, to live a long healthy life without illness). </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span lang="EN-US" style="font-size: 11pt; line-height: 16.86px;"><br /></span></span>
</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwxWNKm6G-JrbSSruA48-MyjeO-RYEwTNC-1ooqpGyETKQbfMY7Dt_uidhODgPNCBz2cEH4y82WRDZAIsu9HON0wmkEfniCFhZZXNMK-HLPJmUjjh9epLT3f6PSzhOTTaPMEY9rcS6oE-H/s1600/borgerlijke+tafel+titel_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwxWNKm6G-JrbSSruA48-MyjeO-RYEwTNC-1ooqpGyETKQbfMY7Dt_uidhODgPNCBz2cEH4y82WRDZAIsu9HON0wmkEfniCFhZZXNMK-HLPJmUjjh9epLT3f6PSzhOTTaPMEY9rcS6oE-H/s320/borgerlijke+tafel+titel_1.jpg" width="320" /></span></a><span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif; mso-ansi-language: EN-US;"><span lang="EN-US" style="line-height: 16.86px;">The title is so refreshing: it says exactly what the purpose of the book is! So this book is a kind of cookbook with the latest healthy food tips, just like there are so many today. Actually the title of the book is more elaborate, it goes on as follows: ‘<i>Waar in van yder spijse in ‘t besonder gehandelt werd. </i></span><span lang="NL" style="line-height: 16.86px;"><i>Mitsgaders een beknopte manier van de spijsen voor te snijden, en een onderrechting der schikkelijke wijsen, die men aan de tafel moet houden</i>.' </span><span lang="EN-US" style="line-height: 16.86px;">(In which every ingredient is treated separately. </span></span><span lang="EN-US" style="font-family: "georgia" , "times new roman" , serif; font-size: 11pt; line-height: 16.86px;">Furthermore with a concise manual of the cutting of the dishes, and an education in table manners). So the author Steven Blankaart, a physician of profession, had huge goals in mind with this book. The frontispiece (engraved title print) shows that he had a very broad audience in mind as well. At the table young, adult and old all eat the healthy food that Blankaart prescribes in this book.</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-US" style="mso-ansi-language: EN-US;">[Reference Nr. </span><span lang="EN-US" style="mso-ansi-language: EN-US;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><a href="http://www.antiqbook.com/books/bookinfo.phtml?nr=1361880359&l=nl&seller=steu">B1467</a>]</span> </span></span></div>
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Arinehttp://www.blogger.com/profile/16471673219921579557noreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-36456771974998774212016-01-08T09:00:00.000-08:002016-01-28T03:04:17.455-08:00Theodor de Bry (1528-1598) ORGUEILLE ET FOLLIE<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA0ijgEHdZ9Fz-IRXc46pDHTnChYhFx6zAsPj8c8SEUfLwvqztofQ6Rn1BDXDEiHhvCMsILWDQc10dsGKlIPI3ixGBjCk23eyvNUYVNccksW2QlX_10ZqD20FeZ0qX6BFJp81VMpeNLdqw/s1600/60535_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA0ijgEHdZ9Fz-IRXc46pDHTnChYhFx6zAsPj8c8SEUfLwvqztofQ6Rn1BDXDEiHhvCMsILWDQc10dsGKlIPI3ixGBjCk23eyvNUYVNccksW2QlX_10ZqD20FeZ0qX6BFJp81VMpeNLdqw/s200/60535_1.jpg" width="200" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuA7uEvAXh_v6dRjl2bvQ9odBorf4itzuqb1GWwJcn09YgQQcYQ1xQUTKn6bsSrtnfU0_BkPhuBAy7NKio5O7cViRdo7hxB-w45hKzOl1ZCbTdylT7YIQL3mxWvJT-AedQ2jMnnaEQfuc2/s1600/60535_2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuA7uEvAXh_v6dRjl2bvQ9odBorf4itzuqb1GWwJcn09YgQQcYQ1xQUTKn6bsSrtnfU0_BkPhuBAy7NKio5O7cViRdo7hxB-w45hKzOl1ZCbTdylT7YIQL3mxWvJT-AedQ2jMnnaEQfuc2/s200/60535_2.jpg" width="188" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Portrait of Pope Paulus IV(?)</td></tr>
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Published c. 1580 this plate, <i>Pride and Folly</i>, belongs to a series of four designs for tazzas by de Bry. It is a medallion with a <b>double head</b>: if turned around the print shows a profile of a satyr, reminding of Folly. The border is decorated with fantastic creatures, themes and symbols referring to Superbia like a peacock, the mistress of Babylon, the fall of Phaeton, the Fall of Marcus Curtius, Adam and Eve under the tree. The other four plates of the set feature the same characteristics: a medallion included in a wide border with grotesques with figures, animals and vines on a dark ground. The border around the medallion and the outer edge feature Dutch and French verses.<br />
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It has been suggested that the male profile might be that of Pope Paul IV (born Gian Pietro Carafa, 1476-1559) who instituted the Inquisition as a political organ of the Church, to control not only dogmatic issues but also political and economical businesses. Under his papacy was introduced the 'Index librorum prohibitorum' and 'ghettos' for the Jews were institutionalized with the 'Cum nimis absurdum' bull (1555). This bull revoked all the rights of the Jewish community and placed religious and economic restrictions on Jews in the Papal States, renewed anti-Jewish legislation and subjected Jews to various degradations and heavy restrictions on their personal freedom.<br />
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Signed within internal border: 'T. D. B. F.'. On the verso unknown collector's mark.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoHvIy7Mzp6XGIMNPfc7Hke7ek0qh0BOsmSscLB_kqtuXlxddCu78b9BKrxU6X9mycoTpnMoysUcgRkw60TKKSDe_k4zWppvHqgGIQBEOQ-ijlmhH16pvwfAmuyMMUqCuw_shAHqzGgEHV/s1600/60535_3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoHvIy7Mzp6XGIMNPfc7Hke7ek0qh0BOsmSscLB_kqtuXlxddCu78b9BKrxU6X9mycoTpnMoysUcgRkw60TKKSDe_k4zWppvHqgGIQBEOQ-ijlmhH16pvwfAmuyMMUqCuw_shAHqzGgEHV/s200/60535_3.jpg" width="190" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Satyr</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidzARY08J98tbApbD6QQIyDCJywEIK4wFuzlMzJdAmYzySJkWmwJ_Wf7HpxH0a61mccZr7NSqYVfRt36Aa5I-c2b2IG03R3T7HU1l0ZZMFC5JbE7TAePmIvPXBv0eeUV2-tthzmRCrT4vl/s1600/60535_4.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidzARY08J98tbApbD6QQIyDCJywEIK4wFuzlMzJdAmYzySJkWmwJ_Wf7HpxH0a61mccZr7NSqYVfRt36Aa5I-c2b2IG03R3T7HU1l0ZZMFC5JbE7TAePmIvPXBv0eeUV2-tthzmRCrT4vl/s200/60535_4.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Mistress of Babylon</td></tr>
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Engraving on paper, trimmed within platemark; diameter: 124 mm; only state; some dirt and traces of former mounting on the verso, irregular margins; Hollstein 180; Guilmard 368; Atlas van Stolk I, 413. Exhib 1987, Ornemanistes du XVe au XVIIe siècle, no. 68.<br />
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Reference nr. <a href="http://www.antiquariaatvandersteur.nl/Webwinkel-Product-135488605/ORGUEILLE-ET-FOLLIE.html" target="_blank">60535</a><br />
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by Anna BiancoUnknownnoreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-593316415086918802016-01-07T06:40:00.002-08:002016-01-28T03:04:07.000-08:00 Louise Charlotte Ritter (1779-1859): Self portrait as personification of Pictura<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGvEgDlk8JxJzlOyvRdMAolR2ERthWL1vkLOWwz1bmx0oo-hjLV4VPcaU1O3ed1ZRfkoZzCUOE4M8jxjtEIzpi4ZqmgWDgJHaoUZQpQ3cdr3Zv9or1s1xyjS0QZOdlgaBswNt-aW5bhDF5/s1600/60563.De+Neufville-Ritter.painting_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGvEgDlk8JxJzlOyvRdMAolR2ERthWL1vkLOWwz1bmx0oo-hjLV4VPcaU1O3ed1ZRfkoZzCUOE4M8jxjtEIzpi4ZqmgWDgJHaoUZQpQ3cdr3Zv9or1s1xyjS0QZOdlgaBswNt-aW5bhDF5/s400/60563.De+Neufville-Ritter.painting_1.jpg" width="320" /></a></div>
Beautiful drawing by <b>Louise Charlotte Ritter </b>(1779-1859). She portrayed herself as a personification of Pictura, sitting beside a table with a skull, the bust of Homer, a sculpture and a drawing; she is holding a palette and brushes, she's gazing at a painting on an easel. She is sitting in an ideal classical looking interior with a colonnade ending behind her and decorated with a green curtain . The painter is dressed in antique fashion in a white dress with a fallen shoulder pad, uncovering partially her breasts. A darker robe probably covering her shoulder has also fallen; only a small portion hangs from her right shoulder. Her skin is very pale, reminding the texture of a sculpture; almost like a goddess she wears sandals, a hairband and a golden armband, around her forearm. Signed on the bottom right: 'L: C: de Neufville née Ritter inv: t et pinx:t.'<br />
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Drawing on paper; pen and brush in grey, brush in color, framing line in pen brown ink; total: 128 x 99 mm<br />
[reference nr. <a href="http://www.antiquariaatvandersteur.nl/Webwinkel-Product-135488447/Self-portrait-of-Louise-Charlotte-Ritter-as-personification-of-Pictura.html" target="_blank">60563</a>]<br />
<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-8687423194287012662015-11-19T02:21:00.000-08:002015-11-19T02:43:40.202-08:00Initiation of a member of the Bentveughels (the Schildersbent)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1SvwmlrcHpnKrBDXrRb8GoA5zKKShD9A_74R0jUVgl8zPCeNedgH14JlzqzPpp9ilItHZQDoo8Sw678SmQ0ECO9eT6dHO7XDND_ZDklPy9efJVrokOWhlq6mHh_Qk02Cbu53lf5rF2n6B/s1600/60422_1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1SvwmlrcHpnKrBDXrRb8GoA5zKKShD9A_74R0jUVgl8zPCeNedgH14JlzqzPpp9ilItHZQDoo8Sw678SmQ0ECO9eT6dHO7XDND_ZDklPy9efJVrokOWhlq6mHh_Qk02Cbu53lf5rF2n6B/s400/60422_1.jpg" width="296" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Initiation of a member of the Bentveughels (the Schildersbent)</td></tr>
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<tr><td style="text-align: center;"><a href="http://imagehandler.rkd.nl/wwwopac.ashx?command=getcontent&server=images&value=jpg\495\0000113495.jpg&width=700&height=700" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://imagehandler.rkd.nl/wwwopac.ashx?command=getcontent&server=images&value=jpg\495\0000113495.jpg&width=700&height=700" height="400" width="348" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The original painting (<a href="https://rkd.nl/explore/images/102539" target="_blank">RKDimages</a>) </td></tr>
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Print after a painting by Domenicus van Wijnen (1661-1698) (private collection), reduced in measures and mirrored in respect to the first copy by Matthijs Pool (1676-1740). According to Johan van Gool, Bonaventura van Overbeeck entrusted Pool with the engraving after a set of three paintings by van Wijnen, to ensure the immortality of the brotherhood and to please the lovers of the art of print. According to Tania De Nile (I <i>Bassifondi del Barocco: La Roma del vizio e della miseria</i>, exhib. cat., 2014, p. 164-165) this explains the precision with which faces of the participants and the features of the staged spectacle are reproduced. The present print reproduces the first painting of the series: a sort of 'tableau vivant' taking place in an inn, where the bentbrothers are dressed in antique attire, each of them playing a different role in the curious staged mythological pantomime preceding the initiation ceremony. The 'Veltpaap' (countryside priest) stands on the top left of the composition, crowned with laurel, pointing with his long sword in the direction of the newcomer, or 'Nieuwling' or 'Groentje' (literally 'the green youngster') introduced by a pander and another character holding a long halberd (the 'Switzer', or the Swiss). </div>
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On the bottom two columns of text in Dutch: 'De Roomsche Achilderbent, de Waareld door vermaart... Wort hy verwellekomt, met eerchooten aan den dis'; on the bottom address of Pool:'M. Pool exc: Amstelod: op de Leydse Graft by de Heeren Graft'. </div>
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Soon after the master of ceremonies had pronounced a series of precepts concerning the art of painting and the sacred statute of the company, the young artist would have sworn his loyalty in front of the other brothers. These would have replied with: 'Viva, viva, viva onzen nieuwe Medebroer!'. Bacchus would have been present to the ceremony, seated on a barrel, as he was the protector of the brotherhood. Below on the right one brother is lighting a firecracker which refer to one of the tests the newcomers had to take to enter the brotherhood. (De Nile).</div>
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More at: <a href="http://www.antiquariaatvandersteur.nl/Webwinkel-Product-131889917/Initiation-of-a-member-of-the-Bentveughels-%28the-Schildersbent%29.html">http://www.antiquariaatvandersteur.nl/Webwinkel-Product-131889917/Initiation-of-a-member-of-the-Bentveughels-%28the-Schildersbent%29.html</a></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-47953699100073965842015-11-18T03:57:00.000-08:002015-11-18T04:48:08.751-08:00From the Sistine Chapel in Rome...<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWSzHInDT2VlEV4VBic3UPUA3kYDCAodB9iOT-tSx5L5JCRjDQutO1MdkEXq5X2eNrysCncpVHI-_iYsKGuWt2pD0IbHKv9dS5KPfMIixfoUZwmlvtRfKGdDJVvGC-HjbHfvHj7TKT0Ofa/s1600/salamanca.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWSzHInDT2VlEV4VBic3UPUA3kYDCAodB9iOT-tSx5L5JCRjDQutO1MdkEXq5X2eNrysCncpVHI-_iYsKGuWt2pD0IbHKv9dS5KPfMIixfoUZwmlvtRfKGdDJVvGC-HjbHfvHj7TKT0Ofa/s400/salamanca.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Niccoló della Casa after Michelangelo (Nr.<a href="http://www.antiquariaatvandersteur.nl/Webwinkel-Product-131297423/The-Last-Judgement.html" target="_blank"> 60423</a>)</td></tr>
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For the upcoming Jubilee 2015 here is a bit of Michelangelo's Last Judgement: Seventh of the twelve plates engraved by Nicoló della Casa after 'The Last Judgement' by Michelangelo: angels blowing their trumpets announcing the Judgement while two in the front, holding books are choosing the destiny of souls. Group just below the Judging Christ. For a view of the complete series see Metropolitan Museum of New York, inv. 62.602.652(1).</div>
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When the 'Last Judgement' by Michelangelo was uncovered in 1541 not everyone was allowed to see such painted wonder. Print dealers and publishers felt that perhaps print buyers that could not see the original might have welcomed printed copies. As Anne Dillon puts it '[print buyers] would have heard of [the fresco], talked about and would be keen to have as close a depiction of it as possible. The printers did not disappoint. They ensured that their engravers fulfilled these commercial demands and followed the original as closely as possible. This was the approach adopted by Nicoló della Casa when he engraved Michelangelo's Last Judgement in eleven [sic!] plates.' (A. Dillon: Michelandelo and the English Martyrs, 2012, p.150). All the plates of the set have irregular shapes, however this impression has been deeply cut within the platemark until the bell of one of the trumpets.</div>
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Bury (Michael Bury, Niccolò Della Casa’s Last Judgement Dissected, Print Quaterly, XXVII, 2010, 1, pg.3-4) maintains that besides the plate with 'Caron's ship' and other three, the present plate, 'Judging Jesus' and 'The Resurrection of Death' were printed to be sold as sigle sheets. Bernadine Barne shares this same opinion (Bernadine Barne, Michelangelo in print, 2010, pg. 106) confirmed by the presence on the print of the inscription recalling that Michelangelo painted the fresco, the source of this print. The inscription disappears when set up with the other plates.</div>
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Lettered below on the right:'MICHEL ANGELVS FLORENTINVS PINXIT IN VATICANO / EXCVDEBAT ANT. SALAMANCA 1548' more at <a href="http://www.antiquariaatvandersteur.nl/Webwinkel-Product-131297423/The-Last-Judgement.html">http://www.antiquariaatvandersteur.nl/Webwinkel-Product-131297423/The-Last-Judgement.html</a></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-80984402914341050412015-10-31T03:59:00.000-07:002015-11-18T04:04:47.655-08:00Halloween is here!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaoCfRPc7_Umd5SIpd4_2eJikb4Zi7WqvkkAhGftZjaRBxxwIByR2PytUvf3Rzt8BsN-Yd9eNzP24bkPm8NLdZXBxQMokP7n3c-SUa4pbB2ppCorjn763jhE0QQLabPDFvm8aXlBsAoSZV/s1600/halloween1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3ZklblOq1ivNvBXAIf2uqO2-O-kYhUItwYFeW1aZ1ql2jqi_Krx7WZL4uC1IcoDrIGajOgR6jCRDEEzuafrwmY0EWmyHg1NcWKkMCqK0lD44fd3DU3N5WfH_6Zkusc_4qGD1iTYyIQmrE/s1600/halloween2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3ZklblOq1ivNvBXAIf2uqO2-O-kYhUItwYFeW1aZ1ql2jqi_Krx7WZL4uC1IcoDrIGajOgR6jCRDEEzuafrwmY0EWmyHg1NcWKkMCqK0lD44fd3DU3N5WfH_6Zkusc_4qGD1iTYyIQmrE/s320/halloween2.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaoCfRPc7_Umd5SIpd4_2eJikb4Zi7WqvkkAhGftZjaRBxxwIByR2PytUvf3Rzt8BsN-Yd9eNzP24bkPm8NLdZXBxQMokP7n3c-SUa4pbB2ppCorjn763jhE0QQLabPDFvm8aXlBsAoSZV/s1600/halloween1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaoCfRPc7_Umd5SIpd4_2eJikb4Zi7WqvkkAhGftZjaRBxxwIByR2PytUvf3Rzt8BsN-Yd9eNzP24bkPm8NLdZXBxQMokP7n3c-SUa4pbB2ppCorjn763jhE0QQLabPDFvm8aXlBsAoSZV/s320/halloween1.jpg" width="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrvLdfXGtX4kDcb2-6LIyHJx9mTbShM6bHkg0KSpQ18Wj6__kLS8zWruNKC2FPgd2ebuM_IhLCU9MmCXlugvZwH9P3UuIGrP5dpmJqM4qrzKe-I4-xTVlmWKg9mP99CUWiCKUw9OLD1aLS/s1600/halloween3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrvLdfXGtX4kDcb2-6LIyHJx9mTbShM6bHkg0KSpQ18Wj6__kLS8zWruNKC2FPgd2ebuM_IhLCU9MmCXlugvZwH9P3UuIGrP5dpmJqM4qrzKe-I4-xTVlmWKg9mP99CUWiCKUw9OLD1aLS/s320/halloween3.jpg" width="320" /></a>Today is Halloween, so we treat you with these beautiful books about Ghosts! For sale at www.vandersteur.nl, EUR 736.<br /><br />It's meant for "Allen, welken het bestrijden en afleggen van ontrustende vooroordeelen, met opzicht tot het aanwezen van geesten ernst is.....'.<br />Here is a list of some of the remarkable ghost stories in this book:<br />1. Van een spook, hetwelk eene deur, die niet alleen gesloten, maar ook van binnen gegrendeld was, van buiten opende, en eenen openbaaren lochenaar van spooken verbaasd.'<br />2. Bewys, dat een mensch zig in de daad zomwylen op twee plaatzen teven kan laten zien.<br />3. Van een brommend spook, hetwelk eens eene andere spookgedaante op het middagtsuur eenen vreeselijken schrik aanjoeg.<br />4. Van eenige honderd spooken, die in eene kerk, in West Pruisen, hunne zeer wonderlyke en nogthans natuurlijke rol speelden.<br />5. Van eene wezenlijk overledene matroone, welke, onmiddellyk na hare begraafnis weder levende in haar sterfbed lag.<br />6. Bewijs dat sommige mensen zich zelven dubbel zien.<br />8. Van een spook, het welk in eene oude ridderzaal, met veel geraas zyne spokerijen dreef, en veeltijds het licht uitblies.<br />15. Van een spook, het welk na dertien jaaren tusschen vier muren gemetsels te zijn geweest, nog zingende spookte.<br />
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-64482316131962253112015-05-18T04:46:00.000-07:002015-11-18T04:47:22.466-08:00In... Leuven<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXRnEHe85bAKhyphenhyphenwPsvYCSTR1CheEWqoYKleERV35LW_qBmS6ikN8dcg4F09AarxDco47LhjHBqhqWB5Isftd1y1rFtTbpaj-8m9wDxSx8P_OZ9eu5RfWk8eNR-hA5VQzK_fp8uzDdiyQjW/s1600/11289566_1591490721123506_6410253697212929713_o.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXRnEHe85bAKhyphenhyphenwPsvYCSTR1CheEWqoYKleERV35LW_qBmS6ikN8dcg4F09AarxDco47LhjHBqhqWB5Isftd1y1rFtTbpaj-8m9wDxSx8P_OZ9eu5RfWk8eNR-hA5VQzK_fp8uzDdiyQjW/s200/11289566_1591490721123506_6410253697212929713_o.jpg" width="133" /></a></div>
Prachtige rondleiding gekregen van Garrelt Verhoeven Universiteitsbibliotheek Leuven. Zeer interessant gebouw dat Garrelt met zijn team weer helemaal op de kaart gaat zetten! En terecht! zie voor meer info:<a href="http://bib.kuleuven.be/" target="_blank"> https://bib.kuleuven.be</a> Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-52285664627250170582015-05-05T04:30:00.000-07:002015-11-18T04:32:14.152-08:00Bevrijd!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2VQXIjNIm1YtTxNt5Vm7Fub9yHDe6CwmYRrk6cSvDO3uBuuKuJig4W4VeyirMcPydgektbcazFKpRBkw269PWdxpaGraPR6E6f9E5LIhZpLx_XHNhPHHc2-ouQGXuJS0pDDxPASSRo6tj/s1600/857125_1585663758372869_8231147368756564413_o.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2VQXIjNIm1YtTxNt5Vm7Fub9yHDe6CwmYRrk6cSvDO3uBuuKuJig4W4VeyirMcPydgektbcazFKpRBkw269PWdxpaGraPR6E6f9E5LIhZpLx_XHNhPHHc2-ouQGXuJS0pDDxPASSRo6tj/s320/857125_1585663758372869_8231147368756564413_o.jpg" width="228" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN7k9CostK4z1Dn9uXmgr1I81sPf1eEkgif2VI8hRA98qgsnlsmABM7gbmuVDeuB6Lj88XQ9WJVpJlX0Un-0Iy1ugqXNmyHmfygBAoNL8cRqnYlqXHhOl8CRuJBplnIWzauMD-wiCgWj4n/s1600/11087949_1585663775039534_1455196250114436471_o.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN7k9CostK4z1Dn9uXmgr1I81sPf1eEkgif2VI8hRA98qgsnlsmABM7gbmuVDeuB6Lj88XQ9WJVpJlX0Un-0Iy1ugqXNmyHmfygBAoNL8cRqnYlqXHhOl8CRuJBplnIWzauMD-wiCgWj4n/s320/11087949_1585663775039534_1455196250114436471_o.jpg" width="263" /></a>"Bevrijd. Het knellende zware juk viel af. Menigvuldige gebeden waren verhoord. Nu paste slechts vreugde en dankbaarheid". Aldus de laatste woorden van dit interessante opstel over de bevrijding door wijkzuster Kosters-Maardijk te Almelo, mei 1945. Over de bevrijding door de Canadezen te Almelo op 4 april 1945, het Diaconessenhuis, de opgeblazen brug over Kanaal Amelo-Nordhorn en een bevalling. Te koop bij Antiquariaat Van der Steur vandaag in de aanbieding van EUR 79,50 voor EUR 69,50. Zie voor meer interessante stukken over de bevrijding www.vandersteur.nl (voer bij search "bevrijding" in).<br />
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-22126760746396953662015-04-04T04:28:00.000-07:002015-11-18T04:29:23.689-08:00Travel report of Bontekoe to Garrelt Verhoeven<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhImy-PDIsk-d4l4X-qDXmhdiwtaZ_gmdc82F8iph2m6vRcmktBi8qom5S6WGSpPlE3oO6pdWzcVi2v4WyKU0EtkOiPsBI-USZnyjVnky_StoDtrSq69yZZWVRBQPkg2Zus3g054Vw2CEsC/s1600/11127815_1571235129815732_3619200657218342723_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhImy-PDIsk-d4l4X-qDXmhdiwtaZ_gmdc82F8iph2m6vRcmktBi8qom5S6WGSpPlE3oO6pdWzcVi2v4WyKU0EtkOiPsBI-USZnyjVnky_StoDtrSq69yZZWVRBQPkg2Zus3g054Vw2CEsC/s320/11127815_1571235129815732_3619200657218342723_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo of the celebration</td></tr>
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Together with the friends of the <b>Bijzondere Collecties UvA</b>, <b>Antiquariaat Van der Steur</b> donated the very rare travel report of Bontekoe to the leaving head curator Garrelt Verhoeven. Garrelt formerly worked at Antiquariaat van der Steur and is now going to the KU Leuven.<br /><br />The book is the very rare travel report "het Journaal van Willem Ysbrants Bontekoe van Hoorn", dated 1725. It has beautiful woodcuts among which the portrait of Bontekoe on the titlepage.<br />
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1121654050454553102.post-29301181791464655462015-03-18T04:24:00.000-07:002015-11-18T04:26:46.657-08:00ILAB POP UP BOOK FAIR - HaarlemAntiquariaat De Vries & De Vries, Veilinghuis Bubb Kuyper and Antiquariaat A.G. van der Steur are welcoming you from 15.00 - 18.00 in the waiting room of Haarlem Central Station. From 17.00- 18.00 free valuation of rare books and prints!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil4QyBuKnARl4g46cC2Tqb7WBfZw4PiZ0bS5iNm2XSp9xy3Qs4Q6RmqeytE8B7q0HPm5bV_v-YSX0pC1yazW18j4Ii0RgpF5Wi3tCCDhoxj9x6sC_e4GnTwYKPK4n_nfj-OTiZhYeuArjv/s1600/11070414_957537207591353_5407601396765351801_o.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil4QyBuKnARl4g46cC2Tqb7WBfZw4PiZ0bS5iNm2XSp9xy3Qs4Q6RmqeytE8B7q0HPm5bV_v-YSX0pC1yazW18j4Ii0RgpF5Wi3tCCDhoxj9x6sC_e4GnTwYKPK4n_nfj-OTiZhYeuArjv/s320/11070414_957537207591353_5407601396765351801_o.jpg" width="222" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">ILAB poster</td></tr>
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Unknownnoreply@blogger.com