{"title":"Art","description":"","products":[{"product_id":"chippendale-a-collection-of-ornamental-designs-1830","title":"Chippendale, A collection of ornamental designs, [1830].","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEnglish Rococo furniture models\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThomas Chippendale (1718-1779); Matthias Lock (1710-1765).\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cstrong\u003eA collection of ornamental designs, applicable to furniture, frames \u0026amp; the decoration of rooms in the style of Louis 14th - on 24 plates, chiefly after Thos. Chippendale.\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e [London, John Weale, ca. 1830].\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFolio (33x26 cm.). 24 leaves with 24 numbered engraved plates. Green morocco with gilt title on spine.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLarge model book for carpenters giving designs for highly rococo tables, mirrors, chimney-pieces, and cartouches. The designs were made by the two leading artists in mid-18th century wood carving and design: Thomas Chippendale and Matthias Lock. This is one of two such model books, the other being a smaller oblong with the name Mathew Lock at the end of the title instead of Chippendale, see Rijksmuseum RP-P-2020-106. The present folio album has six cartouches depicting large Rococo designs against a landscape with classical ruins were probably by Chippendale and the rest by Lock.\u003cbr data-mce-fragment=\"1\"\u003e Their work remained influential in the early 19th century as the summum of good taste. “It is by means of such a charming book of designs as the above that Art taste will be instilled into the minds of the working Artists and Mechanics. It is Books versus the Trade Unions and the Pot-house” (Quaritch). The plates were engraved by various artists: François Vivarès, A. Walker and J. Taylor.\u003cbr data-mce-fragment=\"1\"\u003e The work is undated, but based on an inscription in another copy it dates from before 1835: “Thomas Hays, Glasgow, 1835” (Heckscher).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCondition: Slight foxing throughout, some plates more than others, otherwise in very good condition.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReference: Quartich 1879, 19222-6, p. 1943; Morrison Heckscher, Lock and Copland, a catalogue of the engraved ornament. In: Furniture History, vol. 15 (1979), pp. 1-23; Mary A. Vance, Thomas Chippendale, 1718-1779: A Bibliography. Architecture series, vol. 1398 (1985).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"Artem","offers":[{"title":"Default Title","offer_id":40672444448943,"sku":"","price":1250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/16cf85f0-cc8d-4d3b-bc0lb-2a66d2c47682.jpg?v=1721128534"},{"product_id":"calvert-picturesque-views-by-calvert-1824","title":"Calvert, Picturesque views by Calvert. 1823.","description":"\u003cdiv data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCalvert's rarest print album\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFrederick Calvert (Cork 1793-1852).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePicturesque views by Calvert.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLondon, Hodgson \u0026amp; Co, 1823.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOblong 4° (24 x 16,5 cm.). With 24 soft ground etched plates and title. Original publisher’s half morocco with printed front cover. With original tissue guards. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eVery rare plate album by Irish landscape painter Frederick Calvert, complete with 24 “picturesque views” and in the original binding. Calvert moved to England in 1815 and, besides painting, produced a number of print albums and model books, a.o. The young artist's instructor (London, Hodgson and Co., 1823) and Rural scenery (London, Hodgson and Co., ca. 1825). He designed plates for Picturesque views ... in Staffordshire and Shropshire (Birmingham, William Emans, 1830-1831), and for A new and compendious history, of the county of Warwick (Birmingham, William Emans, 1830). Perhaps his most famous work was for The Isle of Wight illustrated (1846).\u003cbr data-mce-fragment=\"1\"\u003e The present work is the rarest of Calvert’s published oeuvre, with just 4 copies recorded in WorldCat and none at auction. It formed the basis for some of his later albums: “What may perhaps be an earlier form of the work was published by Hodgson and Company in 1823, with the title Picturesque views by Calvert (see); this has not been seen, but contains at least 24 views of cottages and scenery, and may well represent the first form in which some of these plates were published. The appearance of the letter 'C' before some of the plate numbers may signify only that these belong to Calvert's book of 'Cottages'; alternatively, it may indicate that this was his third independent publication, The young artist's instructor and Rural scenery being notionally, perhaps, A and B.!” (Savage).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e: owner's inscription in red pencil on front paste-down and in ink at foot margin of title by \"Ann Dufty, Oakham, [18]24\". Binding rubbed and soiled. Foxed. Stain in top right corner throughout.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReference\u003c\/strong\u003e: Savage, Catalogue of the British Architectural Library Early Imprints Collection, Early Printed Books, 1478-1840, Volume 5, no. 3782; Spelman 46:21; cf. Abbey, Life 103, 104 \u0026amp; 105.\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":41122288959663,"sku":"","price":1500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/products\/Calvert1_7d8f4c97-4f5a-4ecc-94ac-9db5af7bf926.jpg?v=1640679949"},{"product_id":"dutch-1650s-drawing-in-the-manner-of-willem-drost","title":"Rembrandt School, Diogenes searching for an honest man with a lamp, 1650.","description":"\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAnonymous (possibly Willem Drost (1633-1659).\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eDiogenes searching for an honest man with a lamp.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e[Amsterdam?, ca. 1650].\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e19,5 x 25,5 cm. Brown ink on laid paper, watermarked France \u0026amp; Navarre (ca. 1650).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDutch mid-17\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e century drawing, possibly by Rembrandt pupil Willem Drost. Depicted is Diogenes in robes, with his lantern in his left hand and a staff in his right and a group of four figures. Diogenes the Cynic (4\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e cent. BC) renounced material possessions and lived in poverty. He would go out with a lighted lantern in broad daylight to look for an honest man, instead he would only find that everyone around him was morally corrupted. He would scare passersby with his lantern, causing them to lose their mask and reveal their true intentions.\u003cbr data-mce-fragment=\"1\"\u003e In the present drawing the group of four is clearly scared by the lantern of Diogenes, who seems to be towering over them. In fact the artist has placed Diogenes on a higher plane than the passersby, an invention that effectively enhances the morality of the scene. This is not found in other contemporary depictions of the same story by artists like Rubens, Sandrart, Castiglione and Jordaens.\u003cem data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003c\/em\u003eThe artist displays a masterful understanding and application of chiaroscuro. Not only does he use it for the composition, he also applies it to benefit the narrative. Light is literally and figuratively at the center of the scene. The artist from the “Rembrandt school” who made most use of stark chiaroscuro in his drawings was Willem Drost (1633-1659). He became a student of Rembrandt around 1650, which corresponds with the dating of the watermark. The style of drawing is also close to drawings attributed to Drost. The facial type of Diogenes, in particular the pointy nose, corresponds with that found in each of Drost’s drawings in the Rijksmuseum. Also the hatchings match those in other works by Drost, who made much use of individual lines instead of a continuous zig-zagging stroke and penstrokes of varying thickness to create depth in his compositions (Bonny van Sighem, 2000).\u003cbr data-mce-fragment=\"1\"\u003e \u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e: Number 3 in pencil at the bottom, previous attribution to Ferdinand Bol written in pencil on the back. Several small brown spots and a couple minor defects, including one on the face of the central figure in the group, top edge slightly frayed and creaded. Old repair with tape on the back at the top.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Literature\u003c\/strong\u003e: B. van Sighem, 'attributed to Willem Drost, David Prevents Abishai from Killing Saul, Amsterdam, c. 1650 - c. 1655', in J. Turner (ed.), Drawings by Rembrandt and his School in the Rijksmuseum, online coll. cat. Amsterdam 2000 Bonny van Sighem, 2000; for the watermark cf. Churchill, fig. 305; Heawood 305 \u0026amp; 307.\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":41122328510639,"sku":"","price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/products\/drostt.jpg?v=1660658462"},{"product_id":"crushing-by-elephant-and-other-executions-on-sri-lanka","title":"Van der Schley, Exécution par un elephant, 1750.","description":"\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\n\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e\u003cem data-mce-fragment=\"1\"\u003eCrushing by elephant and other executions on Sri Lanka\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eJakob van der Schley (1715-1779).\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1. Exécution par un elephant; 2. Autres supllices.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e[The Hague, 1750].\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGraphite and ink drawing on slightly blue paper. Mounted on paper support with gilt border. 17,5 x 12,5 cm. (drawing); 24 x 18,5 cm. (mounting).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePreparatory drawing by Jakob van der Schley for his famous print depicting execution methods that were supposedly used on Sri Lanka: crushing by a mounted elephant, impalement and hanging. The print was made by Van der Schley for Antoine Francois Prevost d’Exile’s \u003cem data-mce-fragment=\"1\"\u003eHistoire Generale des Voyages, \u003c\/em\u003epublished by Pierre de Hondt in The Hague 1746-1789. It is included in volume VIII, where it accompanies the part on Sri Lanka (Ceylon). The part on Sri Lanka was largely derived from Robert Knox’s \u003cem data-mce-fragment=\"1\"\u003eAn Historical Relation of the Island Ceylon\u003c\/em\u003e (1681), which was also illustrated with a plate showing the execution by elephant. Van der Schley modelled his composition after that example, but made drastic artistic improvements. His drawing is of a much higher artistic quality compared to the rudimentary manner in which the execution by elephant was made in Knox’s work. Another difference is the other execution methods that are depicted. In Knox’s illustration the other victim was tied to a pole, but in the present design by Van der Schley one man is impaled and another hung from a tree. He also included dogs about to eat the corpses, for extra gruesome effect. \u003cbr data-mce-fragment=\"1\"\u003e The image had a strong influence on how the West perceived Sri Lankan and Indian culture. The \u003cem data-mce-fragment=\"1\"\u003eHistoire Generale des Voyages\u003c\/em\u003e was the great standard work on non-Western cultures of the Enlightenment, consisting of no less than fifteen folio volumes, all thoroughly illustrated. It was translated into various languages and multiple subsequent editions appeared. The present depiction of cruel executions contributed to the image of a dangerous and savage place. Van der Schley seemed to feel the need to scare his audience even more than his example in Knox’s book did.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eCf. Antoine Francois Prevost d’Exile’s Histoire Generale des Voyages, ou nouvelle collection de toutes les relations de voyages par mer et par terre. The Hague, De Hondt, 1746-1789, volume VIII, plate 3; Robert Knox, An Historical Relation of the Island Ceylon, London, 1681.\u003c\/em\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":41122338832559,"sku":"","price":1500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/products\/20211006_131859_2_1.jpg?v=1640682775"},{"product_id":"chastanier-portrait-of-corot-1872-1873","title":"Chastanier, Portrait of Corot, 1872-1873.","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-contrast=\"none\"\u003eThe only photo of Camille Corot at work in his studio\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" data-contrast=\"none\"\u003eOrsague Chastanier. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" data-ccp-props='{\"201341983\":0,\"335559739\":160,\"335559740\":259}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" data-contrast=\"none\"\u003ePortrait of Jean-Baptiste Camille Corot (1796-1875).\u003c\/span\u003e\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" data-ccp-props='{\"201341983\":0,\"335559739\":160,\"335559740\":259}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" data-contrast=\"none\"\u003eParis, Orsague Chastanier, [1872-1873].\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" data-ccp-props='{\"201341983\":0,\"335559739\":160,\"335559740\":259}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" data-ccp-props='{\"201341983\":0,\"335559739\":160,\"335559740\":259}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" data-contrast=\"none\"\u003eAlbumen print on paper (9 x 5,5 cm.), mounted on cardboard (10,5 x 6,5) cm., with letterpress tekst on verso: Photographie sur émail et albumine \/ Mon. Orsague Chastanier \/ bustes, groupe de famille, cartes \/ reproductions d’anciens portraits \/ Tableaux \/ 18 Rue de l’Odéon 18\/ Paris.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" data-ccp-props='{\"201341983\":0,\"335559739\":160,\"335559740\":259}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" data-ccp-props='{\"201341983\":0,\"335559739\":160,\"335559740\":259}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" data-contrast=\"none\"\u003eVery rare portrait photograph of landscape painter Camille Corot at work in his studio, printed as a carte-de-visite by Orsague Chastanier. The Corot oeuvre catalogue lists 31 portrait photographs of Corot, including the present one, but we did not trace any print of it in international public collections. It is the only known picture of him in his studio. Amongst the known photographs of Corot are at least four of him working en-plain-air, including a well-known picture by Charles Desavary that shows Corot painting outside under an umbrella at Saint-Nicolas-les-Arras (published in \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" data-contrast=\"none\"\u003eExposition de l’oeuvre de Corot: a l’École nationale des beaux-arts, \u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" data-contrast=\"none\"\u003eParis, 1875). While in Arras, Corot and Desavary experimented with photography and late in his life, Corot posed for a series of portraits by Desavary, as though he was painting plein-air, sitting at a canvas under a white umbrella in his garden. He did this because it was important for Corot to be perceived as a landscape painter who worked outside, which was highly innovative at that time. However, the present photograph shows him in his studio, working on a painting that sits on an easel. Two larger pictures on easels stand behind it and, interestingly, the walls are covered with overlapping unframed paintings. Perhaps oil sketches on paper made outside?\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" data-ccp-props='{\"201341983\":0,\"335559739\":160,\"335559740\":259}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" data-contrast=\"none\"\u003eCondition\u003c\/span\u003e\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" data-contrast=\"none\"\u003e: yellowed (as usual with albumen), margins slightly soiled. Otherwise in very good condition.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" data-ccp-props='{\"201341983\":0,\"335559739\":160,\"335559740\":259}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" data-contrast=\"none\"\u003eReference\u003c\/span\u003e\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" data-contrast=\"none\"\u003e: Alfred Robaut, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" data-contrast=\"none\"\u003eL'oeuvre de Corot\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" data-contrast=\"none\"\u003e, vol. IV, Paris, 1905, p. 323, no. CIV: “Corot est assis de profil dans son atelier, devant son chevalet, la tête coiffée d’un bonnet. Il est vétu d’un veston gris. Autour de lui, plusieurs tableaux sur des chevalets.”\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" data-ccp-props='{\"201341983\":0,\"335559739\":160,\"335559740\":259}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" data-ccp-props='{\"201341983\":0,\"335559739\":160,\"335559740\":259}'\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":41274927448239,"sku":"","price":2200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/ae13a1f3-6cb2-405e-8d5d-986bc22b06e3_e7cf9916-1dad-444d-979a-6daee6af04eb.png?v=1721130999"},{"product_id":"du-bos-reflexions-critiques-sur-la-poesie-et-la-peinture-1740","title":"Du Bos, Réflexions critiques sur la poésie et la peinture, 1740.","description":"\u003cp style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\"\u003eDefinitive edition of a landmark study of aesthetics\u003c\/span\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAbbé du Bos [= Jean-Baptiste Du Bos (1670-1742)].\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRéflexions critiques sur la poésie et la peinture\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eParis, Mariette, 1740.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e3 volumes. 12°. [XII], 488, [IV]; [VIII], 566; [VI], 399, [1 blank], [73], 1 blank] pp. With woodcut title vignettes.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eContemporary calf with gold-tooled spines, red title-shields and red sprinkled sides. Marbled endpapers.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eUncommon but important edition of a turning point in aesthetic thought. This is the last edition that Du Bos edited himself and is therefore regarded as the definitive and authoritative edition that should be referred to when citing this work (Stanford).\u003cbr data-mce-fragment=\"1\"\u003e First published in 1719, the\u003cem data-mce-fragment=\"1\"\u003e Réflexions critiques sur la poésie et la peinture\u003c\/em\u003e exercised a considerable influence on the development of art and music throughout the Age of Enlightenment. It marks the foundation of a new aesthetic of perception, based on feeling. Du Bos, deeply influenced by his friend John Locke, states that art cannot only be beautiful, but must also move hearts: “\u003cem data-mce-fragment=\"1\"\u003eLe sublime de la poésie et de la peinture est de toucher et de plaire\u003c\/em\u003e\". Du Bos thus became a founder of sensibility, at a time of Cartesian rationalism. The impact of the text was considerable. It was highly praised by Voltaire in a number of his writings and formed the basis of the fine arts sections of Diderot and d’Alembert's Encyclopaedia. A generation later, Jean-Jacques Rousseau would radicalize the principles of Du Bos.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCondition: \u003c\/strong\u003ebindings slightly rubbed, otherwise in very good condition. Seller’s bookplate on front pastedown of vol. 1: “Maire, libraire, rue Mercière, no 46, à Lyon”; owner’s inscription in pen repeated on the first free endpapers: “patri Duvant” dated 1802.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLiterature: \u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e Désirat, Dominique, \"Le Sixième Sens de l’Abbé Dubos : à propos des Réflexions critiques sur la poésie et sur la peinture\", \u003cem data-mce-fragment=\"1\"\u003eLa Licorne \u003c\/em\u003e23, July 18, 2005.\u003cbr data-mce-fragment=\"1\"\u003e Young, James O. and Margaret Cameron, \"Jean-Baptiste Du Bos\", \u003cem data-mce-fragment=\"1\"\u003eThe Stanford Encyclopedia of Philosophy\u003c\/em\u003e (Winter 2019 Edition), Edward N. Zalta (ed.).\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":41278417567919,"sku":"","price":1200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/products\/20220208_154419.jpg?v=1644331659"},{"product_id":"prout-sketches-at-home-and-abroad-1844","title":"Prout, Sketches at Home and Abroad, 1844.","description":"\u003cdiv style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\n\u003cem\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\n\u003cem\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff8000;\"\u003eAuthor’s copy, with added drawings by him and his son and presented to the publisher\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSamuel Prout (1783-1852).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSketches at Home and Abroad. Hints on the Acquirement of Freedom of Execution and Breadth of Effect in Landscape Painting. To which are added, Simple Instructions, on the proper uses and application of Colour. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLondon, Marco A. Nattali, printed by Hullmandel \u0026amp; Walton, London. 1844.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eVery large 4° (38 x 28 cm). 16 pp, 48 ll. With a lithographed additional title (with chine collé lithographed vignette on India paper); 48 lithographed plates printed chine collé on India paper; lithographed plate list at end with chine collé lithographed vignette. Also with two additional original drawings tipped on front free endpaper: one by Samuel Prout in crayon of Weymouth in Dorset, England and one by his son Samuel Gillespie Prout in pencil and blue watercolour of Herstmonceaux Castle in Sussex.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDark green half morocco with marbled sides, spine gilt in six compartments with raised bands and gilt title, gilt edges, marbled endpapers.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSamuel Prout’s own copy, presented to him by the publisher Marco Nattali: “To Saml. Prout Esq, from his obliged friend, M.A. Nattali”. Subsequently owned by Prout’s son, the artist Samuel Gillespie Prout (1822-1911). Both father and son added an original drawing to this book. \u003cbr data-mce-fragment=\"1\"\u003eThis is a “deluxe” issue of a rare plate book. The present copy has the lithographs printed in chine collé technique on “India Paper” instead of wove paper.\u003cbr data-mce-fragment=\"1\"\u003eSamuel Prout was one of the foremost British Romantic watercolour painters of the first half of the 19th century. Prout secured the position of Painter in Water-Colours in Ordinary to King George IV in 1829 and afterwards to Queen Victoria. John Ruskin, whose work often emulated Prout's, wrote in 1844, ”Sometimes I tire of Turner, but never of Prout”. Besides numerous watercolours, Prout produced a couple plate books, often in collaboration with the publisher Nattali. These titles, now all very rare, include \u003cem data-mce-fragment=\"1\"\u003eThe architectural Antiquities of Great Britain\u003c\/em\u003e (1835), \u003cem data-mce-fragment=\"1\"\u003eThe hand-book for travellers in Italy\u003c\/em\u003e (1838) \u003cem data-mce-fragment=\"1\"\u003eDomestic architecture : a series of views of cottages and farmhouses, in England and Wales\u003c\/em\u003e (ca. 1844), \u003cem data-mce-fragment=\"1\"\u003eHints on light \u0026amp; shadow \u003c\/em\u003e(1848). Nattali had also worked with Turner.\u003cbr data-mce-fragment=\"1\"\u003eThe book is meant as an artists’ manual, but the size and luxurious materials used for this book signify that it was aimed at the wealthy individual rather than the common artist. Of the subjects, ten are from England and Scotland, seventeen from France, five from Italy, two from The Netherlands, and fourteen from Germany. In the 16 pp. introduction the author describes them as designs to exemplify breadth of effect and composition. Around the same time an undated edition with the same title appeared at London: J. Rimell \u0026amp; Son, with 26 plates depicting only scenes in England.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSamuel Gillespie Prout left this copy “with love” to his housekeeper, Clara Alberta Allen.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReference:\u003c\/strong\u003e Lowndes IV, p.1983 (no mention of the present deluxe issue). For Prout see: Richard Lockett, \u003cem data-mce-fragment=\"1\"\u003eSamuel Prout, 1783-1852\u003c\/em\u003e, London: V\u0026amp;A, 1985, p. 175 (Checklist of publications by Samuel Prout): “publ. by A.M. Nattali (an enlarged ed. of 1834 \u003cem data-mce-fragment=\"1\"\u003eInteriors\u003c\/em\u003e) and printed by Hullmandel \u0026amp; Walton”.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCondition: \u003c\/strong\u003eInscription on front pastedown and first free endpaper. Foxing throughout, some plates not affected. Stain in the foot of a couple pages. Covers slightly rubbed.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eProvenance:\u003c\/strong\u003e Samuel Prout (1844-1852); Samuel Gillespie Prout (1852-1911); the estate of Clara Alberta Allen (1911-2016).\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":41456558571695,"sku":"","price":2900.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/products\/20220406_104159_remasteredd.jpg?v=1663072028"},{"product_id":"bramer-the-mocking-of-ceres-1619-1627","title":"Bramer, The Mocking of Ceres, 1619-1627","description":"\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\n\u003ch3\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e\u003cem\u003eThe key sheet from his dispersed drawing book\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cstrong data-mce-fragment=\"1\" style=\"font-size: 0.875rem;\"\u003e\u003cem data-mce-fragment=\"1\"\u003e \u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLeonaert Bramer (1596-1674).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cem data-mce-fragment=\"1\"\u003eCeres Seeking Her Daughter (The Mocking of Ceres); \u003c\/em\u003e[caption by the artist: “Dat is mijn teckens boeck”].\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRome?, ca. 1610-1627.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDrawing with brush and grey ink, grey wash and heightened with opaque white on blue-grey laid paper washed light brown. Faded signature: “L… Bram…”. 15.5 x 17.8 cm. (image). On a folio sheet, 30,5 x 21 cm., watermarked anchor in a circle (as other drawings from this album).\u003c\/p\u003e\n\u003cp\u003eThis is the only drawing from Bramer’s dispersed sketchbook known to bear his writing and signature. The caption reads 'Dat is mijn teckens boeck' (this is my drawing book), in a handwriting style that, compared to other samples by him, indicates he was quite young at the time. It has always been assumed that Bramer made these drawings while in Rome, but there is no evidence to support this notion. He might as well have made these while traveling or even before his journey. In any case, it is rather clear that stylistically he was still at the very start of his career (Bramer was 18 when he left for Italy).\u003cbr\u003eThe drawing depicts the goddess Ceres seeking her daughter Proserpina. Tired and thirsty, Ceres meets an old woman (Hecuba) outside her cabin at night. While Ceres is drinking from a jug of water that the old woman gave her, a boy (Stellio) points and laughs at her for drinking too avidly, and the old woman tries to stop the boy from laughing. After this scene, Ceres changes the boy into a lizard as punishment for mocking her (Ovid, Metamorphoses V 456). Bramer succeeds in capturing the hurt expression in the face of Ceres and the disgust with which the old woman tries to push away the boy. The composition is set up with minimal attributes to tell this story: Bramer only drew a candle in the hand of the old woman to indicate night time and a tree to show that they are outside.\u003cbr\u003eArtistically the subject of this drawing suited Bramer because night scenes were a specialty of his. In Italy he had acquired the sobriquet “Leonardo della Notte”. He based his composition for the present drawing on a painting in Rome by Adam Elsheimer (now in Prado), that became available in The Netherlands through copies by Dutch artists, including a 1610 mezzotint by Goudt (Rijksmuseum RP-P-1937-689) and a 1633 etching by Johannes Rutgers (Rijksmuseum RP-P-1903-A-23253). Later in his career Bramer drew the scene after the mocking of Ceres, where she changes the boy into a lizard (National Gallery of Art, Washington DC, 1985.1.21).\u003cbr\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBramer is known to have been an exceptionally infamous member of the rowdy Bentveughels, a group of young Dutch artists in Rome who quicky built a reputation for being avid drinkers. Bramer is well-known for having been in a fight with Claude Lorraine.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCondition: \u003c\/strong\u003ein very good condition. Edges slightly yellowed, corner tips stained. As on all known drawings from this album: paginated \"72\" in brown pen lower right, “Ceres” in faded pencil below caption.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eProvenance: \u003c\/strong\u003eCollection Knorr, Strasbourg (the album); Cornelis Hofstede de Groot, Amsterdam (the album); auction C.G. Boerner Dusseldorf 174, 4-11-1931, lot 33 (the album); Galerie Gerda Bassenge Berlin, 5-12-1984, lot 4037 (the album), Erhardt Fine Art, Liverpool (the drawing); auction Münstersches Kunst- \u0026amp; Auktionshaus Münster, 26-10-2019; Walter Ginhart Tegensee.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLiterature:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMichiel C. Plomp, Jane ten Brink Goldsmith, \u003cem data-mce-fragment=\"1\"\u003eLeonaert Bramer 1596-1674, ingenious painter and draughtsman in Rome and Delft\u003c\/em\u003e, Zwolle, 1994, p. 318, no. 37 (the album).\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":41736230699183,"sku":"","price":9500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/products\/20220608_153424_remastered.jpg?v=1655198730"},{"product_id":"frederici-prospect-van-het-eyland-en-de-rheede-van-st-iago-1783","title":"Frederici, Prospect van het eyland, en de rheede van St. Iago, 1783.","description":"\u003ch2 style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cspan style=\"color: #ff2a00; text-decoration: underline;\"\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLarge VOC watercolour view of Porto Praia, Cape Verde\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJohann Christian Friderici [= Frederici] (Heldburg 1766 - Cape Town 1804).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eProspect van het eyland, en de rheede van St. Iago. Geteekend van Johann Christian Friderici \/ Verbeelding van de inwoonders op St Iago.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePorto Praia, Cape Verde, 1783.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWatercolour with ruled black ink border on laid paper, watermarked Pro Patria with Maid of Dort. 29,5 x 120,5 cm.\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe largest recorded early modern panoramic view of Cape Verde, by “the best VOC map maker in South Africa” (Koeman). This is his earliest known work. \u003cbr data-mce-fragment=\"1\"\u003eSantiago’s Porto Praia is the main harbour of Cape Verde. It served as an important transportation hub of enslaved African people to the Americas and for the restocking of ships bound for the Cape with salt and fresh foods. These two functions of the island are depicted in the cartouche in the top right. It shows an African family and examples of livestock: a turkey and a goat. The man wears clothes that are also seen in depictions of plantation guards in the West Indies of the same time. The artist of this exceptional drawing has depicted the southern coast of the island in its full length but at an interesting angle, which causes the harbour to be hidden from view. Instead, the center of attention is a farm. He also added a mixed fleet of British and Dutch ships peacefully together. Although at the time of the drawing (1783) these two nations were at war (the Fourth Anglo-Dutch War, 1780-1784), in reality British and Dutch ships were coming together without conflict since 1782. In 1781 Porto Praia was the scene of a large naval battle between the British and the French. The stake of the battle was access to the Cape Colony that was still under Dutch control. The French, allies of the Dutch, managed to stall the British, though eventually the Cape was lost by the Dutch and this set about the decline of The Netherlands as a colonial empire. Regarding the position of Frederici’s drawing in the cartographic history of Porto Praia, nothing compares in size, detail and quality. We traced no record of this drawing in literature: it is not included in A. Teixeira da Mota’s history of the cartography of Cape Verde: Cinco seculos de cartografia das ilhas de Cabo Verde (1961, estampa IX), nor in the Dutch National Archive’s monumental Grote Atlas van de Verenigde Oost-Indische Compagnie. Both have included several other Porto Praia views. The most influential early modern panorama view of Porto Praia is a 1772 engraving by Fleurieu after a lost drawing by Manevillete from 1763, titled Vue de la rade de la Praya dans l’ile de Saint-yago. This panorama was published in several atlases throughout the late 18th century. Frederici’s drawing shows the same area, but it is certainly not a copy. It has a slightly more east angle and the drawing is much more detailed and of higher quality in general than Fleurieu’s engraving. We also traced a watercolour view of St. Iago by James Forbes (1773-1861): Natives of St. Iago \/ A view of Porto Praya at the Island of St. Jago [1765]. 45 x 29cm. Biblioteca Nacional (Brasil). “Manuscript upon Brazil”, p. Vista 02. This drawing also has a cartouche with local inhabitants.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eEverything we know about Johann Christian Frederici is from his time in the Cape of South Africa, where he made several extraordinarily important maps, including, according to Cornelis Koeman, “the best map dating from the eighteenth and beginning of the nineteenth centuries of the south coast of the Cape Colony known to us”. This is the Caerte van den Zuydelijken oever van Afrika (Nationaal Archief, 4, TOPO 15 11), in which he was helped by VOC bombardier Josephus Jones. The earliest dated work known by Frederici up to now is from 1788: Kaart van de westkust tussen Saldanhabaai en Tafelbaai (Rijksmuseum RP-T-1914-17-6), a more than 3 meters wide map of the Cape Colony area. The date 1783 of the present Porto Praia view makes it by far Frederici’s earliest recorded work and the only one that does not depict a part of South Africa. Frederici was administered as a German immigrant into South Africa in 1784, just after the date of the St. Iago panorama, indicating that he probably made the drawing when he was sailing with the VOC from The Netherlands to South Africa. Once he arrived in the Cape he was first employed by Cape Governor Van der Graaff as a military surveyor. The Grote Atlas mentions Frederici (as Friderici) as a VOC cartographer in South Africa since 1789 and assistant of cartographer J.W. Wernich. Wernich was German, which might explain why the maps that Frederici made in that period are in German, and the present panorama drawing is in Dutch. In 1791 he became Lieutenant in the Cape Artillery. In this position he made many impressive maps of the Cape which are now kept in the Dutch National Archives, the Rijksmuseum, the British National Archives and the South African Library of Parliament. The latter holds an invaluable view of the Battle of Muizenberg (1795) by Frederici as well. He is also the maker of some very large maps in the famous Gordon Atlas (also Rijksmuseum), some signed by him and others attributed to him. The Frederici\/Friderici (or Frederici, Frideric, Fredericie etc.) family name is found amongst military servicemen employed by the VOC since the mid-17tcentury. There were a number of Frederici\/ Friderici families living in the Cape in the late 18th century, all were from different parts of Germany, enrolled into the Dutch East India Company and settled in the Cape. Most notable is the family of Joachim de Frederici, who moved from the Cape to Surinam in 1762, where his son Juriaen François Friderici become Governor-General.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e pasted on support and flattened, numerous old folds with some splitting and small repairs, minor damp-stains, pinholes and surface dirt.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLiterature:\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAvelino Teixeira da Mota, \u003cem data-mce-fragment=\"1\"\u003eCinco seculos de cartografia das ilhas de Cabo Verde\u003c\/em\u003e. Junta de investigações do ultramar, 1961.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBea Brommer a.o., \u003cem data-mce-fragment=\"1\"\u003eGrote atlas van de Verenigde Oost-Indische Compagnie = Comprehensive atlas of the Dutch United East India Company. Vol. V: Afrika. \u003c\/em\u003eVoorburg, Asia Maior\/Atlas Maior, 2009: “Friderici [sic], Johan(n) Christia(a)n (1789[sic]-1791), bombardier, luitenant, kaartenmaker, assisteerde in 1791 de landmeter J.W. Wernich.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCornelis Koeman, “Beschrijving van een belangrijke 18\u003csup data-mce-fragment=\"1\"\u003ee\u003c\/sup\u003e eeuwse manuscriptkaart van de Kaapkolonie”, in: \u003cem data-mce-fragment=\"1\"\u003eAfricana Notes and News \u003c\/em\u003e11(7), pp. 276-287.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCornelis Koeman, “landmeters in dienst van de VOC in de Kaapkolonie”. \u003cspan data-mce-fragment=\"1\"\u003eIn: \u003cem data-mce-fragment=\"1\"\u003eTijdschrift voor kadaster en landmeetkunde \u003c\/em\u003e(1952), pp. 93-96.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eElri Liebenberg, “Unveiling the geography of the Cape of Good Hope: selected VOC maps of the interior of South Africa”. \u003c\/span\u003eIn: \u003cem data-mce-fragment=\"1\"\u003eHistory of Cartography \u003c\/em\u003e(2010), pp. 209-232.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMiele Dirk Haga, \u003cem data-mce-fragment=\"1\"\u003eEen beeld van een land : Zuid-Afrika gezien door R.J. Gordon, tussen 1773 en 1795 \/ [Tekst M.D. Haga]\u003c\/em\u003e, Amsterdam, Rijksmuseum, 1995.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"http:\/\/www.robertjacobgordon.nl\" data-mce-fragment=\"1\"\u003ewww.robertjacobgordon.nl\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":41852656844975,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/products\/20220503_155126_remasteredd.jpg?v=1677489201"},{"product_id":"goodall-view-of-vreed-en-hoop-across-the-from-georgetown-british-guyana-1841","title":"Goodall, View of Vreed-en-Hoop, across the from Georgetown, British Guyana, 1841.","description":"\u003ch2 data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEdward Angelo Goodall (1819-1908).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e[View of Vreed-en-Hoop, across the from Georgetown, British Guyana].\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGeorgetown, British Guyana, 1841.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWatercolour, signed and indistinctly dated. (24.7 x 36.2cm). Paper watermarked J Whatman 1840.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMounted on passe-partout along edges.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis watercolour view of the ferry wharf and sugar factory of Vreed en Hoop was made by Edward Goodall during the Schomburgk expedition to inland Guyana in 1841. Vreed en Hoop was located in West Demerara, across the Demerara river from the capital Georgetown. In this drawing a steam ferry can be seen crossing towards the ferry wharf. The factory was the place where the cane sugar from plantations would be refined before it was loaded on ships for export to North America and Europe.\u003cbr data-mce-fragment=\"1\"\u003e Young artist Edward Goodall was not meant to accompany Robert Schomburgk on his boundary exploration expedition to the borderland of British Guiana and Venezuela. The intended artist was W.L. Walton but he got sick and was replaced by Goodall, who was just 22. In addition to establishing the boundaries, they had been commissioned by the Prussian government to collect flora and fauna specimens in the Guyana forests for the Royal Museum and the Botanical Gardens in Berlin. Not only did Goodall sketch plants and animals, he importantly also depicted the local people they encountered. Upon return in Europe, Goodall's botanical sketches were displayed in Berlin and the Amerindian Tribes sketches in London and Paris.  The sketches aroused much interest and were eventually returned to Goodall who donated them to the Colonial Office. From there they ended up in the British Museum and are now in the British Library.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCondition: \u003c\/strong\u003eminor tear in top left corner, a few repaired pinholes, otherwise in very good condition.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLiterature: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMichael St John-McAlister, “Edward Angelo Goodall (1819-1908): An Artist's Travels in British Guiana and the Crimea”. In: \u003cem data-mce-fragment=\"1\"\u003eElectronic British Library Journal\u003c\/em\u003e, 2010, no. 5.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe chimney and ferry wharf on the Admiralty Chart No 533 \u003cem data-mce-fragment=\"1\"\u003eGeorgetown and Mouths of Demerara \u0026amp; Essequibo Rivers\u003c\/em\u003e, published 1872.\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":46502004130135,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/products\/20230421_1239471.jpg?v=1682075992"},{"product_id":"de-gheyn-weapon-book-1608","title":"De Gheyn, Weapon Book, 1608.","description":"\u003ch3 style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\n\u003cem\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003ch3 style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cem\u003e\u003cstrong\u003eA masterpiece of Dutch Golden Age printmaking\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp\u003eJacques de Gheyn II (1565-1629).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManiement d’armes d’arqvebuses, movsquets, et piqves. […].\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEn conformité de l’ordre de Monseigneur le Prince Maurice, Prince d’Orange, Comte de Nassau etc. Gouverneur et Capitain General de Geldres, Hollande, Zeelande, Utrecht, Overijssel etc. \u003c\/strong\u003e\u003cstrong\u003eRepresenté par figures, par Jaques de Gheijn. Ensemble les enseignemens par escrit, a l'utilite de tous amateurs des armes, et ausi pour tous capitaines \u0026amp; commandeurs, pour par cecy, pouvoir plus facillement enseigner a leurs soldatz inexperimentez, l'entier et parfait maniement dicelles armes […].\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAmsterdam, Robert de Baudous, On les vend’ ausi a Amsterdam chez Henrij Laurens, 1608 [= imprint date changed in the plate from 1607 to 1608, but according to STCN, in fact not before 1610].\u003c\/p\u003e\n\u003cp\u003eFolio. Three parts in one volume. [5], 42 pl.; [4], 43 pl.; [5], 32 pl.\u003c\/p\u003e\n\u003cp\u003eCollates: π, X, A-B1, 42 ll; A-B1, 43 ll; a-b1, [c]1, 32 ll.\u003c\/p\u003e\n\u003cp\u003eCompare Getty copy: [14] p., 32, 43, 42 leaves of plates.\u003c\/p\u003e\n\u003cp\u003eContemporary vellum with green ties, title shield, green painted edges. In a modern slipcase.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eComplete copy of De Gheyn’s beautiful folio pictorial arms manual, with the 117 plates in remarkably good impressions with deep contrast and deliberate even plate tone, giving them a drawing-like appearance. This copy is the rare first issue of the first edition in French, which can be discerned by the name of the seller Henrij Laurens at the foot of the title and the signature of De Gheyn in the first plate of all three parts. This issue was to be sold in Amsterdam while two later issues were sold elsewhere and thus lack the seller’s name. The manual was first published in Dutch, with the same number of plates, as \u003cem\u003eWapenhandelinghe van roers, musqvetten ende spiessen\u003c\/em\u003e (Amsterdam, 1607).\u003cbr\u003e                De Gheyn’s three series of plates on the use of the blunderbuss (42), the musket (43) and the picket (32), is justly regarded as the greatest arms book of the 17\u003csup\u003eth\u003c\/sup\u003e century and one of the masterpieces of Dutch Golden Age printmaking. A priceless resource for the organization and training of troops, De Gheyn's book created an overnight sensation throughout Europe and was quickly translated into several languages. An incredible number of imitations editions have since appeared.\u003c\/p\u003e\n\u003cp\u003eComplete copies of this first edition are very scarce.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eLabel front pastedown, blind stamp on free endpaper.\u003cstrong\u003e \u003c\/strong\u003ePaper in general slightly browned (more evident on some leaves). Multiple mainly marginal repairs throughout, some affecting the plates. Otherwise in good condition, the plates especially very well printed.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReference:\u003c\/strong\u003e Hollstein Dutch and Flemish, Jacob de Gheyn II, 146-262; Lipperheide Qb19; Muller 1117c; Stolk, 1044.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiterature: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDonald J. La Rocca How to Read European Armor. The Metropolitan Museum of Art, New York, 2017, p.23\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLe héraut du dix-septième siècle: Dessins et gravures de Jacques de Gheyn II et III\u003c\/em\u003e. Paris, Institut Néerlandais, 1985, no.37.\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":46830175912279,"sku":"","price":19500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/20230402_094858.jpg?v=1686920062"},{"product_id":"joseph-felon-unrecorded-uncle-tom-lithograph-paris-1853","title":"Joseph Félon, unrecorded Uncle Tom lithograph, Paris, 1853.","description":"\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ch3 style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cem\u003e\u003cstrong\u003eUnknown French coloured litho of Uncle Tom\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eJoseph Félon (1818-1896).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eL’oncle Tom et Eva.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eParis, Auguste Bry, n.d. [1853].\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHandcoloured lithograph, with letterpress text. 40 x 28 cm.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA very rare and attractive large depiction of Uncle Tom, specifically showing the moment when Tom tries to write to his family but fails due to his illiteracy and Little Eva tries to help him. This lithograph was an original design by Joseph Félon, drawn on the stone by him and printed with a caption in French and English by Auguste Bry in Paris. The copies were sold by three dealers: in Paris at Lebrasseur and Victor Delarue and in London at Francis Fraie. However, only one of these copies can be traced at the moment: the one we offer here. We were unable to find another copy in any major collection, on the market or in auction records. We did retrieve a reference to this print in the 1853 edition of the annual \u003cem data-mce-fragment=\"1\"\u003eBibliographie de la France\u003c\/em\u003e (no. 915), which provides us with a date of creation of the lithograph.\u003cbr data-mce-fragment=\"1\"\u003e                 Joseph Félon was a highly regarded Parisian artist who made paintings, sculptures and lithographs, which he consistently exhibited at the Salon from 1840 to 1896. In this Uncle Tom lithograph he has depicted Tom as a deeply emotional and religious person, though the scene is a clear and obvious example of racial stereotyping. Félon made this print to take advantage of the phenomenon that broke out when Harriet Beecher Stowe’s story reached France in 1852. Many artists did the same, but Félon’s version is certainly artistically one of the best contemporary depictions of Uncle Tom.\u003cbr data-mce-fragment=\"1\"\u003e                 The most popular depictions of Uncle Tom were those in which he was accompanied by the young white girl, Eva St. Clare. Representations of their companionship conveyed a message of racial bonding and celebrated the characters’ shared Christian faith. Though what undoubtedly grabbed the attention of audiences viewing was a very young white girl alone in the company of a mature black man.\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e                The 3 lines caption underneath, in both French and English, read:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eO! Père Tom! quelles drôles de choses vous faites la! J’essaie d’ecrire à ma pauvre vieille femme, Miss Eva, et à mes petits enfants.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“O Uncle Tom! What funning things you are making there!” I’m trying to write to my poor old woman, Miss Eva, and my little chil’en.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCondition: \u003c\/strong\u003eminor overall brown spotting and thumbing, otherwise in excellent condition with vibrant colouring.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReference:\u003c\/strong\u003e \u003cem data-mce-fragment=\"1\"\u003eBibliographie de la France, ou journal general de l’imprimerie et de la librairie […]\u003c\/em\u003e, XLII, Paris, Pillet, 1853, p. 383, no. 915.\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":46859531288919,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/20230623_154754.jpg?v=1687856776"},{"product_id":"franz-colombari-american-missionary-in-tehran-1848","title":"Franz Colombari, American missionary in Tehran, 1848.","description":"\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cem\u003e\u003cstrong\u003eAmerican missionary Joseph Gallup Cochran in Tehran, Iran\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFranz Colombari (Smyrna 1813-Paris 1879).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePortrait of Joseph Gallup Cochran and Conrad Gustav Fagergren.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTehran, Persia (Iran), 1848.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWatercolour and pencil on wove paper. 16,5 x 11,5 cm. Stamp on verso “vente F. Colombari 1981”. Manuscript title on paper pasted on back of mount: “Un Suèdois et un Américain du passage à Tehéran, F. Colombari”.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRare image of one of the early American missionaries to Iran: Rev. Joseph Gallup Cochran. He is portrayed here by prolific Orientalist artist Franz Colombari, together with Swedish physician Dr Conrad Gustav Fagergren. \u003cbr data-mce-fragment=\"1\"\u003e                This drawing a strong record of Western presence in Iran in the mid-19\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e century. Cochran, Colombari and Fagergren were close to the people in power at the Tehran court during a period when the Qajar Shah opened the country to Western influence. Colombari had good ties with the Aqasi (grand vizier) Haji Mirza Abbas Iravani (Persian: حاجی میرزا عباس ایروانی), Fagergren was the physician of the Shah and Cochran was to lead the influential Presbyterians in the Urumia region. Fagergren had just arrived in Tehran in 1847 and Cochran in 1848. Colombari had been at the court for several years already. The present drawing was made shortly after Cochran’s arrival because the men were dispersed when the Shah died in 1848. As the deceased Shah’s physician Fagergren had to flee. Colombari on the other hand was a close confidant of crown prince Naser al-Din Shah Qajar who became Shah in 1848. Cochran moved to Urmia for his missionary work.\u003cbr data-mce-fragment=\"1\"\u003e                American missionary Cochran was an Amherst College graduate. He was a Presbyterian minister, sent as a missionary to Persia. His son Dr. Joseph P. Cochran is better known, a.o. for being the founder of Urmia's First Medical College . American missionaries were active in Iran since 1834, where they helped the local Christian population in the Urumia region, especially by opening schools and developing education. The first school for boys opened in Urumia in 1836 and for girls in 1838. Shortly after opening schools for local Iranian Christians, the Presbyterians changed direction and opened separate schools for Muslims at the request of Mohammad Shah.\u003cbr data-mce-fragment=\"1\"\u003e               \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCondition: \u003c\/strong\u003ein very good condition\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eProvenance:\u003c\/strong\u003e Etienne Mercier, Paris: 'Le Colonel F. Colombari et autres voyageurs de l’Orient du XIXe au debut du XXe siècle', Salle Drouot, 19 June 1981; Galerie Soustiel, Paris, 1985; Olympia Auctions, London, 2023.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLiterature: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGerald H Anderson, David M. Stowe. \"Cochran, Joseph Gallup (1817–1871)\". In: \u003cem data-mce-fragment=\"1\"\u003eBiographical Dictionary of Christian Missions\u003c\/em\u003e. Wm. B. Eerdmans Publishing, 1999. p. 140.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eJasamin Rostam-Kolayi. “From Evangelizing to Modernizing Iranians: The American Presbyterian Mission and Its Iranian Students.” In: Iranian Studies, vol. 41, no. 2, 2008, pp. 213–39.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eJoseph G. Cochran, \u003cem data-mce-fragment=\"1\"\u003eThe Persian Flower: A Memoir of Judith Grant Perkins, of Oroomiah, Persia.\u003c\/em\u003e Boston, American Tract Society, 1853.\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":46910705566039,"sku":"","price":4700.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/20230609_131435-edit-20230609134003-removebg.png?v=1689064532"},{"product_id":"marin-lavigne-dido-elisabeth-belle-and-lady-elisabeth-murray-hand-coloured-lithograph-paris-1848","title":"Marin-Lavigne, Dido Elisabeth Belle and Lady Elisabeth Murray, hand coloured lithograph, Paris 1848.","description":"\u003ch3 data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003c\/h3\u003e\n\u003ch3 data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eHalf-sisters Dido and Elisabeth\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLouis Stanislas Marin-Lavigne (1797-1860).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDido Elisabeth Belle and Lady Elisabeth Murray.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e[Paris, 1848].\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHand coloured lithograph. 75 x 54,5 cm. (image); 86 x 66 cm. (frame). Signed “Marin Lavergne”. Mounted on cardboard, in contemporary wooden gilt frame by “Pécourt”.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e            Large coloured lithograph depicting Dido Elisabeth Belle and Lady Elisabeth Murray, by prominent French lithographer Marin-Lavigne. Dido and Elisabeth were half-sisters who lived together in 18th century England with their great-uncle Lord Mansfield. Dido was the illegitimate mixed-race daughter of admiral Sir John Lindsay. There was a certain fascination for their close friendship amongst contemporaries, resulting in many depictions of them. Whether the maker of this lithograph was aware that he was depicting Dido Elisabeth Belle and Lady Elisabeth Murray remains uncertain. In the 1848 edition of the \u003cem data-mce-fragment=\"1\"\u003eBibliographie de la France\u003c\/em\u003e this lithograph was listed as “Une jeune négresse tenant la chaine attachée à la patte d’un perroquet posé sur le doigt de sa maitresse”. Compared to other depictions of Dido and Elisabeth the likeness is unmistakable.\u003cbr data-mce-fragment=\"1\"\u003e            This print was number 1 of Marin-Lavigne’s most ambitious series of monumental lithographs of romantic scenes that reminisce on times past, titled \u003cem data-mce-fragment=\"1\"\u003eGrands groupes aux deux crayons\u003c\/em\u003e. These were published without colouring, but the copy that we offer here was extensively amended with watercolour and gouache to give the print a painting-like appearance. This was something that Marin-Lavigne did more often, as we have seen in copies of other prints by him, and would have significantly increased the value.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e cardboard slightly bulbed. A few minor chips off the paint. Some discoloration at the foot. Otherwise in good condition.\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":47207100744023,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/20230803_0923381.png?v=1697198075"},{"product_id":"monogrammist-wi-ornament-print-ca-1530","title":"Monogrammist WI, Ornament print, ca. 1530.","description":"\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"text-align: center;\" data-mce-style=\"text-align: center;\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e\u003cem\u003e\u003cstrong\u003eEarly engraved ornament print \u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"text-align: center;\" data-mce-style=\"text-align: center;\"\u003e\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMonogrammist WI (ca. 1500-1550).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eVignette with two winged female genii holding a warrior's laurel wreath medallion. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGermany(?), ca. 1530.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCopper engraving on laid paper. 2.5 x 9 cm (sheet). With the monogram in the plate.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp\u003eThis rare engraved ornament print is attributed to the Monogrammist WI, about whom little is known other than that it was an engraver active in the first half of the 16th century. Our research into the recorded oeuvre of this monogrammist has revealed that it actually consists of works by two artists: Monogrammist WI and Monogrammist W. Though closely related in style, they are distinct. The artist of our print uses the monogram WI, with the 'I' through the center of the 'W', while the other artist uses the 'W' in the same style but without the 'I'. Nagler only identifies WI, even though it is clearly visible that some prints are monogrammed with just a W. Nagler’s selection was taken over by Hollstein, who, for reasons unknown to us, included it in the Dutch school. It seems much more likely that this was a German artist because of the similarities to Beham (Bartsch 'in the style of HS Beham around 1530').\u003c\/p\u003e\n\u003cp\u003eBelow, we present an overview of the prints that we have seen and attributed to either WI or W. Copies of these prints are held at the Albertina, the Ashmolean, and one at the Rijksmuseum.\u003c\/p\u003e\n\u003cp\u003eThe copy we offer here is a former doublette from the Graphik Sammlung of the Albertina, Vienna (Lugt 5e\/5h), with references in pencil on the back to the album from which this print came, and the album in which the Albertina copy is held. This print was taken from the 'Klebeband' D\/I\/24\/48 of the Albertina's collection founder, Duke Albert Saxe-Teschen. That page also contains other prints by WI: a similar ornament vignette and three roundels, with one square print also removed. The copy in the Albertina is in volume Hofbibliothek, 49\/3, p. 106. This page also contains several other prints by WI and W. As far as we know, there are no other copies of this ornament print recorded in public collections.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e There are small margins around the image, and the bottom has been trimmed at the plate line. There is a tiny corner defect outside the image at the top right. Stamps and pencil marks are present on the back. Otherwise, it is in very good condition.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cu\u003eList of prints by Monogrammists WI and W. Names taken from Hollstein.\u003c\/u\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePrints by WI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJoseph and Potiphar’s wife (circular). Albertina album D\/I\/24\/48.\u003c\/p\u003e\n\u003cp\u003eThe young couple walking and a fool (circular). Ashmolean WA1863.10524; Albertina album D\/I\/24\/48.\u003c\/p\u003e\n\u003cp\u003eVignette with two winged women. Albertina album Hofbibliothek, 49\/3, p. 106 no. 7. \u003cstrong\u003eThis print offered here.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eVignette with two winged genii (pair with the above print). Albertina album D\/I\/24\/48.\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003eNot in Hollstein:\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003eA concert (circular). Ashmolean WA1863.8485; Albertina album Hofbibliothek, 49\/3, p. 106 no. 1. \u003cem\u003eBartsch IX 54.2 \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eA couple standing and another at a table (circular). Ashmolean WA1863.8463; Albertina album Hofbibliothek, 49\/3, p. 106, no. 2. \u003cem\u003eBartsch IX 54.3.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eDesign for a dagger sheath with Cupid holding a shield at bottom. Ashmolean WA1863.10525. \u003cem\u003ePassavant IV.174.18.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eNude woman with a cupid (rhombus). Albertina album Hofbibliothek, 49\/3, p. 106, no. 5. \u003cem\u003eUnrecorded?\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eVignette with two birds on two horns of plenty. Albertina album Hofbibliothek, 49\/3, p. 106, no. 4. \u003cem\u003eUnrecorded?\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eVignette with a putto on two horns of plenty. Albertina album Hofbibliothek, 49\/3, p. 106, no. 6. \u003cem\u003eUnrecorded?\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePrints by W\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eScabbard with a gentleman with a skull (illustrated in Hollstein) Ashmolean WA1863.10521.\u003c\/p\u003e\n\u003cp\u003eScabbard with a gentleman and a lady at top. Ashmolean WA1863.10522. Albertina album Hofbibliothek, 49\/3, p. 106 no. 8.\u003c\/p\u003e\n\u003cp\u003eScabbard with a nude woman (Lucretia) at top. Ashmolean WA1863.10523.\u003c\/p\u003e\n\u003cp\u003eScabbard with a standard bearer (illustrated in Hollstein). Location unknown.\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003eNot in Hollstein:\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003eDesign for a dagger sheath with Mercury, dated 1528. 11×2.2 cm. Rijksmuseum RP-P-OB-3108. \u003cem\u003ePassavant III. 96\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIn Hollstein but not seen \u003c\/strong\u003e(both no location given)\u003cstrong\u003e:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eVignette with two female figures with dog’s heads.\u003c\/p\u003e\n\u003cp\u003eVignette with a vase in the centre and horns of plenty.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cu\u003eNote: \u003c\/u\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHollstein mentions one print twice: \u003cem\u003eScabbard with a gentleman with a skull\u003c\/em\u003e and \u003cem\u003eScabbard with a gentleman with a plumed baret \u003c\/em\u003eare the same print. He mentions Oxford at \u003cem\u003eScabbard with a gentleman with a plumed baret\u003c\/em\u003e, but they have \u003cem\u003eScabbard with a gentleman with a skull.  \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConclusion:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWI made circular engravings and ornament vignettes, such as the one we offer here. Typical for WI seem to be large round faces. W made designs for daggers of about 12 cm. in length. WI also made one dagger design, but smaller and different in style. It seems very likely that these artists worked in the same workshop.\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":47430352208215,"sku":"","price":1900.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/88ab5860-d745-441e-85a0-fe53ba7185df.png?v=1721132486"},{"product_id":"claudine-bouzonnet-stella-life-and-passion-of-christ-1700","title":"Claudine Bouzonnet-Stella, Life and Passion of Christ, 1700.","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch3 style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cem\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe complete set of her final and most ambitious print series\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eClaudine Bouzonnet-Stella (1636-1697); Michel de Masso; Jacques Stella (1596-1657); Nicolas Poussin (1594-1665).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLife and Passion of Christ.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e[Lyon], [Michel de Masso], [1700].\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e13 engravings with etching on thick fibrous paper without watermark. All ca. 45,5 x 35 cm. (sheet). Signed on the plate \u003cem data-mce-fragment=\"1\"\u003eN. Poussin in et pinx.\u003c\/em\u003e; \u003cem data-mce-fragment=\"1\"\u003eClaudia Stella sculp.\u003c\/em\u003e Only on the \u003cem data-mce-fragment=\"1\"\u003eLast Supper\u003c\/em\u003e plate: \u003cem data-mce-fragment=\"1\"\u003eCum Privil. Regis.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBound together in late 19th century black cloth.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eComplete set of 13 very good impressions of one of the few print series by female 17th-century printmaker Claudine Stella. Claudine’s last name was Bouzonnet, but as her artist’s name, she took the last name of her famous uncle Jacques, who had trained her. Following Jacques Stella’s death in 1657, she became the head of the workshop and was granted exclusive rights by the king to publish prints after Stella’s designs. The impressive large plates of the series we offer here were her last project and arguably her most ambitious and esteemed works. Moreover, the story of their publication is an interesting family affair ending in fraud: \u003cbr\u003eAs stated in her will, Claudine had owned a series of thirty paintings by Jacques depicting the Life and Passion of Christ. She had made plates after these paintings: the ones we offer here. Upon her death, these were inherited by her cousin Michel de Masso, along with the explicit task to engrave or to commission the engraving of the remaining plates. Eventually, a series of 13 prints was published by De Masso in the year 1700 in Lyon, so he added 3 to Claudine’s 10 plates. The controversial part of the story starts when De Masso took the liberty to change the name of the painter of the originals from Jacques Stella to Nicolas Poussin, obviously to make them sell better resulting in a well-documented case of fraud (see Blunt).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eProvenance: \u003c\/strong\u003eall plates with circular stamp on verso reading: \"Seine colportage\" (not in Lugt).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCondition: \u003c\/strong\u003etrimmed at the plate line, some slightly short at the foot. Paper slightly browned (as all copies we have seen). Bound between 2 stubs, occasionally covering approx. 1-2 mm. of image.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLiterature:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAnthony Blunt, 'Jacques Stella, the De Masso family and falsifications of Poussin', The Burlington Magazine, CXVI (December 1974): 744-749\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eR.A. Weigert, \u003cem data-mce-fragment=\"1\"\u003eInventaire du fonds français, graveurs du XVIIe siècle, Bibliothèque nationale, Département des estampes\u003c\/em\u003e, vol. II, Paris 1951, p. 82 (as published by Michel de Masso of Lyon).\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":47663083127127,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/Stella593-min.png?v=1709890936"},{"product_id":"suzanne-caron-portrait-of-a-man-1765","title":"Suzanne Caron, Portrait of a man, 1765.","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cem\u003e\u003cstrong\u003eOne of her few remaining paintings\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSuzanne Caron (1734-1777).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePortrait of a man.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eParis, 1765.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePastel on paper mounted to canvas, signed and dated on the left “Suzanne Caron \/ fecit 1765”. 55 x 46 cm.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis fine pastel portrait is one of the very few known paintings by Suzanne (or Susanne) Caron, a French female artist from a family of Protestant intellectuals with strong ties to the Netherlands. Her father, Pierre Caron, was a goldsmith and jeweler in Paris. In the early 1760s, she became known there as a talented pastelist, and in 1768, she moved to the Protestant Netherlands for religious reasons and to escape the tough competition between portrait painters in Paris. She lived in The Hague and in Amsterdam, where she married, auctioned all her artworks, and migrated to Surinam on the promise of her husband’s business plan, which became a failure. Ultimately, she took up a plantation with 23 slaves in the neighboring colony of Rio Demerary, where she died shortly after the death of her husband in 1777.\u003c\/p\u003e\n\u003cp\u003eRecently, various publications have appeared about Suzanne Caron, detailing her life and art, particularly focusing on her most famous but now lost work: a portrait of Corsican patriot Pascal Paoli (1725-1807). Although that pastel has disappeared, the preliminary drawing has survived, which bears a striking resemblance to our painting (see image below). It is tempting to think that our painting is the lost portrait of Paoli, but that seems impossible because it is dated 1763, and Caron was still in Paris at that time. The Paoli portrait was supposedly made in Amsterdam. So, for now, this portrait remains anonymous.\u003c\/p\u003e\n\u003cp\u003eSuzanne (or Susanne) had clearly mastered the art of pastel, as can be seen in the delicate application of the material in this fine painting. By using simple shades of grey, she has achieved luminosity and life in the portrait; the man exudes innocence and benevolence. The elongated eyebrows, slightly oval eyes, and slight smile seem to be characteristic of her style, as can also be seen in her excellent portrait of André-Daniel Laffon de Ladebat from the same year, now in the Musées de Bordeaux.\u003c\/p\u003e\n\u003cp\u003eShe left a very small recorded oeuvre: 7 paintings are registered in Jeffares’s \u003cem\u003eDictionary of Pastellists before 1800\u003c\/em\u003e, of which only 3 are known to survive today (including our portrait), and 4 were recorded from 18th-century sources. The RKD lists another pastel portrait (see link below).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLiterature:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNeil Jeffares, \u003cem data-mce-fragment=\"1\"\u003eDictionary of Pastellists before 1800\u003c\/em\u003e, Unicorn Publishing Group, 2006.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAnne Lafont (ed.), \u003cem data-mce-fragment=\"1\"\u003ePlumes et pinceaux : Discours de femmes sur l’art en Europe (1750-1850)\u003c\/em\u003e, Publications de l’Institut national d’histoire de l’art, 2012.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eKees van Strien, ‘De pastelliste Susanne Caron : Wereldberoemd en snel vergeten’ in: De Achttiende Eeuw, Volume 53, Issue 1, jan. 2021, pp. 19 - 38 .\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eKees van Strien \u0026amp; Lieke van Deinsen, \u003cem data-mce-fragment=\"1\"\u003eThe true likeness of a true patriot : Susanne Caron's portrait of Pascal Paoli\u003c\/em\u003e, The Rijksmuseum bulletin ; 69 1 P. 4-25.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRKD \u003ca data-mce-fragment=\"1\" href=\"https:\/\/rkd.nl\/imageslite\/994635\" data-mce-href=\"https:\/\/rkd.nl\/imageslite\/994635\"\u003ehttps:\/\/rkd.nl\/imageslite\/994635\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":47672380064087,"sku":"","price":9500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/l21t.jpg?v=1707406030"},{"product_id":"johanna-sibilla-kusel-nouveau-testament-1677","title":"Johanna Sibilla Küsel, Nouveau Testament, 1677.","description":"\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cem\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eA demonstration of etching mastery, for private devotion\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003eJohanna Sibilla Küsel (1646-1717); Jacques Callot; Bosse (?)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eNouveau Testament faict par Iacques Callot qui na sceu finir le reste prevenu de la mort, l'annee 1635.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAugsburg, [Melchior Küsel (I)], 1677.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e12 etched plates, each ca. 6,5 x 8,5 cm. at plate line, sheets various sizes. Inconsistently signed in the plate “Johana Sibilla Küslin. f.” or “J.S.K.” and numbered 2-12. Title plate not numbered and signed “Augusta Vinde [= Augsburg] \/ Johana Sibilla Küslin fecit \/ 1677”. Versos blanc. Probably all printed on one sheet of laid paper.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eComplete wide-margined first-state set in good impressions of Johanna Sibilla Küsel’s 12 New Testament plates. We offer this set in loose sheets, reflecting their original publication format. Traditionally, they would be trimmed and bound into an album, commonly utilized for private devotion, a practice often observed by women.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eJohanna Sibilla Küsel copied these images after Jacques Callot’s print series from 1635 that he did not finish due to his death. Küsel’s plates are mirrored compared to those by Callot, meaning that she made 12 completely new etchings while closely following the original designs. Upon closer inspection, it becomes clear that she was quite free in the details instead of trying to make exact copies: she took this opportunity to showcase her mastery of the etching technique in such a challenging small format. Thieme-Becker agrees on this: \"Her virtuoso technique is particularly evident in the meticulous copies after Callot.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe set was published by Johanna Sibylla’s father, Melchior Küsel (I), son-in-law of Matthaeus Merian. He was also a printmaker and prolific publisher in Augsburg, and Johanna Sibylla was one of his five daughters. She is perceived as the \"most talented\" and indeed produced most artworks under her own name. Following her father's passing in 1684, she assumed leadership of the family publishing enterprise for a brief period of two years until she married artist Johann Ulrich Krauss, after which she signed her works with Kraussin, Kräusin, or with Krausen.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThere seems to be some confusion about the number of plates made by Callot. The BM states that the series published in 1635 by Israël Henriet consists of \"eleven plates representing scenes from the New Testament; Callot etched 10 scenes before death prevented him from finishing the series. Henriet commissioned a title to another engraver, traditionally identified as Abraham Bosse (although this plate is not mentioned either by Duplessis or Blum).\" But their photo at X,4.32 shows a sheet with 12 numbered plates and the Curator's comment “from a series of ten, see 1861,0713.67”. Plate 12 on this sheet is not signed by Callot, but is mirrored in Küsel’s series. So if this plate was added after Callot’s death, it was not done by Küsel. There is also confusion about the date of creation. According to Hollstein, the date on the title-page is 1672, but on the BM and our impressions, the last digit clearly shows a 7.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCondition: \u003c\/strong\u003eall very good impressions with very wide margins, only the title and plate 2 trimmed at ca. 1 cm. to the plate line. Very minor occasional spotting mainly in the margins, otherwise in excellent condition.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReference: \u003c\/strong\u003eThieme\/Becker XXII, 74. Hollstein XIX, 301-312; 1635 edition: Lieure 1418-1427 (Callot).\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":47883479646551,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/100_0020.png?v=1711016159"},{"product_id":"muhammed-rezai-a-lily-and-a-rose-qajar-iran-ca-1750-1850","title":"Muhammed Rezai, a lily and a poppy, Qajar Iran, ca. 1750-1850.","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003ch3 style=\"text-align: center;\" class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e\u003cb\u003e\u003ci\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBy the painter from Shiraz, Iran\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMuhammed Rezai.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eTwo flowers drawings: a lily and a poppy.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eQajar Iran, ca. 1750-1850.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eOpaque pigments and ink on paper, signed “Muhammed Rezai Shirazi” and “Muhammed Rezai”. 30,5 x 19,5 and 21,6 x 13,5 cm. Laid on paper mounts.\u003cspan style=\"color: red;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eTwo fine Qajar paintings of a lily and a rose, signed by renowned 19\u003csup\u003eth\u003c\/sup\u003e century Iranian flower painter Muhammed Rezai. His works are kept in major museums worldwide but what is interesting about the two drawings we offer here, is that the one with the poppy (likely \u003cspan\u003ePapaver somniferum or opium poppy)\u003c\/span\u003e is signed “Shirazi”, meaning he was from the Iranian city of Shiraz. We did not see other drawings by Rezai signed this way. Compare BM \u003cspan\u003e1983,0315,0.1.24.\u003c\/span\u003e\u003cbr\u003ePossibly from an album because page numbers are inscribed in pencil in a modern hand on the mounts.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003ecolours very bright.\u003cb\u003e \u003c\/b\u003eminor foxing, lily drawing minor browning, otherwise in very good condition.\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":48215530930519,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/H0900-L368229114_original.jpg?v=1715774911"},{"product_id":"a-dutchman-and-his-enslaved-servant-japan-ca-1750","title":"A Dutchman and his enslaved servant, Japan, ca. 1750.","description":"\u003ch3 class=\"MsoNormal\" style=\"text-align: center;\"\u003e\u003cem\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Segoe UI Historic', sans-serif; color: rgb(255, 128, 0);\"\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11pt; line-height: 107%; font-family: 'Segoe UI Historic', sans-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/h3\u003e\n\u003ch3 class=\"MsoNormal\" style=\"text-align: center;\"\u003e\u003cem\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Segoe UI Historic', sans-serif; color: rgb(255, 128, 0);\"\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11pt; line-height: 107%; font-family: 'Segoe UI Historic', sans-serif;\"\u003eThe Dutch seen through Japanese eyes\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Segoe UI Historic',sans-serif; mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e A \u003c\/span\u003eDutchman and his enslaved servant.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Segoe UI Historic',sans-serif; mso-ansi-language: EN-GB;\"\u003eJapan, ca. 1750.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Segoe UI Historic',sans-serif; mso-ansi-language: EN-GB;\"\u003eDrawing in ink and colour on paper. 115 x 52.5 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Segoe UI Historic',sans-serif; mso-ansi-language: EN-GB;\"\u003eVery large and impressive Japanese paper hanging scroll (kakejiku or kakemono) with a coloured drawing depicting a Dutch and an Asian man, the latter as the Dutchman’s enslaved servant. \u003cbr\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e           \u003c\/span\u003eThe Dutch traders of the V.O.C. were the only Europeans tolerated in Japan from 1639 until 1853. They were confined to Dejima island off Nagasaki and their movements were carefully watched and strictly controlled. The Japanese were fascinated by these exotic people and depictions of the Dutch by Japanese artists were highly sought after. However, most Japanese artists were not allowed to visit the Dutch on Dejima, so the few images taken of them from life were rapidly copied. Thus archetypes developed with exaggerated characteristics such as a big nose, long curly red hair and enormous length. Also certain attributes recurred in most depictions of the Dutch, some of which are present in the formidable example that we offer here: a bamboo cane, the style of dress and last but not least an enslaved black servant. Much effort was made to accentuate contrast in social position of the two men. The servant is depicted much smaller than his master and hiding behind him while carrying a heavy jug, his head turned away from where his master is looking. The Dutch brought enslaved servants to Japan from their colonies in Indonesia and Sri Lanka, which was highly unusual for the Japanese. The style of dress of the men in this drawing is late 17\u003csup\u003eth\u003c\/sup\u003e or early 18\u003csup\u003eth\u003c\/sup\u003e century but due to the development of the archetype the Japanese continued to depict the Dutch in that fashion well into the 19\u003csup\u003eth\u003c\/sup\u003e century, even though fashion had drastically changed by then. Japanese images of the Dutch were mostly shared in print or miniature sculptures (netsuke). Drawings of them on hanging scrolls are rare and on paper even rarer, especially in the size of the one we offer here (over 1 meter tall).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Segoe UI Historic',sans-serif; mso-ansi-language: EN-GB;\"\u003eMore information and other examples of Japanese depictions of the Dutch available upon request.\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003c!-- [if !vml]--\u003e\u003cspan style=\"mso-ignore: vglayout; position: absolute; z-index: 251659264; margin-left: 0px; margin-top: 240px; width: 38px; height: 38px;\"\u003e\u003c\/span\u003e\u003c!--[endif]--\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Segoe UI Historic',sans-serif; mso-ansi-language: EN-GB;\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Segoe UI Historic',sans-serif; mso-ansi-language: EN-GB;\"\u003ethis drawing on paper would be rolled up, but this type of paper was not suited to be rolled up so it cracked in several places. It was repaired and mounted on paper and a wooden frame support in France in 1977. Stained throughout.\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":48578028667223,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/20230803_104010-removebg.png?v=1717939105"},{"product_id":"chaumeau-histoire-de-berry-1599","title":"Chaumeau, Histoire de Berry, 1599.","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003ch3 class=\"MsoNormal\" style=\"text-align: center;\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e“Un tour de force de la gravure sur bois” (Brun)\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eJean Chaumeau (ca. 1500-after 1566) [author]; Jean Arnoullet (?-?) [woodcuts].\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHistoire de Berry, contenant l'origine, antiquités, gestes, prouesses, privilèges et libertés des Berruyers.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eLyon, Antoine Gryphius, 1599.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSmall folio in 6s, [8], 365, [3 blank], 24 pp.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eWith an exquisite woodcut title and a superb double-folio folding woodcut bird's-eye panorama view in an oval frame of the city of Bourges, signed and dated Jean Arnoullet, 1566. Also with 79 woodcut coats of arms of the aldermen of Bourges, one page of woodcut coins, and numerous very fine woodcut initials. Lacks the map, instead the Latin edition of the same map from another work is loosely inserted, as well as the engraved Mercator map of Berry. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e18th-century lavishly gold-tooled calf. With the ex-libris of D.D. de Maufsabré on the front paste-down.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eFirst edition of a richly illustrated and typographically very attractive early description of the province of Berry in France. This book is particularly esteemed for its large folding view of the capital, Bourges, crafted by woodcut artist Jean Arnoullet. Although little is known about Arnoullet, he was undoubtedly a highly skilled woodcut master of the French 16th century, likely the son of Lyon printer Balthazar Arnoullet (1517-1556). The woodcut frame for the title page, probably also by him, features the motto of printer Gryphius: \"Virtute duce, comite fortuna.\" The frame is topped with a griffin with outspread wings and flanked by the allegories of Prudence and Time. Additionally, the work is embellished with numerous coats of arms of municipal officers, decorative headers, ornate letters, and coins of Bourges.\u003cbr\u003eThe author, Jean Chaumeau, was the son of a prosecutor of the city of Bourges, lord of Lassay, lawyer, and archaeologist. He was elected alderman of his city in 1540. This book is his only known written work and contains a legendary account of the origin, antiquity, splendor, and nobility of his province and the capital of Berry.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003ebinding slightly rubbed. Lacks the map. some small marginal worming. Otherwise in very good condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eReference: \u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eBaudrier VIII:347; Brunet I:1826; Brun, livre illustré de la Renaissance 154; Pettegree (FB) 12936; STC French (BL) 106; Not in Adams.\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":48694819651927,"sku":"","price":2500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/65030de7-c504-4646-8870-0065b034d061.png?v=1719474225"},{"product_id":"a-magnificent-display-of-black-sovereign-power-made-in-new-york","title":"A magnificent display of Black sovereign power, made in New York","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eA. H. Hartmann [daguerreotypes, publisher]; Charles G. Crehen, Francis D'Avignon, Charles Severyn [lithographs]; Faustin I of the Empire of Haiti [= Faustin-Élie Soulouque] (1782-1867).\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLiberté. Indépendance. Empire D'Haïti. [on cover:] Album Impérial d'Haïti.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eNew York, published by A. Hartmann; printed by Th. Lacombe \u0026amp; C. G. Crehen, 341 Broadway and F. d’Avignon, 323 Broadway, 1852.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eFolio oblong (31 x 42). With 12 lithographs printed chine-collé, captions printed separately, on thick wove paper. Daguerreotypes by A. Hartmann, lithographs drawn in New York by L. Crozelier, N. Corradi, C. Severyn, C.G. Crehen (also printer), and J. d’Avignon (also printer).\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eOriginal blind-stamped black percaline cloth with gold-tooled title on front cover.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eA majestic album of extremely rare early images of Black people in sovereign power. Consisting of 12 staggering lithographed plates made in New York after daguerreotype pictures taken in Haiti of the coronation of the first Emperor of Haiti, Faustin I. A very rare complete copy in its original binding.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eHaiti became the first nation of formerly enslaved people to gain independence after a prolonged struggle against French colonial rule. The ensuing complex power struggles led to various self-declared sovereignties, including the reign of Faustin I, who seized power through bloodshed and cruelty.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe pictures for this album were taken by traveling daguerreotypist A. Hartmann in 1852, and these must be some of the earliest pictures ever taken in Haiti. After capturing the daguerreotypes, Hartmann promptly transported them to New York, where he commissioned several lithographers on Broadway to transform the photos into prints. \u003ci\u003e“Their efforts produced a final product that is nothing short of magnificent.”\u003c\/i\u003e (Salt).\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe album seems to be a project of Hartmann himself, rather than a commission of the Emperor, because in a letter kept at Wellesley College he writes that \u003ci\u003e“The Album of Hayti has been published by myself upon my own Daguerreotype originals. It is even now, although Modern, a rare book, as the stones have been destroyed, and only 500 copies have been taken from them.”\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe importance of these images can hardly be overstated, as extensively analyzed in Karen N. Salt’s *Migrating Images of the Black Body Politic and the Sovereign State* (2017):\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e“[The album] does much more than offer illustrative proof that the ceremony happened. […] The construction of the album, its circulation of national identity, and symbols of power are just as important as the actual composition of the images contained within it. Coming at an important time in the evolution of daguerreotypes, the album represents both the use of new technological inventions in the recording of Black power and the important contribution of blackness as a part of the image content and its capital investiture. […] Albums would be the grand example of the documentary power of photography to render the black world through the eyes of those who lived it as opposed to the way some racist person had imagined. […] In all, the album makes up an unparalleled resource for those interested in understanding the migration of images of Black statehood and power.”\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMigratory photographer A.H. Hartmann traveled extensively in the Caribbean region offering his services as a photographer. He worked in Suriname, British Guiana, Dominican Republic, Puerto Rico, and of course Haiti where Faustin I photographed the coronation in 1852. H.A. was the son of Hippolyte Hartmann (1818-1902), a photographer who settled in Martinique, where he ran a photo studio in St. Pierre and portrayed several Black people. He also took the scenic photographs for the spectacular lithographed Album Martiniquais (Paris: Lemercier, c.1860).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eList of plates:\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e1. Coat of arms of the Empire of Haiti.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e2. Coronation Ceremony of LLMM April 18, 1852.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e3. Coronation Ceremony April 18, 1852.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e4. Faustin I, Emperor of Haiti.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e5. Empress Adelina.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e6. Princess Madame Olive, daughter of LLMM.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e7. H. Ex. J. Paul, Duke of Morin, Grand Chamberlain \u0026amp; aide-de-camp of honor to HM the Emperor.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e8. SEL Dufrene, Duke of Tiburon, Minister of War, Navy and External Relations.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e9. H. Ex. Marshal-de-Camp Louis-Etienne Félicité de Salomon Jeune, Duke of Saint-Louis-du-Sud, Minister of Finance and Trade.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e10. D. Delva, Count of Dame Marie, Grand Chancellor of the Empire.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e11. SAI Prince Mainville Joseph, Field Marshal, son of Prince Jean Joseph [and] SAI Prince Jean Joseph, Duke of Port de Paix, brother of HM the Emperor.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e12. Vil-de-Lubin, Count of Pétionville, Governor of the capital of the Empire (Port-au-Prince).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLiterature:\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eKaren N. Salt, “Migrating Images of the Black Body Politic and the Sovereign State: Haiti in the 1850s” in: Leigh Raiford, Heike Raphael-Hernandez, *Migrating the Black Body: The African Diaspora and Visual Culture*, University of Washington Press, 2017, pp. 52-70.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eElbert Collection (Wellesley College Library). [Wellesley College Library](https:\/\/repository.wellesley.edu\/object\/wellesley35738). Accompanied by a letter from A. Hartmann to Mr. Paxton, dated June 12, 1857, stating that \"The Album of Hayti has been published by myself upon my own Daguerreotype originals. It is even now, although Modern, a rare book, as the stones have been destroyed, and only 500 copies have been taken from them. I do then certify the genuineness of the publications, and am ready to show the original Daguerreotypes from which it has been published.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCondition:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e Some scattered tiny stains. A couple of marginal repairs. Slight thumbing on corners and edges. Otherwise in very good condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":48819078299991,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/3a14e71d-9178-4030-81ab-6b3666ad61b3.png?v=1721395692"},{"product_id":"made-in-boston-by-a-continental-army-engineer-during-the-american-revolutionary-war","title":"Made in Boston by a Continental Army engineer during the American Revolutionary War","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eJacques Rivaud (1749-1820).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"font-family: 'Aptos',sans-serif; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eVestibule of a Grand Neoclassical Structure with Oriental Figures.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBoston, February 6, 1778.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eInk and gouache on laid watermarked paper, two sheets adjoined. 41 x 29 cm. Mounted along edges to thick paper strips. Annotated at the bottom right: “Fait à Boston par l'ingénieur Rivaud le 6 février 1778”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eFine architectural drawing by an engineer of the Continental Army. The artist, Jacques Rivaud, was recruited in France by Colonel Tronson du Coudray. This colonel was tasked by the American diplomat Silas Deane to secretly recruit engineers from France to aid in the construction of fortifications in America. While little is known about these recruits, and even less about any graphic material produced by them in America, the Journals of the Continental Congress from November 1777 list their names, including Jacques Rivaud (see note). Rivaud completed this drawing in Boston on February 6, 1778, clearly intending to showcase his skills as an architectural draughtsman and designer, with a perfect mastery of perspective. The style is unmistakably an early example of neoclassical Federal-style architecture. The date on the drawing suggests that Rivaud likely advised on fortification repairs in Boston, which had suffered extensive damage during the eleven-month siege of 1775-1776.\u003cbr\u003eRivaud was a notable sub-engineer whose most significant projects were in Mâcon, France. His work is well-documented in historical archives, highlighting his involvement in urban planning for Mâcon and recognizing his professional significance, but nothing is noted about his time in the U.S. His work in Mâcon occurred after his return from the United States. The Musée des Ursulines in Mâcon holds a drawing by Rivaud, depicting a plan for a gate in the city that is stylistically very similar to the drawing we offer here (Cahiers d'inventaire n° 20: Dessins (notice illustrée p. 11)).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCondition:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e Two tiny pinholes, otherwise in excellent condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLiterature:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eRivaud’s drawing and bio on French government website: https:\/\/pop.culture.gouv.fr\/notice\/joconde\/01720026223\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eA. Lasseray, Les Français sous les treize étoiles (1775-1783), Mâcon, Paris, Protat, 1935.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eG. Lacour-Gayet, \"La vieille France et la jeune Amérique - Campagne du vice-amiral d'Estaing\" in Revue des Deux Mondes, vol. 25, 1905.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eJournals of the Continental Congress, November, 1777, pp. 876-877: “Resolved, That it is the opinion of this committee, that the return of the said gentlemen to France, at their own request, be facilitated, and that it will be doing full justice to allow them continental pay according to their respective stations, from the time of their agreement with Mr. Deane, to the first day of November, 1777, their expenses in traveling to the eastward or southward for embarkation for Europe, and a further sum in bills of exchange for their passages to France and traveling charges to Paris; that the bills be drawn in their favour, by the president, on the commissioners in France, at thirty days' sight, and that these allowances shall be in full satisfaction of their several claims against the United States; and the committee having made an estimate of the allowances according to this resolution, submit the same, in manner following. Rivaud.”\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":48845198721367,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/100_03861_6ea444ce-7ff7-4282-b4cf-515c75b9ccbf.jpg?v=1721898100"},{"product_id":"one-of-the-greatest-portraits-of-a-black-woman-ever-made","title":"One of the greatest portraits of a Black woman ever made","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003ePolydore-Jean-Charles Pauquet (active 1816-1849); Hippolyte Louis Emile Pacquet (1797-after 1862); Marie Benoist (1768-1826) [after].\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eNégresse \u003cem\u003e(\u003c\/em\u003e\u003ci\u003ePortrait de Madeleine).\u003c\/i\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e[Paris], 1829.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEngraving on wove paper. Ca. 31 x 24 cm. Signed and marked “déposé” in the plate.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEngraved portrait of a the Guadeloupean Madeleine, after the phenomenal and renowned painting by woman artist Marie Benoist from 1800. It is now one of the best known portraits in the history of European art and has gained much relevance in recent years. A controversial image from the start, the Louvre bought it from the artist in 1818 and it was there where Hippolyte Pauquet drew the design for the print we offer here. His brother Polydore made the engraving and he had gone out of their way to it in the same direction as the painting, instead of reversed. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eWhat stands out in this portrait is a lack of exoticism, defying the norms of the time. Inspired by neoclassical styles, the work is reminiscent of earlier portraits, albeit with a distinct focus on representing a black woman with dignity and grace. She is seated against an empty background challenges racial and social conventions of the era. Notably, she wears a \"tignon,\" a Creole headdress from the West Indies and Louisiana, adding layers to her identity and heritage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe evolution of the title of this well-known artwork reflects the changing status of black women in society. The painting was first displayed in public at the Paris Salon of 1800, as \u003ci\u003ePortrait d'une négresse\u003c\/i\u003e. Slavery had recently been abolitished in France, the first nation to do so. But not long after, in 1802, slavery was reinstated under Napoleon Bonaparte. It was only in 1848 that the enslavement of individuals was finally disallowed in France. Meanwhile the French State had acquired the painting in 1818 and housed it at the Louvre, where it became known as \u003ci\u003ePortrait d'une femme noire\u003c\/i\u003e. In 2019 she was finally identified as Madeleine and a new title was presented: \u003ci\u003ePortrait de Madeleine\u003c\/i\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eModern discussions place the painting in the context of larger changes in society. It caught the eye of the general public when it appeared in Beyoncé and Jay-Z's \"Apeshit\" music video, filmed at the Louvre in 2018. It has also appeared in recent books and TV shows, highlighting the significance in contemporary culture of this monumental image of a black woman.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eIn sum, Benoist's portrait of Madeleine transcends its time, sparking conversations about race, representation, and identity in both historical and contemporary contexts.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eTrimmed inside plate line, one side at an angle. Otherwise in very good condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLiterature: \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eAnne Lafont, \u003ci\u003eUne Africaine au Louvre en 1800\u003c\/i\u003e, Paris, INHA, 2019.\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":49074514362711,"sku":"","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/b844c7d5-106d-42d7-a156-fa2b943dbd75.png?v=1725434533"},{"product_id":"indigenous-family-drawn-from-life-in-surinam","title":"Indigenous family “drawn from life” in Suriname","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eVolhard, Martinus Christiaan (1742–1795).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eAls ook hier, het spannen van hare hangmatten \/ het vuren onder de bekers \u0026amp;c. \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e[Also here, the stretching of their hammocks \/ the firing under the cups etc.].\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSuriname, 1768.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eWatercolour on laid paper, 21 x 34 cm (sheet), signed in ink: \"M:C: Volhard ad viv: delt: 1768,\" captioned in ink (see title), numbered in ink \"53\" (twice) in the top and bottom right corners. Pasted to a cardboard mount.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eA very rare drawing of the Indigenous inhabitants of Suriname, finely depicting specific cultural features, most likely observed firsthand by the artist in Suriname.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe Suriname Carib people include the Kalina, Lokono, Trio, and Wayana. They are known for their expertise in archery, hammock weaving, and pottery, as depicted in this drawing. Their daily lives revolve around sustainable practices such as fishing, hunting, and farming. The individuals in this scene are depicted separately, each representing distinct characteristics of Carib culture and the central role of women in their society. From left to right: a woman gazing kindly at the viewer, a man shooting a bow and arrow at a bird, a man gesturing behind a large earthenware pot, a mother with a suckling child tending a fire under a pot, and a man resting in a hammock.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe artist paid particular attention to specific details he observed as typical or unique. The man in the hammock, for instance, has fine facial tattoo lines, and a delicate chain is visible hanging from the side of his hammock. The method of tying the hammock to the tree is also drawn with great care.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMartinus Christiaan Volhard\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMartinus Christiaan Volhard is primarily known as a heraldic painter from Rhenen, The Netherlands. However, he also created exceptional works on paper. Most notably, two extensive series of Surinamese flora and fauna drawings were auctioned in 1808. \u003c\/span\u003eThey were described as follows:\u003c\/p\u003e\n\u003cul type=\"disc\" style=\"margin-top: 0cm;\"\u003e\n\u003cli style=\"mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;\" class=\"MsoNormal\"\u003e\n\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLot 54:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e A very fine collection of 50 original drawings of Surinamese birds, insects, and plants, all drawn and coloured from life in Surinam by M. C. Volhard, presented in an art book with a half binding.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli style=\"mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;\" class=\"MsoNormal\"\u003e\n\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLot 55:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e A similarly fine collection of a large number of Surinamese butterflies and insects, also drawn and coloured from life in Surinam by M. C. Volhard, on 41 sheets, presented in an art book with a half binding.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe albums reappeared in 1841 at an auction in Leiden, where they were described as “Two books with coloured depictions of Surinamese birds, insects, and plants, mostly drawn by M.C. Volhard.” After that sale, the albums disappeared from public record.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e“Drawn from Life”\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eTogether, the albums comprised an impressive 91 drawings. This drawing appears to have been part of that collection, as it is signed “M.C. Volhard,” numbered “53,” and features Surinamese subject matter. The caption \u003ci\u003e“Als ook hier”\u003c\/i\u003e (Also here) suggests it was part of a series, potentially following another depiction of Indigenous people. Interestingly, auction records do not mention any depictions of people. This omission could indicate that the present drawing was removed from the album by a previous owner who felt it did not fit with the rest.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eStylistically and compositionally, the work aligns with contemporary Western depictions of Indigenous peoples in plantation colonies, such as those by Agostino Brunias and Robert Jacob Gordon. The large bow, facial tattoos, pottery, and hammock are all accurately depicted, further affirming its authenticity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eAdditional Work by Volhard\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eIn 2005, Skinner auctioned an optical transformation game titled \u003ci\u003eL’Habit fait l’Homme,\u003c\/i\u003e signed “M.C. Volhard fecit.” This work included unclothed male and female watercolour portrait cards on black grounds and 114 cut-paper overlays. Skinner noted it as “exceptional in many respects,” not least for its extensive overlays and being the only known signed transformation game by an artist. This, along with the Surinamese series, demonstrates that Volhard was far more than a provincial heraldic artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSlightly soiled and minor spotting, otherwise in good condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003eLiterature:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eCatalogus eener allerkostbaarste verzameling van boeken […] J. van Buren […] ten Huize van B. Scheurleer […]. [The Hague, s.n., 1808], p. 6, no. 54 and 55.\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eCatalogus van eene uitgebreide verzameling schilderijen, door beroemde oude en hedendaagsche meesters : mitsgaders van teekeningen, prenten en prentwerken [...] : [...] nagelaten door J. Kleinenbergh, te Leiden : dewelke verkocht zullen worden onder directie van de kunstschilders A. Lamme, F. Breuhaus de Groot en A.J. Lamme ... op den 19 Julij 1841 […]. Leiden, H.W. Hazenberg Junior, 1841, p. 56.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12.0pt; line-height: 115%; font-family: 'Aptos',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Aptos; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: NL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003eH.P. Deys, J.M. Doorman \u0026amp; A.J. de Jong, ‘Oude huizen in de Rhenense binnenstad en hun bewoners. De woning van de familie Volhardt in de Kruisstraat’ in: \u003ci\u003eOud Rhenen\u003c\/i\u003e 34 (2016), nr. 1, pp. 12-24.\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":49636791288151,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/laatste.jpg?v=1735819515"},{"product_id":"with-23-botanical-drawings-and-anecdotal-notes-by-camerarius-himself","title":"With 23 botanical drawings and anecdotal notes by Camerarius himself","description":"\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eJoachim Camerarius II (1534-1598) [drawings, notes, editor].\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003ePietro Andrea Mattioli (1501-1577) [author]; Georg Handsch von Limus (1529-1578) [transl.]; Gieorgio Liberale (1542 – 1579) [designs]; Wolfgang Meyerpeck (1505-after 1568) [woodcuts]; Jost Amman (1539-591) [woodcuts].\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eKreutterbuch desz hochgelehrten unnd weitberühmten Herrn D. Petri Andreae Matthioli, jetzt widerumb mit viel schönen neuwen Figuren, auch nützlichen Artzeneyen, und andern guten Stücken, zum anderen Mal auss sonderm Fleiss gemehrt, und verfertigt durch Ioachimum Camerarium [...].\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eFrankfurt am Main, [Gegruckt bey Johan Feyrabendt in Verlegung Peter Fuchers und Heinrich Dacken Erben], 1590.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eFolio in 6s (36 x 25 cm.). [10], 460, [2] ll. Collates: (:)-(:)6, x-x4, A-4G6, 4H-4H4, 4I-4I2 [lacks index leaves 4I3-4R4].\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eIllustrated with ca. 1000 hand-coloured woodcuts and a hand-coloured woodcut title page by Jost Amman.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLater quarter calf with smooth spine, marbled sides, and red edges.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eWith 23 watercolour drawings and numerous annotations in ink throughout:\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cul type=\"disc\" style=\"margin-top: 0cm;\"\u003e\n\u003cli style=\"mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e17 watercolour drawings of plants on A1v, B4v, 2Br, 2Ir, 2K4r, 2N6v, 2S5v, 3B2r, 3B3v, 3Gr, 3I6r, 3I6v, 3Qr, 3Rr (heavily annotated).\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e5 pasted-in watercolour drawings of plants on leaves A1r, V6r, 2A2v, 4E4v.\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eA tipped-in sheet at V3–V4 with manuscript notes on recto and a large watercolour drawing of a plant on verso, dated 1593.\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eAn engraved portrait of Mattioli pasted in on the blank verso of x4v and a contemporary manuscript caption below it praising the author.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eJoachim Camerarius the Younger’s own copy of his edition of Mattioli’s herbal, with 23 additional drawings and extensive anecdotal annotations made by him.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe Edition\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCamerarius edited Dioscorides’ celebrated first-century pharmacological treatise, published for the first time by the Sienese botanist Pietro Andrea Matthioli (1501–1577), who identified the plants and added 562 woodcut illustrations. Camerarius enriched Matthioli’s work by replacing the original illustrations with more accurate woodcuts based on drawings by the Swiss naturalist Conrad Gessner (1516–1565). These woodcuts depicted entire plants along with enlarged details of leaves, seeds, or fruits, ensuring greater botanical accuracy. This edition, published in Frankfurt, is the second edition of Camerarius’ work. He proudly highlighted his enhancements on the striking title page, designed by Jost Amman, which notes the inclusion of \u003ci\u003e“viel schönen neuwen Figuren”\u003c\/i\u003e (\"many beautiful new illustrations\").\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eJoachim Camerarius II (1534–1598) studied medicine in Wittenberg, Leipzig, Padua, and Bologna, receiving his doctorate in 1562. In 1564, he settled in his hometown of Nuremberg as a doctor. In 1592, the Nuremberg city council established the Collegium Medicum and appointed Camerarius as dean, a position he held until his death. His reputation as a doctor and botanist spread far beyond Nuremberg.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe Drawings\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThis exceptional copy of Camerarius’ \u003ci\u003eKreutterbuch\u003c\/i\u003e contains 23 watercolour drawings by Camerarius himself, along with two long handwritten anecdotes and numerous marginal annotations. Photographs of the drawings are available on artemrarebooks.com, and transcriptions of the anecdotes are provided below.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCamerarius Florilegium\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe drawings and handwriting are identical to those in the famous \u003ci\u003eCamerarius Florilegium\u003c\/i\u003e, housed at the Universitätsbibliothek Erlangen-Nürnberg (see additional images for comparison). This botanical manuscript contains 469 plant images on 193 pages and surprisingly includes no reference to its owner. While the attribution to Joachim Camerarius the Younger remains debated, the anecdotal notes in the book we offer here strengthen the connection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSeveral handwritten accounts in this volume describe medical cases attended by Camerarius in Munich and a “control” near Munich with the attendance of Duke Wilhelm V of Bavaria. These anecdotes, dated 1586, 1591, 1593, and 1595, align with the period when Camerarius was active as a physician in Nuremberg. The focus on Munich suggests this might have been his Munich copy. In any case, it is clear that the creator of the \u003ci\u003eCamerarius Florilegium\u003c\/i\u003e and the artist of these drawings are the same.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe Annotations\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eIn addition to the two longer anecdotes, marginal annotations throughout the book provide practical applications for the described plants, such as a remedy for stubborn bowels using sorrel (a type of herb).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eControl\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe first longer handwritten passage appears on a tipped-in sheet with a large drawing on the verso and explanatory text on the recto. It describes a “control” (test) conducted in a garden at Niederheching in 1593 for Duke Wilhelm V and his court (\u003ci\u003e“Hertzog Wilhelm selbst, Und der selig gemahl, damalen Landsfürst, als Von vielen Andern ahnselich Personen”\u003c\/i\u003e). The botanical study concerned the populus nigra (black poplar), illustrated on the reverse of the sheet. The caption under the drawing reads: \u003ci\u003e“See above the black poplar, for which this tree is here held, because of its leaves, wood, and bark.”\u003c\/i\u003e The text is signed by the scientific witness, \"Abbate\" Bani de Montis from Heidelberg.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eDuke Wilhelm V of Bavaria (1548–1626) was a notable patron of the arts and sciences during his reign.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eTobacco Treatments\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe second handwritten passage describes two medical anecdotes involving the innovative use of tobacco leaves, a newly introduced treatment from the New World. These stories highlight Camerarius’ pioneering spirit and experimentation with novel remedies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e“The [wound] never wanted to heal firmly, and extremely sharp pains continually afflicted [him]. He was convinced that a piece of iron still remained lodged in his spine. He approached a certain assistant of the Societies (?) to urgently request advice and a remedy. This person had no other suggestion but the use of tobacco, which he prescribed for the patient. Therefore, for three days, the juice of tobacco leaves was dripped onto the wound. At last, the piece of iron was detected by chance, to such an extent that it could be firmly grasped with forceps. What was done? The patient was tied firmly to a bench by his wife, and she extracted the piece of iron, of remarkable size, with the forceps. This was seen before his very eyes on the 4th of November, 1586. This man, healthy and strong, later presented it to his doctor in my presence, [...].\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThis I wished to add in commendation of the plant [tobacco]: \u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBartholomaeus Sel, a citizen and brewer of Munich, in the year 1591, miserably burned his right hand and foot by slipping into boiling beer, and could not heal himself properly. Finally, in November of the year 1594, the humours began to flow again. He applied juice pressed from tobacco leaves, and by soaking a piece of tobacco in the juice and applying it to the affected area, within a few days the tobacco dried out and completely cleansed the humours from the wound.”\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eFull transcription available upon request.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThis extraordinary copy of Camerarius' Kreutterbuch is both a botanical masterpiece and a personal testament to Renaissance science. Enriched with Camerarius’ own drawings, annotations, and groundbreaking medical anecdotes, it offers a rare glimpse into his innovative mind. A unique blend of art, science, and history, this volume stands as a monumental artifact of early modern knowledge and discovery.\u003cspan style=\"color: red;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003ecovers rubbed.\u003cb\u003e \u003c\/b\u003eSeveral old marginal repairs throughout. Inconsistently browned. Slightly trimmed with minor loss of annotations. 3G4, 4E6 damaged. Lacks most of the index at the end. The illustrations generally in very good condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"background: white;\" class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"color: black; mso-color-alt: windowtext; mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eReference: \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eFor samples of Joachim Camerarius II’s handwriting see the Carolus Clusius correspondence, for example CAM_J012 (1591-11-25) in: Esther van Gelder (ed.), \u003ci\u003eClusius correspondence. A digital edition-in-progress\u003c\/i\u003e. 1st release: December 2015. The Hague: Huygens ING. http:\/\/clusiuscorrespondence.huygens.knaw.nl (accessed: 27 November 2024).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eAsia in the Making of Europe: A century of wonder\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e. University of Chicago Press, 1977.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBain, \u003ci\u003eThe Mattioli Woodblocks\u003c\/i\u003e (1989).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBridson-Wendel, \u003ci\u003ePrintmaking in the Service of Botany\u003c\/i\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-fareast-language: NL;\"\u003ePritzel (2nd ed.), 5990\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-fareast-language: NL;\"\u003eBNHCat M 329\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-fareast-language: NL;\"\u003eVD16 M 1615\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-fareast-language: NL;\"\u003eNissen BBI, 1311\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-fareast-language: NL;\"\u003ePlesch 514\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eDurling 3019.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eHunt I, 160.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eProvenance: \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eFrom the collection of the former Lindau city archivist.\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 12.0pt; line-height: 115%; font-family: 'Aptos',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Aptos; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-GB; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\" lang=\"EN-GB\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":49641480585559,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/2f359091-d336-441a-a94c-c12cfc49f626.png?v=1733315145"},{"product_id":"allegory-on-the-contested-ownership-of-suriname-between-britain-and-the-dutch","title":"Allegory on the contested ownership of Suriname between Britain and the Dutch.","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eA quato monkey from Surinam. Tiger dog from Demerary.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSuriname?, 1803?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: red; mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eWatercolour on paper pasted on paper support with handwritten caption in ink. Image 36.8 x 21 cm., sheet 37,5 x 25,5 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eTitled by hand in ink at the top and captioned at the foot:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e“Cupid, alias Jacko, alias Black Jack, long a successful Chief of the Pilgrim Pantry gang of thieves, - died in chains 1803…\u003cbr\u003eTom Tiger, a great enemy to monkies, mackaws, and all quaw quaws.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThis allegorical drawing references the political tensions between British-controlled Demerara and Dutch Suriname in 1803, a period of colonial upheaval in the Guianas. The depiction of a red-faced spider monkey (labeled a \"quato\" or kwatta monkey) from Suriname and a tayra (mislabeled a \"tiger dog\") from Demerara reflects the contested control over these territories. The work was created from a British perspective, likely to emphasize British dominance and critique Dutch governance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe Dutch Guianas, comprising Suriname, Demerara, Essequibo, and Berbice, were valuable plantation colonies fiercely contested by European powers. After the British temporarily seized Demerara in 1796, it was returned to the Dutch in 1802 under the Peace of Amiens, only to be recaptured by Britain in 1803. This image allegorizes this struggle: the monkey represents Dutch Suriname attempting to steal a captured bird from the tayra, which symbolizes British Demerara.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe monkey, reaching for the tayra's bird, likely signifies Dutch attempts to reclaim resources or influence. The tayra, depicted as aggressive and protective, embodies British control and resistance. The drawing’s annotations may also critique the Dutch use of non-white military personnel, notably the Black Rangers (Zwarte Jagers), who were employed to suppress enslaved uprisings. The reference to “Cupid, alias Jacko” aligns with colonial-era stereotypes of enslaved individuals or maroon leaders, further complicating the political allegory.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCondition:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e image in very good condition, with paper support slightly browned at the blank margins. Loss at the top-right blank corner and two minor marginal repairs. \u003c\/span\u003eSlight creases. Pencil notes in the lower-right corner.\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLiterature: \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eBuddingh', Hans. \u003ci\u003eDe Geschiedenis van Suriname\u003c\/i\u003e. Uitgeverij Rainbow BV, 2021.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003ede Groot, Silvia. \"Rebellie der Zwarte Jagers. De nasleep van de Bonni-oorlogen 1788-1809.\" \u003ci\u003eDe Gids\u003c\/i\u003e, vol. 133, no. 9, 1970.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eEinaar, J.F.E. \u003ci\u003eBijdrage tot de Kennis van het Engelsch Tusschenbestuur van Suriname 1804-1816\u003c\/i\u003e. Dubbeldeman, 1934.\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":49857671201111,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/4e76db0f-5237-4de2-a1f9-85b116f32484_8f623b37-0355-4aeb-86b9-440061987961.png?v=1737558110"},{"product_id":"some-of-the-most-exquisite-depictions-of-renaissance-architecture","title":"\"Some of the most exquisite depictions of Renaissance architecture\"","description":"\u003cp style=\"text-align: center;\" data-pm-slice=\"1 1 []\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: center;\" data-pm-slice=\"1 1 []\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eThe Master Mason of Chartres' copy of an unrecorded, uncorrected first-state issue of the first edition.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJacques Androuet du Cerceau (ca. 1510–1585); Macé Drouault (ca. 1550 – after 1621).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLivre d’architecture de Jaques Androuet du Cerceau, contenant les plans \u0026amp; dessaings de cinquante bastimens tous differens: pour instruire ceux qui desirent bastir, soient de petit, moyen, ou grand estat. Avec declaration des membres \u0026amp; commoditez, \u0026amp; nombre des toises, que contient chacun bastiment, dont l’elevation des faces est figurée sur chacun plan […].\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e[colophon:] Paris, Benoist Prevost, 1559. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFolio in 4s. [32] pp., with three large grotesque initials; 69 ll. with single-sided engraved illustrations. Complete.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith 7 additional plates: a folding plate mounted on the front paste-down; four plates tipped-in between the first and second front endpapers; one mounted to the verso of the second front endpaper, and one mounted to the third back endpaper. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNumerous inscriptions and drawings in ink throughout, primarily by a single 16th-century hand identified as Macé Drouault, Master Mason of Chartres (full transcriptions available).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eContemporary calf binding with raised bands and gold-tooled floral motifs on spine and covers. \u003cbr\u003eEx-libris on back paste-down of Spanish architects Luis Cervera Vera (1914–1998) and Luis Cervera Miralles (1946–2025). Cervera Vera amassed an extensive architectural library, later auctioned in New York.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJacques Androuet du Cerceau was \"the most prominent and by far the most influential of the sixteenth-century architect-authors\" (Weibenson \u0026amp; Baines), celebrated for his treatises that documented and profoundly influenced Renaissance architecture in France. Initially based in Orléans and later in Paris, he published his influential Livre d’Architecture (offered here), presenting fifty architectural designs illustrated by 171 figures across sixty-nine plates. These measured, scalable plans for townhouses, hôtels particuliers, and châteaux were arranged progressively by construction cost, making them accessible to a broad social audience. Unlike earlier treatises focusing on extravagant elite projects, du Cerceau emphasized economic feasibility, practical construction details, and meticulous measurement. His systematic approach continued with two subsequent volumes published in 1561 and 1582, solidifying his enduring impact.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eEdition\u003cbr\u003e\u003c\/strong\u003eThis copy represents the previously unrecorded, uncorrected first-state issue of the first edition with French text. No bibliographical reference to this state has been found. This unique state contains numbering errors absent from both the Bibliothèque nationale de France (BnF) French copy and the Latin edition printed in the same year by the same printer. For instance, plate XLV is mistakenly numbered XLX here, corrected to XLV in all other known copies. Additionally, several plates in this copy feature letterpress numbering above the image, while in other copies the numbers are engraved within the plates. These distinctive features confirm that this copy predates other known examples, including the Latin edition, making it both the earliest and rarest issue. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe French edition is very rare, not appearing in the digital catalogues of the LoC, Rijksmuseum, Yale etc.\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003e\u003cstrong\u003eMaster Mason’s Copy\u003c\/strong\u003e\u003cbr\u003eThe drawings and inscriptions include extensive artistic doodles and notes on the verso of the final back endpaper, featuring a floor plan, a sketch of a man's head, and foliate ornament studies. The back paste-down bears a drawing of a lion’s head, and elsewhere there is a faint full-page bust of a woman executed in red ink. A clear inscription reads: \"Ce present livre appartient à moi, maistre Macé Drouault\" (\"This book belongs to me, Master Macé Drouault\"). Macé Drouault was a Master Mason (architect) working in Chartres under the authority of King Henry IV of France, notably contributing to the fortifications of the city. A later, unidentified owner added several architectural plates dating from the 1650s, crossing out some inscriptions made by Drouault.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan\u003e\u003cstrong\u003eCondition\u003cbr\u003e\u003c\/strong\u003eBinding slightly worn, recently repaired structurally (revealing medieval binder’s waste), restoration report available. Title page lacks lower half (originally blank), replaced with later paper bearing impressum added by hand in ink and pencil. Some old marginal repairs, including corners of plates XIII and XXXIX, slightly affecting the images.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eLiterature \u003cbr\u003e\u003c\/strong\u003eBerlin Katalog. Catalogue entry 2360.\u003cbr\u003eGeymüller, Henry de. Les Du Cerceau, leur vie et leur oeuvre. Paris, 1887, p. 310.\u003cbr\u003eMasson, André, compiler. Catalogue of the École nationale supérieure des Beaux-Arts, Paris. Entry 647.\u003cbr\u003eWeibenson, Dora, and Claire Baines. The Mark J. Millard Architectural Collection, French Books: Sixteenth Through Nineteenth Centuries. Millard Architectural Collection, 1993.\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":50179742433623,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/rn-image_picker_lib_temp_c5887521-c66e-48ae-8816-97706b76c591.png?v=1741968609"},{"product_id":"how-to-create-and-manage-a-tobacco-plantation","title":"How to create and manage a tobacco plantation","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e[Louis, comte de Villeneuve (1768-1851)].\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eTraité complet de la culture, fabrication et vente du tabac, d'après les procédés pratiqués dans la Pannonie, la Virginie, le Danemarck, l'Ukraine, la Valteline, la Guyane françoise, et ci-devant dans la Guyenne. Auquel on a joint d'autres objets d'economie rurale, qui, réunis ou substitués au tabac, en rendent la culture encore plus utile aux propriétaires, et tres intéressante pour l'etat. Ouvrage orné de six planches en taille-douce.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eParis, Chez Buisson, libraire-imprimeur, rue Hautefeuille, no. 20, 1791.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eviii, xvi, 256, 257, [1], 257-456 pages, [2] pp., With 6 folding plates.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eContemporary mottled calf with gold-tooled spine and red edges.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003ePublished in response to the abolition of France’s state tobacco monopoly in 1791, this work provides an exhaustive study of tobacco cultivation across Europe and the Americas. It details every stage of production—from soil preparation and harvesting to processing and sale—offering landowners practical guidance in a newly deregulated market. The six large folding plates illustrate key aspects of plantation work, including drying houses, machinery, and field labor.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eBeyond its technical and economic focus, this work inevitably intersects with the history of slavery, as tobacco plantations in the Americas—especially in Virginia and French Guiana—were deeply reliant on enslaved labor. Its descriptions of large-scale plantations in colonial territories indirectly document the forced labor conditions under which much of the world’s tobacco was cultivated. The author's pragmatic approach to labor management and cost calculations, without acknowledging the human suffering involved, reflects the mercantile mindset of the time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eminor wear to binding, half title inscribed: “Bigotte notaire public à Punerot”, stain in quire C, spotting in quire P, Z4-Z5 loose. Otherwise in very good condition.\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eReference: \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eArents, G. Tobacco, IV:1107; Goldsmiths'-Kress no. 14672.16; Pritzel 11704.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":50202580812119,"sku":"","price":950.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/af94b664-c883-43fc-bc96-6135aee5789f.png?v=1742288707"},{"product_id":"coming-into-her-own-as-an-independent-artist","title":"Coming into her own as an independent artist","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eMaria Margaretha van Os (1779-1862).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eStill Life with Flowers and Fruit.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe Hague, c. 1820–1840.\u003cbr style=\"mso-special-character: line-break;\"\u003e\u003c!-- [if !supportLineBreakNewLine]--\u003e\u003cbr style=\"mso-special-character: line-break;\"\u003e\u003c!--[endif]--\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eOil on panel, 38 x 29 cm. In a contemporary, elaborate gilded gesso frame with an ornate pierced design, with a small plaque engraved “Maria van Os” on the lower centre.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThis wonderful still life by Maria Margaretha van Os is a key transitional work in her career, marking her shift from student to independent artist.\u003cbr\u003eMaria was a Dutch still-life painter from the distinguished artistic Van Os family in The Hague. She was trained by her parents, the pastellist Susanna de la Croix and the celebrated still-life painter Jan van Os, alongside her brothers Pieter Gerardus van Os and Georgius Jacobus Johannes van Os. Her work gained national recognition, and in 1826 she was named an honorary member of the Royal Academy of Fine Arts in Amsterdam—an exceptional honour for a woman at the time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe execution of this painting bears a closer resemblance to the work of her father than to her later still lifes, underscoring its early place in her oeuvre. Notably, it is the only known example in which she signed on the left, following Jan van Os’s customary placement. All other known works are signed M.M. van Os or a variant thereof, consistently on the right. The placement of the signature in this instance suggests that she was still closely aligned with her father’s practice at the time of its creation. The style of the lettering, particularly the formation of the capital 'M', is consistent with her authenticated right-side signatures, supporting its attribution. Her later decision to sign on the right appears to have been a deliberate effort to distinguish her work from that of her father and assert her own artistic identity. In this light, the present work likely constitutes a breakthrough piece—one that captures the moment she emerged from her father’s influence and established herself as an artist in her own right. It is, therefore, a rare and historically significant painting, offering a unique glimpse into a formative period in Maria van Os’s career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThis painting is a beautiful and refined example of Maria Margaretha van Os’s mastery of still-life painting. It showcases her exceptional attention to detail, delicate rendering of textures, and skilful use of light to create depth and realism. The composition is both harmonious and elegant, reflecting her deep understanding of natural forms and their arrangement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eProvenance:\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eWith Knoedler London, 1928, £25; Unknown private collection; \u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003eHannam’s Auctioneers, UK, 2025.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSources: \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003ca href=\"https:\/\/rkd.nl\/imageslite\/3910387\"\u003ehttps:\/\/rkd.nl\/imageslite\/3910387\u003c\/a\u003e (this painting)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eImmerzeel 2, 285\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eKramm 1857-1864\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eCatalogi van tentoonstellingen van Levende Meesters, gehouden in Den Haag, Amsterdam, Haarlem, Rotterdam, Utrecht in de jaren 1814-1844 [ex. aanwezig op Rijksbureau voor Kunsthistorische Documentatie, Den Haag].\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eDe Vrouw 1813-1913 Tentoonstellingscatalogus Meerhuizen Amsteldijk (Amsterdam 1913) 112.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eA. Hoogenboom, De stand des kunstenaars. De positie van kunstschilders in Nederland in de eerste helft van de negentiende eeuw (Leiden 1993) 91.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eS. van Loo, ‘The forgotten accomplishments of the painter duet Maria Margaretha van Os (1779-1862) and Petronella van Woensel (1785-1839), or how two Dutch women artists in the first half of the nineteenth century befriended one another and decided to dedicate their lives to still-life painting’, Jaarboek Koninklijk Museum voor Schone Kunsten (Antwerpen 2000) 231-263.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eHanna Klarenbeek, \u003ci\u003eOs, Maria Margaretha van\u003c\/i\u003e, in: \u003ci\u003eDigitaal Vrouwenlexicon van Nederland.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eArt Prices Current\u003c\/span\u003e\u003c\/i\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e, 1928, no. 1539.\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":50227519848791,"sku":"","price":7500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/b114a3d9-2efe-4347-b43c-e9800535bf7d.png?v=1742551160"},{"product_id":"a-celebration-of-her-paper-art","title":"A celebration of her paper art","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eJohanna Koerten (1650-1715).\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003eHet stamboek op de papiere snykunst van mejuffrouw Joanna Koerten, huisvrouw van den heere Adriaan Blok. Bestaande in Latynsche en Nederduitsche gedichten der voornaamste dichters.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eAmsterdam, Voor Rekening van de Compagnie, 1735.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e8°. [8], 231 pp. With an engraved frontispiece portrait of Johanna Koerten and title-vignette, both by Jan Punt (1711-1779) and dated 1734. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eContemporary calf with gold-tooled spine and marbled sides.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eScarce pirated edition of the printed \u003ci\u003ealbum amicorum\u003c\/i\u003e of celebrated Amsterdam paper-cutting artist Joanna Koerten, containing 117 laudatory contributions by prominent figures—including several notable women such as poet and publisher Katharina Lescailje, naturalist and artist Maria Sibylla Merian, poet Gesina Brit, and fellow paper-cutter Elizabeth Crama. This edition was published one year prior to the (also very rare) authorized version, titled \u003ci\u003eGedichten op de overheerlyke papiere snykunst van wyle mejuffrouwe Joanna Koerten\u003c\/i\u003e (Amsterdam, S. van Esveldt, 1736). Koerten’s original \u003ci\u003ealbum amicorum\u003c\/i\u003e was dispersed as single sheets in 1765, and many are now lost.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eHer reputation in the Dutch Republic and beyond was extraordinary. Koerten’s technically virtuosic paper-cuttings—often depicting allegorical, historical, or royal subjects—attracted admirers ranging from local dignitaries to Tsar Peter the Great. Compiled posthumously by her husband, Adriaan Blok, the volume preserves decades of autographs, poetry, and critical responses gathered from visitors to the couple’s home, known as a cultural salon where Koerten’s cuttings were displayed. The inclusion of works by leading poets and scholars, along with high-quality engravings by Jan Punt, situates the \u003ci\u003eStamboek\u003c\/i\u003e at the intersection of literary culture, visual art, and private memorial. It not only testifies to Koerten’s critical reception but also highlights her role in advancing recognition for women in the arts. The presence of the above-mentioned women contributors underscores both Koerten’s cultural stature and the \u003ci\u003eStamboek\u003c\/i\u003e’s value as a rare early printed forum for women’s intellectual and artistic expression in the eighteenth century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCondition:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e Binding a little worn at the joint and corners, lacks first free endpaper, otherwise in very good, original condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLiterature:\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003ePeacock, Martha Moffitt. “Paper as Power: Carving a Niche for the Female Artist in the Work of Joanna Koerten.” \u003c\/span\u003e\u003ci\u003eNederlands Kunsthistorisch Jaarboek (NKJ) \/ Netherlands Yearbook for History of Art\u003c\/i\u003e, vol. 62, 2012, pp. 238–65.\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":51028079870295,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/5f76e721-1800-49d6-8404-3c966aee7bfb.png?v=1750948022"},{"product_id":"368-plates-the-largest-print-series-by-an-early-modern-woman","title":"368 plates: the largest print series by an early modern woman?","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCatharina Sperling (1699–1741).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eBiblicae V. T. representationes […] \u003c\/span\u003eBiblische Vorstellungen Alten Testaments […] Répresentations tirées du V.T.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e[With:]\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003eHistoriae Novi Testamenti […] Neu-Testamentische Geschichten […] \u003c\/b\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHistoires du Nouveau Testament.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eAugsburg: Johann Simon Negges, [ca. 1730].\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eOblong 8° (19 × 24.5 cm). With 2 engraved title pages and 368 copper engravings (283 Old Testament + 85 New Testament), on wide-margined paper. Complete, as in BnF (FRBNF45935344). Contemporary marbled calf.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eComplete suite of biblical prints designed and likely engraved by the Augsburg miniature painter and graphic artist Catharina Sperling (née Heckel). This may be the largest print series created by a woman in early modern Europe. However, in an act of blatant \u003cb\u003ecensorial femicide\u003c\/b\u003e, this copy shows deliberate removal of the artist’s forename (“Catharina”) from all three instances on the title pages—effacing the gendered marker of her identity and rendering the authorship ambiguously male or neutral.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCatharina Sperling (also recorded as Sperling-Heckel, Sperlingin, and other variants) was trained in drawing by her father, the goldsmith Michael Heckel, and in engraving by Johann Ulrich Kraus. She became known for her refined miniature portraits. In 1725 she married the engraver Hieronymus Sperling; she died tragically in 1741 from complications following the birth of her first child.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe title-page proudly states that the plates were “invented and drawn by Catharina Sperling, celebrated miniature painter,” although the plates themselves are unsigned. It is therefore uncertain whether she engraved them herself, or whether they were executed by another hand—possibly her husband. Nevertheless, contemporary sources do describe her as both designer and engraver, making her authorship of the plates highly plausible.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThis copy includes the complete sequence of 283 Old Testament plates and 85 New Testament plates, each captioned with a biblical citation in Latin, German, and French. Both parts are introduced by engraved, trilingual title pages. Complete sets of this series are extremely rare; we have traced only copies in the Bibliothèque nationale de France and the Bayerische Staatsbibliothek.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eAlthough this work is referenced via VD18 number 12330248-001 by the Deutsche Digitale Bibliothek, it is absent from the VD18 proper—perhaps due to its classification as a suite of prints rather than a printed book.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e: Binding worn along edges and hinges. New stiff paper endpapers; the final two plates mounted on them. Plates in strong impressions on broad-margined paper, some plates bound out of sequence. Date in ink on first title-page. Generally slightly foxed with occasional thumbing. Most plates show staining to the outer margins, occasionally encroaching slightly into the image area. Seven plates with marginal tears, two of which slightly affect the image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eLiterature\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eOn Catharina Sperling: Thieme\/Becker XVI, p. 209 (under M. Heckel); CERL cnp01067155; DNB: 129113395.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eOn Augsburg picture Bibles: Gier\/Janota, pp. 823–830.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eOn Johann Simon Negges (c. 1726–1792): Gier\/Janota, p. 1284.\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":51040551797079,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/39187cba-946f-4ff1-87d0-97d53b54b7c3.jpg?v=1750946930"},{"product_id":"the-prevailing-ideas-about-art-in-18th-century-amsterdam-signed-copy","title":"The prevailing ideas about art in 18th century Amsterdam; signed copy","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eCornelis Ploos van Amstel (1726-1798).\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003eRedenvoeringen gedaan in de Teken-Academie te Amsterdam.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eAmsterdam, J. Yntema, 1785.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e8°. XXIV, 325, (2 advert.) pp.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eContemporary tree calf with gold-tooled spine and marbled edges.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe first and only edition of the luxury quarto issue, featuring a collection of five “reasonings” (lectures) on the art of drawing, presented between 1766 and 1785 at the Amsterdam Drawing Academy by its founding director, Cornelis Ploos van Amstel (1726–1798). This edition, printed on filigree paper in 4to format, was also issued in a more accessible 8vo format. Additionally, an inscription on the front endpaper reveals that this copy was gifted by the author to fellow art enthusiast J.F. Delfing in Amsterdam on 7 September 1787.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003ePloos van Amstel, a prominent and highly inventive printmaker and draftsman of the 18th century, was renowned for his art in the vein of the 17th century that captured the essence of the Dutch countryside and urban landscapes of his time. His work as an educator at the Amsterdam Drawing Academy was highly regarded, and these lectures reflect his deep commitment to teaching the principles of drawing, particularly in relation to the study of nature, perspective, and the human figure. This work, gifted to a fellow art enthusiast, provides insight into Ploos van Amstel's artistic philosophy and his influence on the next generation of Dutch artists, reflecting the state of thought on art and aesthetics in the late 18th century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eminor wear to binding. With unidentified bookplate composed of red intertwined initials “JvR”(?) behind oval ornamental border with aphorism “Deo, non Fortuna”. Inscription in ink by the author on first free endpaper. Numbered in ink in top corner of endpaper, half-title and title, ex-library stamp on foot of title. Otherwise in very good condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eReference:\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSTCN 260530263.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eKunst op schrift 1159.\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":51483476918615,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/9930676d-2d89-40ad-9261-7f541836a3db.png?v=1755253189"},{"product_id":"het-loo-by-de-hooghe","title":"Het Loo by De Hooghe","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eRomeyn de Hooghe 1645-1708 [artist].\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003eKorte beschryving benevens eene naauwkeurige afbeelding en verdere gezichten, van 't Koninglyke Lusthuis 't Loo, op de Veluwe in Gelderland.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eAmsteldam, G.W. van Egmond, 1786.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e8°. 16 pp., with 14 etched and engraved plates on [28] leaves, of which 1 folded.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eOriginal publisher printed boards with title on front cover. It shows the palace in its entirety including the side wings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eComplete copy in original binding of Romeyn de Hooghe’s wonderful print series showing the greatest Dutch palace and – especially – its gardens, which were then brand new. The palace was built for William (Willem) III (1650-1702) and signifies the summum of Dutch wealth and glory. The career of the wonderful etcher De Hooghe was intricately connected to that of William III, who rose to vast power, ultimately resulting in the crown of England. De Hooghe supported William III by etching an array of political prints. William III purchased the medieval castle Het Oude Loo in 1684. On its grounds, he ordered the creation of one of the most prestigious houses of the time, with vast surrounding gardens. The prints give a good impression of the rich settings of this royal country house. Romeyn de Hooghe (1645-1708), apart from making this print series, was also commissioned to design several statues for the gardens of Het Loo. Thus, the creation of the new Loo and the subsequent commission for this print series was a high point for both William III and De Hooghe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe first print in this series is a stunning folding view of the palace, measuring a staggering 19 x 128 cm and consisting of three etchings put together. In front of the building, King-Stadholder Willem III and his party are shown returning from a grand hunt. All the way on the left, the old castle is visible in the background, as a reminder of Het Loo’s heritage. The other 13 pla\u003cspan style=\"color: rgb(0, 0, 0);\"\u003etes\u003cstrong\u003e \u003c\/strong\u003eare double-page\u003cstrong\u003e \u003c\/strong\u003ea\u003c\/span\u003end show, in De Hooghe’s virtuous etching style, the various parts of the very innovatively and modernly designed garden.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThis edition was published some 80 years after the death of De Hooghe, reflecting a renewed interest in Het Loo during this period. The accompanying text notes with some frustration that Stadholder Willem V had been residing at Het Loo due to the inability to return to his usual residence in The Hague because of political developments. The series was first published without text around 1695 by the Amsterdam-based publisher Pieter Persoy. The latter’s name was replaced by Egmond’s for the present edition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThis rare print series has been extensively described and reproduced in 2007 by the then palace director John R. ter Molen in \u003ci\u003e't Konings Loo: een serie prenten met gezichten van paleis Het Loo en zijn tuinen, vervaardigd door Romeyn de Hooghe en omstreeks 1695 voor het eerst uitgegeven.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003espine worn, covers slightly rubbed, remains of glue on corner of front cover. Cancelled library stamp of Gemeentemuseum Arnhem on foot of title-page and blank verso. Otherwise in very good condition.\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eBibliography:\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSTCN ID17370848X (just 2 copies: KB \u0026amp; Rijksmuseum).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eNot in BL.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eOnly twice recorded at auction: 2010 (Adams Amsterdam Auctions); 2012 (Burgersdijk and Niermans's Auction). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e-\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHollstein IX nos. 308-321.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eLandwehr (1970) no. 109.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eTer Molen, 't Konings Loo : een serie prenten met gezichten van paleis Het Loo en zijn tuinen, vervaardigd door Romeyn de Hooghe en omstreeks 1695 voor het eerst uitgegeven. Alphen aan den Rijn, 2007.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eVan Nierop et al. Romeyn de Hooghe : De verbeelding van de Gouden Eeuw (2008), 1786.01.\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":51519563432279,"sku":null,"price":9500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/merged_het_loo_25pct_2ddea41a-fdd3-4ef7-b973-a63d34cca7a6.png?v=1757323528"},{"product_id":"making-the-nation-an-exceptional-album-of-drawings-of-dutch-women-in-regional-costume","title":"Making the nation: an exceptional album of drawings of Dutch women in regional costume","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: #ee0000;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eRossina Murray (?-?) [owner and possible author\/artist].\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eAlbum comprising 28 watercolour costume designs of various figures from the Netherlands.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eNetherlands [Amsterdam?], [ca. 1801].\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eTall folio (48,5 x 30 cm). With 25 watercolour drawings on thick paper watermarked 'J. Ruse\/ 1801', mostly interleaved with protective tissue paper, depicting Dutch people, with manuscript captions in English, French, and Dutch; with 3 more loose watercolours in the same hand but on different paper (watermarked 1797) inserted, comprising two Dutch figures similar to the other drawings and one larger Dutch winter landscape with ice sailing ships and skaters (26,5 x 38 cm).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eLuxuriously bound in contemporary heavy Empire style calf mottled in colour, with geometric ornamental frieze in black and gold decorating the border of the covers. Gilt edges.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eA tall, beautifully bound album containing 28 watercolour drawings of Dutch people in traditional dress - primarily women from Amsterdam but also figures from other provinces, many linked to the city’s maritime economy. Though unsigned and undated, the drawings are on paper watermarked 1801, corresponding with similar printed images found in Dutch costume books.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eAn important testament to the role of visual culture in shaping national identity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eOn the last free endpaper before the first drawing appears the name \u003ci\u003eRossina Murray\u003c\/i\u003e, written in the same hand as the captions beneath the drawings. These captions, in English, French, and Dutch, place the English text at the top and give it the most detail, often specifying occupations, districts, or local customs. So, while we can’t be certain she painted the images, the handwriting evidence makes it highly probable she wrote the captions herself. Beyond this, however, we know nothing more about Rossina Murray.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eAround 1800, images of people in local costume were a popular subject in print products, and many publishers in Europe issued single images or images in sets. Costume books played a crucial role in shaping emerging ideas of national identity by visually assembling the people, regions, and traditions of a country into a single, unified narrative. Through vivid images of local costumes and customs, they transformed regional diversity into a symbol of collective belonging, allowing readers to imagine a shared national culture even without traveling beyond their own towns. For English readers, such albums also offered a souvenir of travel and a window onto Dutch life, satisfying the era’s growing fascination with foreign customs while combining artistic appeal with Enlightenment ideals of documenting national character.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe drawings in our album are closely related to the printed images of Netherlandish costumes that appeared in Dutch publications around 1800, though the drawings are considerably larger. In style, they are closest to those in the fashion periodical \u003ci\u003eKabinet van mode en smaak\u003c\/i\u003e, published in eight volumes between 1791 and 1794. Some of the drawings are derived either directly or in variant form from Maaskamp’s \u003ci\u003eAfbeeldingen van kleeding, zeden en gewoonten in de Bataafsche Republiek\u003c\/i\u003e (Amsterdam, 1803–07), the first Dutch costume book covering multiple provinces, which was also published in London. The English edition suggests there was international interest in Dutch costume imagery at the time and may explain why our album includes English captions and could have been intended for an English owner. The source of information for part of the drawings and their captions seems to have come from these publications, but for many others we could not trace a source, indicating that these were firsthand designs. This leaves us with the question of who made these drawings. It must have been someone with first-hand knowledge of Dutch costume, so it seems unlikely that the album was made in England. Perhaps it was made for Rossina Murray when she visited The Netherlands? In any case, we have yet to find a more stunning example of an early Dutch costume book.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe drawings in this album include, with their English caption:\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘An Amsterdam milk woman’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘A farmer, in the market, with a sample of hay’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘A Friesland peasant’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘A Friesland peasant, in the costume worn after the French came into the country’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘The captain of a small turf boat’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘A peasant of Saardam. North Holland. – Where Peter the Great learnt ship building’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘A Burgomaster of Amsterdam’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘Ship carpenter’s wife of Amsterdam, inhabiting one particular district’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘A burgher’s daughter’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘A fisherman’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘The fishermans' wife’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘A servant, coming from market’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘From the village of Hinlopen, in North Holland – a married woman’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘A young person, from the same villages of Hinlopen, when \u003cu\u003eunmarried\u003c\/u\u003e she is not entitled to a crown to her cap’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘Sledge for transporting goods’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e[A young boy and girl]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘Shrimps to sell’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘A fisherman, returning from The Hague, with vegetables in his basket, after having dispersed of his fish.’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘A seller of herrings, seated at the corner of a street.’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘A Roman Catholic servant. Indicated, by her black scarf’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘A woman skinning eels.’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘A peasant of Gelderland with samples of butter for a ships cargo’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘A peasant of Gelderland.’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘Husband of the foregoing peasant, returning from milking’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e‘A scene from the ice; a woman selling \u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003ehot milk to the skaiters.’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e[Dutch winter landscape with ice sailing ships and skaters]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e[Amsterdamse aanspreker(?)]\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e[Copy after etching by Cornelis Bega - \u003c\/span\u003eZittende man steekt pijp aan (RP-P-BI-763)]\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eNew spine and corners, covers slightly cracked or scratched in places. Minor thumbing on the foot edge of the page, very slight foxing. Otherwise in excellent condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eLiterature: \u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eArntz, W. J. A. \"Maaskamp's Book of Costume-Prints.\" \u003ci\u003eQuaerendo\u003c\/i\u003e, vol. 1, no. 1, 1971, pp. 9–12.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eDellmann, Sarah. “Authentically Dutch: Images in Anthropological Discourse.” \u003ci\u003eImages of Dutchness: Popular Visual Culture, Early Cinema and the Emergence of a National Cliché\u003c\/i\u003e, Amsterdam University Press, 2018, pp. 129–87.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e---. “Spectacularly Dutch: Popular Visual Media from Print to Early Cinema.” \u003ci\u003eImages of Dutchness: Popular Visual Culture, Early Cinema and the Emergence of a National Cliché\u003c\/i\u003e, Amsterdam University Press, 2018, pp. 53–93.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eKoolhaas-Grosfeld, E. A. \u003ci\u003eDe ontdekking van de Nederlander in boeken en prenten rond 1800\u003c\/i\u003e. \u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eZutphen: Walburg Pers, 2010.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eLandwehr. \u003ci\u003eDutch Books with Coloured Plates\u003c\/i\u003e. No. 358.\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":51608292622679,"sku":null,"price":34000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/DSC_1088-Edit-Edit-2.png?v=1758204654"},{"product_id":"a-firsthand-encounter-with-arab-life-in-the-desert","title":"A firsthand encounter with Arab life in the desert","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eGustave-Achille Guillaumet (1840-1887).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eTente faits avec 2 nattes unies et cousues\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e [Arab camp].\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eAlgeria, ca. 1861-1867.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCharcoal and white chalk on paper. 29 × 45 cm. Signed \u003ci\u003eG. Guillaumet\u003c\/i\u003e lower right. Inscribed by Guillaumet upper right: \u003ci\u003e“tente faits avec 2 nattes unies et cousues”\u003c\/i\u003e; on the verso: \u003ci\u003e“60–90 \/ bleuté sans carte à cadre \/ Lundi matin …”\u003c\/i\u003e (probably framer’s notes).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e        This large drawing shows an Arab desert encampment, where a group of figures gather under a low tent built of mats and poles. The scene is rendered with swift charcoal lines, heightened with touches of white to suggest the play of shade against the glaring light of the Sahara. The figures are sketched with immediacy rather than detail, their gestures evoking the intimacy of daily life in the camp. An inscription in the artist’s hand describes the tent’s construction, underscoring his desire to record both atmosphere and observation. Created during Gustave-Achille Guillaumet’s travels in Algeria in the early 1860s, this work belongs to a rare group of on-the-spot drawings that later informed his studio paintings. Unlike many Orientalist contemporaries who sought spectacle, Guillaumet immersed himself deeply in Algerian life and is recognized for the sobriety, empathy, and authenticity of his vision; his extended stays among Arab communities gave him a rare, firsthand familiarity with their culture. Here, the viewer has the sensation of being present in the encampment itself. Larger and more fully realized than most of his field sketches, this sheet not only documents his working process but also reveals the qualities that made him one of the most distinctive interpreters of desert life in 19th-century French art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eslight foxing, otherwise in very good condition.\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":51817167487319,"sku":null,"price":3500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/100_1328-Bewerkt.png?v=1759322856"},{"product_id":"manuscript-painting-manual","title":"Manuscript painting manual","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eRecüil qui contient les nüances de differentes couleurs pour peindre sur le verre. \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e[and]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003ePetit traité de goût et de miniature, pour apprendre sans le sécour d’un maître. \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eFrance, mid 18th century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e8°, 18 x 11,5 cm.\u003cb\u003e \u003c\/b\u003e[1], [1 blank], 16, [1], [1 blank]; [1], [1 blank], 78 pp. \u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eManuscript in ink on paper. Watermark \"D. \u0026amp; C. Blauw\" (variant of Churchill 194): mid-18th century.\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSewn, no covers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e               \u003c\/span\u003eA carefully written manuscript painting manual, it combines material drawn from printed authorities with the compiler’s own observations. It comprises two parts: the first, a concise recueil of colour shades for glass painting, the second a more extensive instructional treatise on miniature painting. The handwriting is consistent throughout, except at the close of the first part, where a second hand continues with the section headed \u003ci\u003eblanc poli.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eWe have not traced a direct source for the first part, but its structure is similar to that of the various published manuals circulating at the time. The second treatise is structurally based on Catherine Perrot’s \u003ci\u003eLes leçons royales, ou La manière de peindre en mignature les fleurs et les oyseaux\u003c\/i\u003e (Paris, J.-B. Nego, 1686), particularly its earliest edition, as it preserves colour terms such as \u003ci\u003evermillon\u003c\/i\u003e and \u003ci\u003eoutremer\u003c\/i\u003e, which were altered in later printings. While the overall structure of Perrot’s text is followed, the manuscript departs in phrasing and wording, adapting rather than copying, and thus represents a personal reworking of established models.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe work gives recipes for pigment preparation and instructions for their use and application across a wide range of subjects. Individual sections, often introduced with formulaic headings (\u003ci\u003ePour faire…\u003c\/i\u003e, \u003ci\u003eManière de…\u003c\/i\u003e), cover the preparation of pigments (\u003ci\u003evermilion, carmine, bitumen, terre de Sienne, terre d’ombre brûlée, vert de vessie, bleu d’Inde\u003c\/i\u003e), the handling of shading and tonality, atmospheric effects such as skies and clouds, architectural features including faux marble, animals, figures, and flesh tones, even ambitious figurative subjects such as the figure of a dying Christ. Technical processes appear alongside artistic instruction: painting on glass, preparing adhesives, or producing a smooth white ground (\u003ci\u003eblanc poli\u003c\/i\u003e).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eWith its calligraphic titles, orderly layout, and two distinct hands, the work appears conceived as a study manual or aide-mémoire for an amateur or student intent on learning “without the help of a master.” It provides valuable testimony to the circulation and adaptation of painters’ technical knowledge from printed treatises into private manuscript practice in eighteenth-century France.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition:\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e sewing wire mostly gone, resulting in five loose quires. Front and back leaves are toned, spotted and slightly creased. Blind stamped ex-libris of Justin Bourey on toned front leaf. Minor marginal spotting inside. Otherwise in good condition.\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":51821580222807,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/82e2faf0-6c95-4a9b-ba08-8463bcf6f3ea.png?v=1759394837"},{"product_id":"presenting-a-new-printing-technique","title":"Presenting a new printing technique","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCornelis Ploos van Amstel (1726-1798).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003eVerzameling van berigten wegens een prentwerk, volgens de nieuwe uitvinding van den Heere Cornelis Ploos van Amstel, Jacobs Cornelisz.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e[Amsterdam, Yntema and Tiboel?, not before 1772].\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e8°. 1-36, [2], 37-39, [3 blank], [2], 1-4, 1-4, 1-7, [1 blank] pp. Collates: A–B⁸ C², A⁴, \u003c\/span\u003eπ\u003csup\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e4\u003c\/span\u003e\u003c\/sup\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e,\u003c\/span\u003e\u003cspan lang=\"EN-GB\"\u003e \u003c\/span\u003eπ\u003csup\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e2\u003c\/span\u003e\u003c\/sup\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e, A⁴.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eModern half linen.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eFirst edition of the introduction of a new printing method, invented by the author Cornelis Ploos van Amstel, a collector, scholar, and print innovator. His experiments in colour reproduction were widely admired by contemporaries and later recognized as precursors of 19th-century lithographic and chromatic processes. Today he is celebrated as one of the most inventive figures of the Dutch 18th-century print revival.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe opening section of this book outlines the newly developed printing method — an ingenious transfer process combining etched or engraved copper plates with roulette, stipple, and burnishing, allowing the faithful reproduction of chalk, crayon, and wash drawings in delicate tones and colours. \u003cbr\u003eThis is followed by eighteen \u003ci\u003eBerichten\u003c\/i\u003e (instalments), some with separate (part-)titles and pagination, containing detailed descriptions of thirty-six prints executed by Ploos van Amstel after drawings by leading Dutch masters such as Jan van Goyen, Rembrandt, and Lucas van Leyden. The \u003ci\u003eBerichten \u003c\/i\u003eare numbered 1-19, no. 17 is lacking in this copy. The prints are numbered consecutively from 1 to 36, no 30 misses in this copy. In addition to the technical and descriptive notes, Ploos van Amstel included short biographical sketches of the artists whose works he reproduced.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCopies with all 19 \u003ci\u003eBerichten \u003c\/i\u003etogether are very hard to find. Based on the title-page, the \u003ci\u003eShort Title Catalogue Netherlands\u003c\/i\u003e (STCN) lists three different editions, with only one or two copies recorded of each. These are all less complete than our copy. However, there are also several records of the individual \u003ci\u003eBerichten\u003c\/i\u003e, making things quite complicated. In any case, compared to other copies held by libraries, the one we offer here is exceptionally complete, although it lacks \u003ci\u003eBericht \u003c\/i\u003e17 (2 pp.).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003espine discoloured, traces of removed sticker on front cover. Cancelled library stamp and numbering on title. A few marginal notes in pencil. Otherwise in very good condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eReference: \u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003ecf. STCN 186642156, 424685183, 306050196 and more for the separate \u003ci\u003eBerichten\u003c\/i\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eWith our gratitude to the staff at the STCN!\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":52157674127703,"sku":null,"price":950.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/b8092664-019a-4ab8-ab35-b5604aed2a84.png?v=1763036162"},{"product_id":"a-rare-dutch-drawing-manual-with-111-etched-studies-of-the-human-figure","title":"A rare Dutch drawing manual with 111 etched studies of the human figure","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003ePieter Bodart (ca. 1700–1735), etchings; Gerard Hoet (1648–1733), designs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003eDe voornaamste gronden der tekenkonst [...] waar in, door natuurlyke voorbeelden, veelderlei stant en gedaante van hoofden en tronien, alsmede de beweegingen van handen en voeten, mitsgaders veele volkome beelden, zoo mannen als vrouwen in hunne verscheide gestalten, vertoond worden [...].\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eLeiden, J.A. Langerak, 1723.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eFolio. \u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e[10] pp. With a frontispiece, [2] plates, 36 plates numbered 1–36, 69 plates lettered a–ppp (omitting j, u, and w, as in signature marks), and 3 folding plates: \u003cb\u003e111 plates in total (complete).\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eLater half calf with marbled sides.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e              \u003c\/span\u003eFirst and only edition of a very rare\u003cb\u003e \u003c\/b\u003eDutch drawing manual with fine impressions of etched plates by Pieter Bodart after drawings by Gerard Hoet. The work illustrates the human figure in art, with studies of anatomy, proportion, and movement. The first series presents heads, hands, and other details, two to a page; the second series offers full-page figures in a wide range of poses. The folding plates depict elaborate mythological compositions showing Hoet’s mastery of grouping and expression. Very rare: only one copy is recorded in the \u003ci\u003eShort Title Catalogue Netherlands\u003c\/i\u003e (Rijksmuseum), and WorldCat lists the same copy, along with a few digital references. Not mentioned in \u003ci\u003eKunst op schrift\u003c\/i\u003e and other reference works.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHoet, an accomplished painter active in Utrecht and The Hague, was among the most successful Dutch artists of the early eighteenth century, known for his history paintings and for supervising engravings after the masterpieces of the Dutch Golden Age. In \u003ci\u003eDe voornaamste gronden der tekenkonst\u003c\/i\u003e, he distilled decades of academic teaching into a visual manual aimed at aspiring artists and students. The plates, quite loosely etched by Bodart with precision and elegance, combine the influence of the classical academic training with the free style of etching of the Dutch school.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003espine partially split, corners and spine rubbed; remains of an old label at the upper corner of the front cover, cancelled library stamp at foot of title-page and early ink number on verso, final sheet detached, containing plates nnn, ppp and one folding plate. Central stain in two parts running through a couple leaves. Occasional light staining and marginal foxing throughout; one folding plate torn along the fold, not affecting the image. Overall, the contents are in quite good condition.\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":52157718036823,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/c213129e-e158-4b84-856d-03c0e49116da.png?v=1763036812"},{"product_id":"stocking-weavers-guild-apprenticeship-certificate","title":"Stocking-Weavers’ Guild Apprenticeship Certificate","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eEhrsames Strumpfweber-Handwerk (Heidelberg Stocking-Weavers’ Guild) (ca. 1700-1820).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003eEines ehrsamen Strumpfweber-Handwerks in der uralten churfürstlich pfälzischen Haupt- und Residenzstadt Heidelberg.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHeidelberg, St John’s Day (24 June), 1747.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eManuscript on vellum (ca. 23.9 × 54.9 cm). Partly coloured, written in German \u003ci\u003eKurrent\u003c\/i\u003e script with large calligraphic title, decorative initials, and fine pen flourishes. Verso blank. With paper-covered wax seal. With four fabric samples (detached).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e          A richly decorated apprenticeship certificate (\u003ci\u003eLehrbrief\u003c\/i\u003e), issued by the masters and wardens of the honourable stocking-weavers’ guild of Heidelberg in 1747 to Johann Michael Hoffmann, who had “honestly and diligently learned” the trade under master Johann Jacob Sommer between 1739 and 1743, and had faithfully completed his apprenticeship. Johann Michael was the son of Johann Gerhard Hoffmann, apothecary in Wiesloch. Notable for this \u003ci\u003eLehrbrief\u003c\/i\u003e is the inclusion of \u003cb\u003eoriginal textile samples\u003c\/b\u003e, illustrating the stocking-weaver’s craft, a rare survival among German guild certificates. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition:\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e fold marks with occasional rubbing, somewhat stained, fabric samples detached and discoloured.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":52162703884631,"sku":null,"price":3500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/d6771836-7833-4450-b37f-6b4f3c63b2c7.png?v=1763115588"},{"product_id":"study-of-a-man-s-face-in-morocco","title":"Study of a Man’s Face, in Morocco","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eAlfred Dehodencq (1822–1882).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHead of a man with earrings.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eTangier (Morocco), ca. 1855–1860.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cbr\u003ePen and black ink on light brown paper, signed \u003ci\u003eAlfred Dehodencq\u003c\/i\u003e. 25.5 × 17.5 cm.\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e              \u003c\/span\u003eA striking portrait in confident, active lines by Alfred Dehodencq, from his Moroccan period. The sitter’s upward gaze and taut features convey the immediacy typical of Dehodencq’s life studies. The signature, written in brown ink below the image, is consistent with known autograph examples from his time in Morocco, specifically in Tangiers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eDehodencq, a French Romantic painter trained under Léon Cogniet, lived in Tangier for more than a decade, producing portraits and genre scenes of local figures. The present drawing almost certainly belongs to that period, reflecting his deep engagement with North African life and his ability to capture individuality. The present drawing does not appear in Gabriel Séailles, \u003ci\u003eAlfred Dehodencq: l’homme et l’artiste\u003c\/i\u003e (Paris, 1910): the only publication approximating a catalogue raisonné.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition:\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cbr\u003eSheet evenly toned, though lighter along the edges, foxing throughout.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003eReferences:\u003c\/b\u003e\u003c\/p\u003e\n\u003cul style=\"margin-top: 0cm;\" type=\"disc\"\u003e\n\u003cli class=\"MsoNormal\" style=\"mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;\"\u003eGabriel Séailles, \u003ci\u003eAlfred Dehodencq: l’homme et l’artiste\u003c\/i\u003e. Paris: Société de propagation des livres d’art, 1910.\u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;\"\u003e\n\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCatalogue des tableaux, esquisses, études et dessins par feu Alfred Dehodencq\u003c\/span\u003e\u003c\/i\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e, Hôtel Drouot, 1 June 1885.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":52163299377495,"sku":null,"price":2900.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/24af6e2d-0f00-4b81-89f2-60bb52b50e3d.png?v=1763127277"},{"product_id":"first-illustrated-edition-of-aphra-behn-s-oroonoko-expanded-with-a-new-tale-of-the-african-heroine-imoinda","title":"Visualising Oroonoko: the earliest edition with a series of narrative illustrations","description":"\u003cp class=\"isSelectedEnd\"\u003e \u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAphra Behn (1640–1689); adapted into French by Pierre-Antoine de la Place (1707–1793).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eOronoko, ou le Prince nègre. Imitation de l’anglois, nouvelle édition, revue \u0026amp; corrigée. \u003cspan class=\"text-token-text-primary cursor-text rounded-sm\"\u003e[…]\u003c\/span\u003e Avec figures.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eA Londres, et se trouve à Paris, chez Vente, 1769.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e \u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003e12mo (17 × 10 cm). \u003cspan class=\"text-token-text-primary cursor-text rounded-sm\"\u003e[4]\u003c\/span\u003e, xii, 212 pp. With five engraved plates by Baron after Marillier.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eContemporary mottled calf, upper cover bearing the gilt supralibros ‘Md. d’Humières’, smooth spine with gilt floral decoration, red morocco title label, red edges.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e \u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003e            The earliest edition of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eOroonoko\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e in any language with a series of narrative illustrations, and the first illustrated edition of La Place’s French prose adaptation. The five engravings accompany the story on separate plates bound among the text leaves. The earlier illustrated edition we have examined, Southerne’s English stage adaptation of 1736, contains only a frontispiece; we have traced no earlier edition with a sequence of illustrations accompanying the narrative.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eFirst published in 1688, Behn’s \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eOroonoko\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e centres on an African prince betrayed into slavery in Suriname, his reunion with Imoinda and his resistance to colonial authority. Written by one of the earliest professional women writers in English, it became an influential work in the literary representation of Black heroism, enslavement and colonial violence. La Place’s adaptation, first published in 1745, substantially reshaped the narrative for French readers. He softened its violence, substituted a happy ending and incorporated the separately titled \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eHistoire d’Imoinda\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e. He also recast Imoinda, an African woman in Behn’s original, as a woman of European origin. These changes make the volume a revealing source for the transformation of racial and gender identities through literary adaptation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe combination of La Place’s rewritten narrative and Marillier’s illustrations gives this edition particular interest for the study of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eOroonoko\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e’s visual reception. The present copy also preserves evidence of eighteenth-century female ownership in the gilt name of Madame d’Humières on its contemporary binding.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eCondition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Joints and corners lightly rubbed, one corner worn; very light foxing. Otherwise a clean, fresh and attractive copy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReferences:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Cf. Sabin 4373 (1745 edition). Lacroix, Paul. \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eBibliothèque de la reine Marie-Antoinette au Petit Trianon\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e. 1863, p. 69, no. 407. Seeber, Edward D. “Oroonoko in France in the XVIIIth Century.” \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ePMLA\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, vol. 51, no. 4, 1936, pp. 953–959. Guénette, Marie-France. “À la limite de la traduction : le cas de Pierre-Antoine de La Place (1745–1799).” \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eChronotopos\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, vol. 4, no. 1, 2022, pp. 66–80.\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":52174615871831,"sku":null,"price":6500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/bb.png?v=1763385592"},{"product_id":"exposing-slave-owner-hypocrisy-in-word-and-image","title":"Exposing slave-owner hypocrisy in (Creole) word and image","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eAnonymous artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSlavery drawing (cartoon).\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eAnglo-Caribbean, ca. 1820.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eWatercolour and ink on thick wove paper, 15 × 27.5 cm. No watermark.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e              \u003c\/span\u003eThis striking watercolour depicts a plantation scene in which a seated slave owner idly supervises the flogging of an enslaved man. The master, a big-bellied white man in a red coat and yellow breeches, lounges beside a bottle and glass of wine, while an enslaved Black servant reads aloud from a large open volume titled \u003ci\u003eLaw\u003c\/i\u003e. In the background, a white overseer administers lashes to a bound Black figure as other enslaved Black people look on from behind a fence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eTo the right of the image is an extensive pencil inscription reproducing a dialogue between the master and the enslaved man (in Creole):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e“We must teach these idle rascals that they are not their own masters yet. Thirty lashes by way of a hint, and if that does not bring them to their senses, why we must double the dose. ‘Masta, masta, yoo no tink dis hurt, but hurt it do! You no do dis when I’m free man: den you see wedder I don’t give masta white a suck at de same cane! He no let off wid thirty lash, him have double lowance. Your day now, mine anoder [sic] time!’”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThis drawing merges text and image in the tradition of early nineteenth-century moral satire, contrasting an idle, self-satisfied slave owner with the brutal punishment of an enslaved man to expose the hypocrisy of the slave-holding class. Although framed in the racist conventions of the period, the dialect speech imagines a future reversal of power and gives voice to an act of resistance. Stylistically akin to British satirical artists such as Rowlandson and Cruikshank, the work belongs to the broader abolitionist and colonial-critical visual culture flourishing between the abolition of the slave trade and emancipation. Its subject matter—and particularly the distinct Caribbean creole dialect used in the inscription—strongly suggests an Anglo-Caribbean origin, likely from a personal sketchbook or commonplace book engaging with contemporary debates about slavery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003ea few minor spots, otherwise\u003cb\u003e \u003c\/b\u003ein very good condition.\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":52187986329943,"sku":null,"price":4000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/b94bfe90-2d85-4c32-ac90-e469fabb5f06.png?v=1763547207"},{"product_id":"the-complexity-of-compassion-and-racial-hierarchy-captured-in-an-image","title":"An act of compassion?","description":"\u003cp class=\"MsoNormal\" align=\"center\" style=\"text-align: center;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eJames Ward (1769-1859); Charles Hénard (1756-1814).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eMdme. Chevalier in the character of Virginia giving water to the negro. Opera of Paul \u0026amp; Virgina.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eLondon, published \u0026amp; sold by the author, 1799.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eMezzotint on paper. 50,7 x 40,4 cm. (sheet), 49,3 x 39 cm. (plate). Trimmed near plate line.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eA scene of compassion and a display of inequality, this mezzotint shows the actress and singer Louise Chevalier (c. 1770–after 1801) in the role of Virginie, in a scene from the opera \u003ci\u003ePaul et Virginie\u003c\/i\u003e. The story, written by Jacques-Henri Bernardin de Saint-Pierre and first published in 1788, tells of two children raised together in colonial Mauritius. Its portrayal of innocence, nature, and colonial life, including encounters with enslaved or Black characters, fascinated European audiences and made the work enormously popular, inspiring numerous theatrical adaptations. The particular scene depicted here was most likely taken from the opera composed by Jean-François Le Sueur and first performed in 1794.\u003cbr\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e              \u003c\/span\u003eThe image captures a key emotional moment: Virginie offering water to an exhausted Black man. At first glance, the scene presents a simple act of kindness. The graceful pose, soft lighting, and careful composition all reinforce this message. However, the scene is built on a clear racial hierarchy and white superiority. The Black figure is shown kneeling, dependent, and anonymous, while Virginie stands above him, calm and composed, embodying control and virtue. His role is passive; hers is active and morally elevated. This imbalance reflects the way European art of the period often portrayed Black figures as recipients of white benevolence rather than as individuals in their own right.\u003cbr\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e              \u003c\/span\u003eActress Louise Chevalier, a French performer active on international stages in the 1790s, belonged to a generation of actors whose fame circulated across Europe, and prints such as this helped fix their stage roles in a more permanent, collectible form. Mezzotint, with its soft tonal transitions and painterly effects, was particularly well suited to emotional and theatrical subjects like this one, and was widely used in Britain to reproduce scenes from popular plays and to promote performers to a growing audience.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003egenerally restored with several mostly marginal closed tears and flattened creases. Slight general toning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb style=\"mso-bidi-font-weight: normal;\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eReference: \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSmith, British mezzotint portraits (London, 1884), James Ward, no. 9, p. 1443.\u003cb style=\"mso-bidi-font-weight: normal;\"\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;\"\u003eFrankau, Eighteenth Century Artists and Engravers: William Ward A.R.A. and James Ward R.A., 1904.\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":52926219387223,"sku":null,"price":1800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/6eff2116-621e-4f67-bba6-4de19ec77319.png?v=1772625891"},{"product_id":"touring-the-great-painting-collections-of-the-netherlands","title":"Touring the great painting collections of the Netherlands","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003eVoyage en Hollande.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e[Brussels], 1791.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e8°. 66, [10] pp.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eContemporary pink paper boards.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eManuscript diary of a connoisseur describing a journey through the Netherlands, begun in June 1791, with visits to numerous important painting collections. The journey begins and ends in Brussels, making it likely that the anonymous author was a resident of that city. It recounts visits to places in present-day Belgium (Mechelen and Antwerp) before continuing through Holland with visits to Rotterdam, The Hague, Leiden, Amsterdam, and other places.\u003cbr\u003e               The principal focus of the journal is the viewing of paintings, which appears to have been the main purpose of the journey. Numerous individual works by Netherlandish and foreign Old Masters are recorded with name, title and often subject description. Of particular interest are the visits to privately owned cabinets, such as that of the art dealer P. C. Huybrechts, which contained “Un St. Paul par Rembrandt” and a long description of “un des plus fameux tableaux du Corrège (Corregio)”. While in the most beautifu;l city of The Hague the author visited the painting collection in the “Stadhouderlijk Paleis”, listing numerous works preserved there. At the end there is an index referring to the artists whose works are mentioned in the manuscript.\u003cbr\u003e              Altogether a charming small manuscript, written in a fine and clearly legible hand, containing a wealth of information on some of the greatest paintings of the Old Masters in the Netherlands and Belgium.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCondition:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e binding worn, particularly at the spine, but intact. Contents in very good condition.\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":52926224269655,"sku":null,"price":3200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/97dc6cb1-6e61-435d-aabe-0ecb5047ee18.png?v=1772626378"},{"product_id":"her-magnum-opus","title":"Her magnum opus","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eJohanna Sibylla Küsel-Kraus (ca. 1650–1717); Johann Ulrich Kraus (1655–1719).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eTapisseries du Roy, ou sont representez les quatre elemens et les quatre saisons. \u003c\/span\u003eAvec les devices qui les accompagnent et leur explication. Königliche Französische Tapezereijen, oder überaus schöne Sinn-Bilder in welchen die vier Element samt den vier Jahr-Zeiten […] vorgestellet werden.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eAugsburg, Jacob Koppmayer for Johann Ulrich Krauss, 1687.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eFolio \u003c\/span\u003e(36 x 23 cm)\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e. [8], 70 pp. With 8 large etched plates showing tapestries (7 folding, 1 double-page), 32 emblematic illustrations within the text and 3 frontispieces.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eModern calf with two gold-tooled spine labels, sprinkled edges.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eWhen Johanna Sibylla Küsel-Kraus and Johann Ulrich Kraus took over the Küsel workshop in the mid-1680s, the first major publication they issued was this magnificent reproduction of Louis XIV’s Gobelins tapestries after Charles Le Brun. The first four large plates, depicting the Elements tapestries, are signed exclusively with Johanna Sibylla’s name — “Johanna Sübijlla Krausen, eine gebohrne Küslen fecit” — while Johann Ulrich’s name does not appear beneath any of the prints in the book. In the preface he nevertheless referred to the “subtile Hand” of his wife, a fitting description in the context of these etchings, whose rendering of woven fabrics and textile surfaces was crucial. The work is justly regarded as Johanna Sibylla’s principal achievement as an etcher.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBased on the official Paris edition of 1670 containing André Félibien’s descriptions and verses by Charles Perrault and others, this Augsburg publication is the first bilingual French-German edition. The etchings are based on Sébastien Le Clerc’s models after Le Brun, though the compositions are here restored to the correct orientation of the original tapestries and reworked within elaborate Baroque ornamental frameworks characteristic of Augsburg print culture. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBorn into the Küsel-Merian-de Bry family of engravers and publishers, Johanna Sibylla played a central role within the Küsel-Kraus workshop, which became an important vehicle for the transmission of French decorative models into the German-speaking world. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003cbr\u003eSuperb impressions throughout. Minor spotting to title-page; very minor worming to blank lower margin of pp. 105–111; small closed tear to blank lower margin of final leaf; one folding plate with tiny marginal waterstaining. \u003c\/span\u003eOverall a fresh, clean, and well-preserved copy.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003eFurther reading: \u003cbr\u003e\u003c\/b\u003eUlrike Seeger, “Die ‘Tapisseries du roy’ des Verlags Johann Ulrich Kraus von 1687 – Ein Beitrag zum französischen Nachstichwesen in Augsburg vor 1700,” Münchner Jahrbuch der bildenden Kunst, 61 (2010), pp. 69–90.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eHollstein German XIX, nos. 314-346 (erroneously as 33 prints instead of 40).\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":53590867247447,"sku":null,"price":6500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/8172683b-7b9b-4d8e-8060-fae79a0156c0.png?v=1779116069"},{"product_id":"a-demonstration-of-her-virtuosity","title":"A demonstration of her virtuosity","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eJohanna Sibylla Küsel (ca. 1650-1717); after Jacques Callot (1592-1635)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e[The little Passion].\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eAugsburg, before 1685 (marriage).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e12 numbered plates on 12 sheets,\u003cb\u003e \u003c\/b\u003eeach ca. 8 x 7 cm. (sheet), 7 x 6 cm. (plate). Signed on the first sheet: \"Johanna Sübylla Küslin fec. Aug. Vind.\"\u003cb\u003e \u003c\/b\u003eEngraving (and etching?) on laid paper. Verso collector's stamp, Lugt no.: 982b. F. Bernstein, Germany, 20th century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e              \u003c\/span\u003eA remarkable early demonstration of Johanna Sibylla Küsel’s virtuosity as a printmaker, produced before her marriage to Johann Ulrich Kraus and the establishment of the Küsel-Kraus press. The series is based on Jacques Callot’s celebrated \u003ci\u003ePetite Passion\u003c\/i\u003e, whose densely populated miniature compositions represented one of the great technical challenges of seventeenth-century printmaking. Executed through a sophisticated combination of etching and engraving, Küsel’s handling already reveals the extraordinary precision, control, and delicacy for which she later became known. Despite the diminutive format, the scenes possess considerable dramatic force. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eJohanna Sibylla Küsel emerged from one of the most distinguished dynasties of engravers and publishers in early modern Europe. She was the daughter of the Augsburg engraver and publisher Melchior Küsel, granddaughter of Matthäus Merian the Elder, and niece of Maria Sibylla Merian. Trained within her father’s workshop, she copied works after Callot, Stefano della Bella, Simon Vouet, and others with exceptional technical control. Her copies after Callot’s \u003ci\u003eNouveau Testament\u003c\/i\u003e first established her reputation, and the present undated \u003ci\u003eLittle\u003c\/i\u003e \u003ci\u003ePassion \u003c\/i\u003ebelongs to this formative phase of her career. Recent scholarship has increasingly recognised Johanna Sibylla not merely as an assistant within the later Kraus workshop, but as one of its central artistic forces. The present series already reveals the qualities that would culminate in her \u003ci\u003eTapisseries du Roy\u003c\/i\u003e of 1687: precision of line, complex spatial orchestration, and a highly sophisticated command of reproductive printmaking.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eslightly toned with occasional spotting, otherwise in very good condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eReference:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e Hollstein German XIX, nos. 3-14.\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":53597113418071,"sku":null,"price":5500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/84c54ed5-0b01-49da-ab1e-efb1f04103dc.png?v=1779179942"},{"product_id":"the-parisian-lgbtq-equality-riot-of-1815","title":"The Parisian LHBTQ equality riot of 1815","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eFrançoise Marie Antoinette Saucerotte, called Mademoiselle Raucourt (1756–1815) [subject]; Aaron Martinet (1762–1841) [artist].\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e[The crowd demands that the funeral of Mademoiselle Raucourt, a lesbian actress, be held at Saint-Roch Church in Paris, 17 January 1815].\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eParis, ca. 1815-1841.\u003cimg\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eDrawing in pen and brown wash, with white gouache on paper, 8 × 12 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe immensely popular Parisian actress Mademoiselle Raucourt was widely known during her lifetime for her relationships with women. Contemporary pamphlets associated her with the supposed \u003ci\u003eSecte des Anandrynes\u003c\/i\u003e, a reputed circle of Parisian lesbians, and her name became closely linked with female same-sex desire in public discourse.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eWhen she died in January 1815, an great crowd accompanied her coffin to the Church of Saint-Roch in Paris. The parish priest initially refused to admit the body, judging her life immoral and unworthy of a religious funeral. Outraged, the crowd compelled the authorities to allow the funeral ceremony to proceed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eIn this drawing, Aaron Martinet depicts the confrontation outside Saint-Roch. It is the preparatory study for an illustration published posthumously in Jacques-Antoine Dulaure's \u003ci\u003eHistoire des cent-jours de la Restauration et de la Révolution de 1830\u003c\/i\u003e (Paris: Poirée, 1845).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe episode has subsequently been interpreted as an early and remarkable public defense of a woman whose relationships with other women were widely known.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eslight foxing, one spot in the top right corner. An oval cut on verso that does not penetrate the sheet. Otherwise in very good condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eFurther reading: \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHaggerty, Sarah. “Mademoiselle Raucourt, Priestess of Lesbos.” \u003ci\u003eHistorical Homos\u003c\/i\u003e, 20 Sept. 2020, \u003c\/span\u003e\u003ca href=\"https:\/\/www.historicalhomos.com\/queeriosities\/2020-mademoiselle-raucourt?utm_source=chatgpt.com\" target=\"_blank\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHistorical Homos article\u003c\/span\u003e\u003c\/a\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e. Accessed 2 June 2026.\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":53690920468823,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/imgonline-com-ua-compressed-jDoAY8t5YhOmHxzw.jpg?v=1780411639"},{"product_id":"fables-illustrated-by-johanna-and-her-sisters","title":"Fables illustrated by the three sisters","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eJohanna Sibylla Küsel-Kraus (ca. 1650–1717); Maria Philippina Küsel (1676–c. 1705?); Maria Magdalena Küsel (active c. 1688–1702).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eAesop. Favole scelte \/ Außerlesene Fabeln \/ Fables choisies.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eAugsburg, Johannes Jacob Lotter for Johann Ulrich Kraus, 1709.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e4°. [IV], 106 pp. With 50 numbered plate leaves.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eModern blind tooled calf.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e              \u003c\/span\u003eA trilingual edition of Aesop's fables, with 92 etched illustrations on 48 plates. The full-page frontispiece is signed “Johaña Sib: Krausin eine gebohrne Küslin. Fecit.” (= Johanna Sibylla Küsel-Kraus). Although only this plate bears her signature, Johann Ulrich Kraus states in the foreword that the illustrations were executed by his wife, Johanna Sibylla. This explicit contemporary acknowledgement is particularly noteworthy, as female engravers rarely received such prominent recognition in early modern illustrated books.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eHowever, many of the illustrations actually bear a monogram M, occasionally incorporating a P. This is unusual, as we have not encountered monograms on other prints securely attributable to Johanna Sibylla Küsel-Kraus. The marks therefore raise the possibility that some of these plates were executed by another member of the Küsel family workshop, perhaps her sisters Maria Philippina (MP) or Maria Magdalena (MM). If so, these monograms may offer a rare glimpse into the internal organisation of the Küsel-Kraus workshop and the division of labour among the women of the family. Johanna Sibylla's prominent acknowledgement in the foreword, contrasted with the appearance of these otherwise unexplained monograms, may hint at differing positions within the workshop hierarchy and at varying degrees of artistic responsibility, visibility, and recognition. Perhaps the matter will be resolved in the forthcoming \u003ci\u003eNew Hollstein\u003c\/i\u003e volume, as this series is absent from the published old Hollstein volume on the Küsel family.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThis 1709 edition is very rare, as it is not recorded in the German Short Title Catalogue (VD18). Compared with the first edition of 1707, the present volume contains altered numbering engraved into the plates, incorporating the first two plates into the numbering sequence and thus creating a second state of the series.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThis book is a typical and substantial illustrated production from the mature period of the Küsel-Kraus workshop, documenting Johanna Sibylla Kraus’s central role within one of the most prolific engraving and publishing enterprises of Baroque Augsburg. Such commercially ambitious didactic publications formed the backbone of the business. The illustrations unite emblematic imagery with scenes of everyday life and contemporary occupational types, including farmers, hunters, vintners, bird-catchers, fishermen, cooks, physicians, and fortune-tellers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSpine slightly discoloured. Contents browned, thumbed and spotted in places, with in the margins some wear and losses (partly repaired). Marginal loss to plate leaf 5, small tear in foot of plate 28.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eReference: \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003efor the 1707 edition see \u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eVD 18 10854568; Praz p. 331; Brüggemann I, 6 (under Aesop). Fabula docet 66 (French edition). Not in Hollstein; Timm-Bodemann.\u003c\/span\u003e\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":53786658603351,"sku":null,"price":2300.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/6fba5cd1-0239-43ea-98fc-fb2298c5198f.png?v=1781512647"},{"product_id":"a-sister-act","title":"A Sister Act","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eJohanna Sibylla Küsel-Kraus (ca. 1650–1717); Maria Philippina Küsel (1676–c. 1705?).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003eHistorische Bilder Bibel vorstellend die […] Altes Testaments wie auch was in dem Neuen Testament […].\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eAugsburg, Johann Ulrich Kraus, 1702.\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e8° (20 x 14 cm).\u003cb\u003e \u003c\/b\u003eWholly intaglio printed in 188 numbered etched and engraved plates including titles and frontispiece. 5 parts in 1 volume.\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eContemporary calf. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e              \u003c\/span\u003eA completely intaglio printed picture Bible consisting of 188 etched and engraved plates executed by Johanna Sibylla Küsel-Kraus and Maria Philippina Küsel. The plates illustrate scenes from both the Old and New Testaments and are generally divided into two pictorial compartments. The upper half presents a biblical event, while the lower half offers an allegorical counterpart, accompanied by an explanatory verse placed between the two scenes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eParticularly noteworthy is the explicit acknowledgement of both Johanna Sibylla Küsel-Kraus and Maria Philippina Küsel on the title-page. None of the plates are individually signed. Only at the foot of the title-page, in very small lettering, appears the inscription: “Copiert von Johanna Sibijlla Kraussen eine gebohrne Küsslen, mit Maria Phillippina Küsslen”. Such direct recognition of female printmakers remains uncommon in German illustrated books of the period and provides valuable evidence for the prominent role played by women within the Küsel-Kraus workshop.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe inscription indicates that the plates were copied in reduced format from the earlier folio edition of the Kraus Bible, one of the most ambitious illustrated Bible projects produced in Augsburg around 1700 and among the workshop's greatest publishing successes. On the title-page of the folio edition the plates are described as having been “gezeichnet und in Kupffer gestochen” by Johann Ulrich Kraus, yet neither Johanna Sibylla nor Maria Philippina are mentioned there and the plates themselves are unsigned. The present octavo edition therefore provides unusually direct evidence for the involvement of female family members in the production of the workshop's illustrated books.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eUnlike the folio edition, the present octavo version is partly reversed in orientation and expanded with the \u003ci\u003eOpus Angelorum\u003c\/i\u003e. Whereas the folio Bible comprises 136 plates, the present edition contains 188. Complete copies with all 188 plates are rare.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe plates appear to have been executed using a combination of etching and engraving. The elaborate Augsburg Baroque cartouches are rendered in broader, more freely worked lines, while the central scenes are executed with remarkable delicacy and precision. Together they demonstrate the high technical standard of the Küsel-Kraus workshop at the height of its activity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eJohanna Sibylla Küsel-Kraus (ca. 1650–1717) and her younger sister Maria Philippina Küsel (1676–c. 1705?) belonged to one of Augsburg's most important printmaking families. They were daughters of the engraver and publisher Melchior Küsel and granddaughters of Matthäus Merian the Elder through his daughter Maria Magdalena Merian. Although women played a significant role in many early modern printmaking workshops, their contributions often remained anonymous or were subsumed under the names of fathers, husbands, or publishers. The present Bible is therefore remarkable in explicitly naming both women on the title-page. The inscription not only documents their participation in one of the largest illustrated publishing projects of the Küsel-Kraus workshop, but also offers a rare glimpse into the collaborative role played by female engravers within a major Augsburg family enterprise. While Johanna Sibylla is today the better-known of the two sisters, this edition demonstrates that Maria Philippina was likewise entrusted with a substantial and technically demanding commission.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCondition: \u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003ebinding rubbed and worn, with defects at the top of the spine. Slight foxing and thumbing throughout, thin worming line in corner of plates 72-76. Title print slightly rubbed and a corner repaired. Faded stain in corner of last third of contents. Last few leaves toned. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003eReference:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eVD18 11407824.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eHollstein German XIX, no. 313.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eReichl, \u003ci\u003eKrauss\u003c\/i\u003e (\u003ci\u003eStudien zur deutschen Kunstgeschichte\u003c\/i\u003e, no. 294), pp. 7 ff.\u003c\/p\u003e","brand":"Artem Rare Books","offers":[{"title":"Default Title","offer_id":53789602808151,"sku":null,"price":3500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/files\/2af58a91-d5a3-4bf3-8a05-696c16114870.png?v=1781534411"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/9248\/9647\/collections\/1_0a740678-32f6-4226-9306-67fb6dfb403e.jpg?v=1656580081","url":"https:\/\/artemrarebooks.com\/collections\/art.oembed?page=8","provider":"Artem Rare Books","version":"1.0","type":"link"}