quellinus (32 risultati)

Amsterdam, Stichting Koninklijk Paleis, Kleef, Stedelijk Museum Haus Koekkoek & Amsterdam, Architectura & Natura, [1994]. 72 pp. Ills (some col.). Orig. hardcover. 4to. Catalogue of an exhibition held at the Koninklijk Paleis, Amsterdam, June 9 - Aug. 28, 1994. - Text in Dutch.

Illustrierter Original-Pappband, 8°, ca.13 Blat. Eintrag auf Innendeckel, Vorsatz angebrochen, Rücken geplatzt, Einband, Kanten und Ecken stark berieben und bestossen, Vorsatz bestossen und einige Seiten stockfleckig.

30 x 25 cm. 360 Seiten. Mit 255 Abbildungen und 6 Farbtafeln. Orig.-Leinenband mit Schutzumschlag. - Mit kritischem Oeuvrekatalog der Gemälde, sowie Standort-, Literatur- u. Namensverzeichnis. - Neuwertig erhalten.

Freren, Lucas Verlag, 1988. 359 pp. 255 ills (few col.). Orig. hardcover (black lettered white paper-covered boards). 4to. - Without the dust jacket. (Vlaamse schilders uit de tijd van de grote meesters, Deel 4).

Freren, Lucas Verlag, 1988. 359 pp. 255 ills (few col.). Orig. hardcover (black lettered white paper-covered boards), d./j. 4to. - Dust jacket sl. discol. / sl. creased. (Vlaamse schilders uit de tijd van de grote meesters, Deel 4).

Mit 12 Farbtafeln von Fritz Baumgarten, 4to, Farbig illustrierter Originalhalbleinwandband (stark berieben, Rücken etwas beschädigt), 7 feste Kartonblätter (einschließlich Einband). Vlgs.Nr. 704 Die erste Ausgabe dieser lebendig illustrierten Bildergeschichte erschien 1929 mit nur 11 Illustrationen. Die Bilder werden von je 2 zweizeiligen Versen beschrieben und zeigen Familienleben, lustige Erlebnisse im Walde, Erschreckendes mit Frosch und Maulwurf und am Ende eine Weihnacht vor dem Christbaum. - Blaume, Baumgarten 105. Nicht bei Klotz IV, 6333. - Etwas fleckig und mit leichten Gebrauchsspuren.

Cassel, 2014. 28, x 24,5 cm. Paperback / Softcover. Met illustraties in kleur. 175 pag. NIEUW BOEK nog verpakt in folie. * Erasmus Quellinus was een leerling en medewerker van Rubens. Met zijn rijk gevarieerde oeuvre en zijn verzorgde stijl leverde hij een belangrijke bijdrage aan de fascinerende schilderkunst van de 17de eeuw en aan de artistieke uitstraling van Antwerpen, waar hij in 1640 stadsschilder werd. Erasmus Quellinus wordt terecht gezien als een voorloper van het classicisme in de Vlaamse schilderkunst. [Art / international artist [Buitenlandse Kunstenaars] ].

4°. 359 S. mit zahlr. teils farb. Abb. OPbd. mit farb. illustr. OU. (Flämische Maler im Umkreis der großen Meister, Band 4). Sehr gutes Exemplar. Sprache: niederländisch.

First French edition of Van Campen's famous description of the Amsterdam City Hall (the present day Royal Palace), with more than a hundred plates of the architectural features and sculptures of the building, including ground plans, elevations, and sections of the interior and exterior. Particularly impressive are the giant plates of the tympana, which are more than 160 cm wide when fully unfolded. The work also includes the famous plate of the extraordinary cartographic mosaic floor of the Burgerzaal, which shows the zodiac signs that were originally painted on the celestial map in the middle, but are now no longer visible on the floor itself due to fading.The City Hall is the most famous and last major work by Jacob van Campen (1595-1657), the greatest Dutch architect of the 17th century. He began work on the design in 1640, and though the building opened in 1655, it was not actually completed until 1665. It was called "the eighth wonder of the world" at the time, and is still considered the most important Dutch monument from the 17th century. It was designed to show off Amsterdam's wealth and magnificence. This is especially visible in the Burgerzaal, the heart of the building, which depicts Amsterdam as the centre of the world. The impressive mosaic floor, with a celestial map in the centre and the two maps of both hemispheres of the world on either side, symbolises that the world was at Amsterdam's feet. These maps are the largest ever made. They show Abel Tasman's then recent discoveries in Australia and Tasmania. Many discoveries from his second voyage remained otherwise unpublished until the end of the 17th century.The present work is the French edition of Van Campen's Afbeelding van 't stadt huys van Amsterdam (1664). The plates were drawn by Hubert Quiellinus (1619-1687), and Danckert Danckertsz. (1634-1666) and his father after drawings by Jacob Vennekool (17th century), and were first published in Quiellinus' Prima [et secunda] pars praecipuarum . curiae Amstelrodamenis (1655-1663) and Afbeelding van 't stadt huys van Amsterdam in dartigh coopere plaaten . geteeckent door Jacob Vennekool (1661). As such, most of the present engravings were published before the building was completed, and may therefore reflect Van Campen's plan more closely than the finished building itself. The edges and corners of the boards are scuffed, the spine has been rubbed, with loss material, old restoration at the head and foot of the spine. The text leaves are lightly browned, the plates are very clean.l BAL 132; Berlin Kat. 2235; STCN 182312917 (5 copies, of which 1 incomplete); cf. Fowler 77 & 274 (1661 Danckerts eds.); for the map, see also: Schilder, Australia Unveiled, map 66; Shirley 423. Contemporary quarter brown sheepskin, sewn on 5 supports with the corresponding raised bands on the spine, the title lettered in gold on the spine, sprinkled paper sides, red sprinkled edges. With a title-page in red and black with an engraved device (a portrait of Erasmus in an elaborate cartouche with allegorical figures), and 124 engraved architectural and sculptural illustrations on 109 numbered plates (6 double-page, 103 full-page). Pages: 22 pp. + 109 plates.

The first volume of a two-volume work by Francisco Quaresmio (1583-1650), an Italian theologian and Orientalist who also lived in Jerusalem and Aleppo. The work is a contribution to history, geography, archaeology, Biblical and moral science. The book is printed in the celebrated Officina Plantiniana (or, to be precise, in the workshop of Balthasar I Moretus, Plantijn's grandson); a complete copy. The title page is a full-page (unsigned) copper engraving made by Cornelis Galle the Elder (1576-1650) after a template by Erasmus Quellinus the Younger (or Erasmus Quellinus II, 1607-1678), Rubens' pupil. The engraving depicts God the Father surrounded with biblical figures and members of mendicant orders. Antiqua typesetting; pages are decorated with tailpieces and large initials; the book also contains several illustrations (woodcuts). The subtitle: "In qua pleraque ad veterem & praesentem eiusdem Terrae statum spectantia accurate explicantur, varii errores refelluntur, veritas fideliter exacteque discutitur ac comprobatur." The title on the half-title reads as follows: "Elucidatio Terrae Sanctae, Historica, Theologica, Moralis." /// Contemporary parchment binding (wooden boards) with blind embossing, clasps, raised bands, label and coloured edges; hardback, XL+924+[98] pp., 2° (24 x 36 cm), parchment worn, yellowed and faded, with brown and gray spots, endpapers yellowed, with brown spots, title page has old owner's notes written with pen, ca. 20 leaves have tiny perforation, most pages yellowed (or slightly tanned), some of them have a few small brown spots, other signs of wear and age are rare (several leaves are slightly worn, two leaves have small tears, one corner is torn away, several leaves have tiny bookworm traces), condition: very good Book Language/s: Latin.

No Binding. Condizione: VG. Quellinus / Bolswert / 1653 / ]The Joyous Entry of Archduke Leopold Wilhelm in Ghent in 1653 ] Flandria Liberata / Serenissimo Principi Leopoldo Guilielmo Archiduci Austriae etc. Begarum et Burgund Pro Rege Guberneri. Flandriae Vindici hunc arcum Testem Victoriae ex Voto Publico Obsequio Piuvato Communi Cultu ad Veneratione M Praesentium ad Memoriam Euturorum Posuit S.P.W. Gandavensis Ao. MDCLIII. (Barry, 78795) Four sheets joined as one. Several tears and small areas of loss, closed and replaced in manuscript facsimile. Good to VG. An Exceptional Mid-17th-Century Piece of Flemish Persuasive Cartography. The Joyous Entry of Archduke Leopold Wilhelm into Ghent. Impressive four-sheet allegorical print showing the triumphant entry of Archduke Leopold Willem, later to become Governor of the Southern Netherlands, into Ghent in 1647. The City of Ghent commissioned this print to be designed by Erasmus Quellinus (one of Rubens' leading students) and engraved by Schelte Bolswert. The print was, at the time, one of the most expensive Flemish wall prints ever made, and cost nearly one-and-a-half times the commission of Peter Paul Rubens's painting Adoration of the Magi. The engraving shows the Archduke riding through a classical gateway on his noble steed. The gateway architecture is replete with symbolism; at the top is a female bust that reads "FLANDRIA LIBERATA" (Flanders Liberated), allegorical sculptures and royal coats of arms cover the rest of it. Following the Archduke are women carrying banners reading "moderation" and "prudence," while Justice is at the Archduke's side. Ghent, a woman with a crown of a castle, is on her knees ready to receive the triumphal Archduke. From a cartographic perspective, the most interesting feature of this print is the persuasive map that appears at the back of the print. The rest of Belgium is visible from the vantage point of the viewer, over the back of the defeated French. Cities are named and rays shining down on them from a sun embellished with the initials "PL" and "LG," the latter being the Latinized name of Leopold Wilhelm. However, only some of the cities are shined down on, including Dunkirk, Ypres, and Gravelines. Others are left in the shade of the parting clouds, including Bruges and Ghent, which represents an unusual stylistic choice in a work meant to celebrate the latter city's liberation. This piece was a collaboration by some of the leading artists of 17th-century Flanders and commissioned by the city of Ghent. The painter, Erasmus Quellinus the Younger, was one of Peter Paul Rubens's closest collaborators and, following Rubens's death, succeeded him as one of the most important painters in Flanders and a celebrated Classicist. The work was engraved by Schelte van Bolswert, who was chosen for the job (despite his exorbitant fees) for the excellent work he had recently accomplished in his two works based on Rubens' "Destruction of the Idols" and "The Triumph of the Christian Faith." The Jesuit Willem Heese, a noted writer, conceived the work and the layout of the piece, while Michiel Cools executed the print run of 656 copies. The Print The print was produced on four sheets due to its monumental size, although a single-sheet example on white satin was reportedly made for the Archduke himself. It was commissioned in 1652 following the reconquest of Gravelines and Dunkirk from the French, and completed in 1653 by the aforementioned artists. The cost of engraving the print was reported at 2500 guilders, and the print was considered an item of utmost luxury at the time it was produced. Ann Diels, in The Siren Song of the Graphic Arts, describes the print as follows: Another example of a contract on account of an exclusive commission, concerns the Joyous Entry of Archduke Le. Map.

Kobenhavn, Selskabet til udgivelse af Danske mindesmaerker, 1926. 214 pp. 82 b./w. ills. Orig. softcover (printed wrappers). 4to. - Cover edges worn.Text in Danish. With a summary in French: "Le sculpteur Thomas Quellinus." - - A monograph on the Flemish Baroque sculptor Thomas Quellinus (March 1661 - September 1709), also known primarily in Denmark as Thomas Qvellinus. He was born in Antwerp into the renowned Quellinus family of artists active in 17th-century Antwerp. He worked most of his career in Copenhagen, Denmark, where his workshop was located. He is best known for his production of grandiose and opulent funerary monuments, memorial chapels, and epitaphs, which can be found in churches throughout Denmark and the northern German region of Schleswig-Holstein. His chapels and monuments are dramatically composed, executed in rare, differently colored marbles, and framed by monumental architectural elements.

2 parts in 1 volume. Complete collection of nearly a hundred beautiful large engravings, documenting one of the most ambitious sculptural programs of the Dutch Republic. The Amsterdam Town Hall of Amsterdam, now the Royal Palace, was designed by Jacob van Campen (1596-1657) and richly decorated with sculptures by Artus Quellinus the Elder (1609-1668). Born in Antwerp Quellinus belonged to a distinguished artistic family of sculptors, painters, and engravers. His younger brother, Hubertus Quellinus (1619-1687), engraved nearly one hundred plates after Artus's marble sculptures and ornamental designs, bringing them together in the present work, which was first published in 1655, the year the Town Hall opened. The present copy is the enlarged re-issue. This remarkable series of engravings became one of the most influential publications of its kind, serving as a principal pattern book for the dissemination of Baroque style across Europe. The present copy, offered as a prize in 1776, attests to the work's continued relevance more than a century after its initial publication.With the bookplate of Emily Mercer, Marchioness of Lansdowne (1819-1895) mounted on the front pastedown, an 18th-century annotation in the lower margin of the first title ("Prijs voor de bootseerders behaald door Nachenius inde Amsterdam, 1776"), with 6 signatures. A few small dents in the boards, the spine head has been professionally restored. An occasional stain in the margins of the plates. Otherwise in very good condition.l Hollstein XVII, p.288, no.5; USTC 1802361 (7 copies); Wardzynski, Flemish trend, pp. 233. 18th-century gold-tooled sprinkled calf, sewn on 7 supports with the corresponding raised bands on the gold-tooled spine, the title lettered in gold on the spine, both boards tooled in a panel design with a central filigree ornament surrounded by two vegetal borders, gold-tooled board edges, marbled edges. With an engraved title page and index for each part, a full-page engraved portrait of the author, part 1 with 48 plates (4 double-page, 44 full-page); part 2 with 51 plates (2 double-page, 49 full-page), and 2 very large folding plates of the 2 tympana. Pages: With 105 engraved plates.

A comprehensive collection of plates showing all architectural features and sculpture of the Amsterdam City Hall, since 1808 the Royal Palace, here in the Covens & Mortier firm's rare ca. 1780 issue with the engravings newly printed from the original copper plates from the years 1655 to 1664 and the text reissued from Leonardus Schenk's 1747 Dutch language edition, the whole with a new title-page. ''This version has not been seen'' (BAL). At least most of the plates were engraved for and first published in Jacob van Campen's masterpiece Afbeelding van 't stadt huys van Amsterdam (Amsterdam, Frederick de Wit, 1664), Hubert Quiellinus's Prima [et secunda] pars praecipuarum . curiae Amstelrodamenis (Amsterdam, Frederick de Wit 1655-1663) and Afbeelding van 't stadt huys van Amsterdam in dartigh coopere plaaten . geteeckent door Jacob Vennekool (Amsterdam, Dancker Danckerts, 1661).It includes the famous plate showing the extraordinary cartographic mosaic floor of the Burgerzaal of the Amsterdam City Hall, designed by Jacob van Campen, with a celestial map in the centre and the magnificent map of the world in 2 hemispheres on either side. The engraving was first published in 1661, and the map shows Tasman's recent discoveries in Australia and Tasmania, and depicts California as an island. Many discoveries from his second voyage remained otherwise unpublished until the end of the 17th century. The drawing of the floor was made by Jacob Vennekool who worked closely with Van Campen, and since his drawings were first published even before the building was completed, they may reflect Van Campen's plan more closely than the finished building itself. They also, of course, show it before the alterations made at various times in later years.Binding a little worn, untrimmed, otherwise in good condition. The Amsterdam city hall in full glory with all its architectural features and sculpture.l BAL 132 note (description of 1719 French language ed. but citing Berlin Kat. & Kuyper for unseen "1730" Dutch ed.); Berlin Kat. 2236; Kuyper, Dutch Classicist architecture (Delft, 1980), pp. 212- 215 and note 25 (p. 318); STCN (3 copies); cf. for dating the impressum: Van Egmond, Covens & Mortier (2005), pp. 66, 83-88. Contemporary half red roan (sheepskin), brown sprinkled paper sides. With the title page printed in red and black with J. Covens & C. Mortier's engraved device by Bernard Picart ("JCCM" cypher monogram in a laurel wreath carried by 6 putti, dated 1730); 2 preliminary plates containing portraits of Jacob van Campen [by Lutma] and Arthus Quellinus by Henricus Quellinus; CIX (109) numbered engraved and etched architectural plates (7 folding, 30 double-page and 72 single-page, a few printed from 2 or 3 copper plates, distinguished by arabic numerals) showing plans elevations, tympana, ceilings, floors, statues, festoons and other ornamentation, mostly engraved by Hubertus Quellinus after Arthus Quellinus, but some after "R.V.H." (Rombout Verhulst). All plates have French captions, some with laudatory verses below, and are described in Dutch in the letterpress text (pp. 3-15). Pages: 15 pp.

Convolute of two richly illustrated and contemporary works on the new Amsterdam townhall (built 1648 - 1655). [1]. Amsterdam, Fredrick De Widt, 1664 , in-folio, 42 x 27 cm, portrait of the architect + engraved title + (16) pp (numbered 1-11) + 29 engraved plates (O being a folding plates on two sheets), collation identical with Fowler N°77, who describes the first edition of 1661. Our edition is the second. [2]. Prima Pars ( first part) Amsterdam, Frederick de Witt, 1665, in-folio, 42 x 27 cm, portrait of A. Quellin + engraved title + engraved plate index + 47 engraved plates ( 4 double page plates and 43 single page, all with blank verso). [2bis] Secunda Pars ( second part), Amsterdam, Frederick de Witt, 16th jan. 1668, engraved title + engraved plate index + 51 engraved plates + 2 double page unmarked plates + 2 large folding plates. First edition , collation identical with Fowler N° 274, who describes the first edition of 1655/1663. Our copy , from the second edition, has therefore the four large plates added at the end. Bound in a fine modern red quarter morocco binding, with double gilt fillets to mark the corners, raised and richly decorated gilt spine, red matching marbled boards and endpapers. The book is generally in very fine condition allthough the first title and portrait have thumbmarks and some dustsoiling. Plate I and K in the first book are slightly trimmed at the head by the binder. Plate R3 in the second work has a few small holes repaired, with some loss at the image. Tear repaired at the second double page plate (after X3 in the second part). The very large folding plates ( 42 x 160 cm !) at the end have some fraying and dustsoiling at the lower margin. The last of these folding plates has also some loss of image at the top (ca. 2 x 6 cm). Campen's impressive record of the architecture and decoration of the Amsterdam Town Hall. It was certainly the most grandiose of all European town halls built in the 17th century and in a way the confirmation of the economic and cultural richness of Holland which had definitely shifted now in the Low Countries from the South to the North; confirmed with the Treaty of Munster, agreed in the same year as the start of the building.

LeatherBound. Condizione: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1665 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Pages: 249 NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 249.

33. - 47. Tausend. ca. 10 Blatt (unpaginiert) zahlreiche farbige Abbildungen ; der Vorsatz mit kleinerem Anriss an den Klammern Sprache: Deutsch 21x18 (Querformat), helle farbig illustrierte OPp.

Condizione: Gut. Verlagsnummer 268. 4. Aufl. 12 Blätter mit ganzseitigen Farbbildern von Fritz Baumgarten und kleinen Versen von Oskar Quellinus. Titel teils in Sütterlin. Text in Frakturschrift. Ecken beschabt. Sauberes, sehr gutes Expl. Für bei der Post verloren gegangene Bücher- und Standardsendung (Kaufpreis unter 35 bzw. bis 1000 gr) übernehme ich keine Verantwortung und Erstattung. Wenn Sie für einen Mehrpreis eine Sendungsverfolgung und / oder Versicherung wünschen, bitte ich um Mitteilung. Sprache: Deutsch Gewicht in Gramm: 3000 quer 18,3 x 20,5 cm. Farbig illustr. Halbgewebebd.

Antwerpen, De Sikkel, 1930. 315 pp. 61 b./w. ills in the text & 76 tipped-in b./w. plts. H.calf. - Spine ends worn; title-page slightly damaged. Printed in a limited edition of 500 numbered copies (nr.218). - Text in Dutch.

Leatherbound. Condizione: NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 248. A perfect gift for your loved ones. Reprinted from 1668 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: Latin Pages: 248.

2. Freren (G), Luca Verlag, 1988, in-4°, 29 x 24 cm, 356 pp + 6 coloured plates h.t. and 255 b/w ills. in the text, index, bibliography. Contains the oeuvre catalogue; text in Dutch with a summary in English & German. He was considered the most important Flemish Romanist during the latter half of the 17th century., so important, in fact that his unsigned works have often been attributed to Rubens, Van Dyck, and Poussin.

Erasmus Quellinus (illustratore). 'ARTUS QUELLINUS, NATIF D'ANVERS STATUTAIRE DE LA VILLE D'AMSTERDAM ETC.'This print shows a portrait of Artus Quellinus the elder (1609-1668) or Artus Quellijn. He was a wellknown sculptor in the 17th century in Amsterdam (ao. Royal Palace).Made by Richardus Collin after Erasmus Quellinus.Medium: Engraving on hand laid (verge) paper.Sheet size: 13.6 x 20.3 cm (5.35 x 7.99 inch). Image size: 13.2 x 19.5 cm. (5.2 x 7.68 inch).PORTRAIT-MAN-SCULPTURER-ARTUS QUELLINUS THE ELDER-ARTUS QUELLIJN-AMSTERDAM | RBOS-A8-21BACKGROUND INFORMATIONThis attractive print was published in 1662.Biography engraver: Richard Collin (1626-1698), was an engraver from Luxembourg.Biography artist: Erasmus Quellinus II (1607-1678), also called Erasmus the Younger, was a Flemish baroque painter, draughtsman, printmaker and designer of prints and tapestries. He was a descendant of the prominent Quellinus family of artists, who mainly worked in Antwerp. . He was a student of Peter Paul Rubens. Condition: good, given age. Light soiling. Short margins. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Gutes Exemplar, innen sehr gut erhalten.

Leather Bound. Condizione: New. Language: Latin. Language: Latin. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2025, utilizing the invaluable guidance of the original edition published many years ago in 1665. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - Latin, Pages:- 249, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 249 249.

Portrait of architect Artus Quellinus I (1609-1668) in oval, ribbons and laurel descending from knots on the top corners. Quellinus, born in Antwerp, is especially famous for his decoration of the Royal Palace in Amsterdam on the Dam Square.On the bottom of the oval frame a stylized animal mask. Cartouche on the bottom ends in acantus leaves. Lettered on cartouche: 'Artus Quellinius Antverpiensis / Curiæ Amstelodamensium statuarius.'Signed: 'Hubertus Quellinius, delin. et sculp.' Etching and engraving on paper; broad margins; platemark: 314 x 224 mm, total: 422 x 286 mm; only state. Hollstein 4, Wurzbach 2.

Portrait of Artus Quellinus I (1609-1668) in oval, ribbons and laurel descending from knots on the top corners. On the bottom of the oval frame a stylized animal mask. Cartouche on the bottom ends in acantus leaves. Lettered on cartouche: Artus Quellinius Antverpiensis / Curiæ Amstelodamensium statuarius. / Hubertus Quellinius, delin. et sculp. . l Etching on paper; small margins; platemark: 314 x 224 mm, total: 322 x 231 mm; only state. PP01Q (Quellinus).

Two large triangular prints with reproductions of the architectural details of the Palace on the Dam Square in Amsterdam (in Dutch, known as the Stadhuis van Amsterdam, or the Royal Palace of Amsterdam). The first is an allegory of Amsterdam's victory over the sea. It shows the Amsterdam Virgin, surrounded by mythological sea creatures, such as nereids, hippocampi, tritons, fish, seals, a swan and a crocodile. The second is an allegory of Amsterdam's commerce with the four continents. Centrally, it features the Amsterdam Virgin, with at her feet the river gods of the Amstel and the IJ. She is surrounded by four personifications of the continents America (with feather headdress), Asia (turban, camel and incense burner), Europ (imperial crown and cornucopia) and Africa (sun hat, lions and elephant). Etching and engraving on hand laid paper, printed from three plates on three sheets. Made by Hubert Quellinus after the sculptures made by his brother, Artus Quellinus. Ca. 166 x 44 cm and 175 x 45 cm., dated 1664. Hubert Quellinus (Antwerp 1619 - 1687 Antwerp) was a printmaker, draughtsperson and painter. He was a member of the prominent Quellinus family of artists, and his engravings reproducing the work of his sculptor brother, Artus Quellinus, were very importrant for the spread of the Flemish Baroque style in Europe. Artus Quellinus I (Antwerp 1609 - 1668 Antwerp) was a Flemish sculptor, and older brother of Hubert. He is regarded as the most important Baroque sculptor from the Southern Netherlands. In decent condition, for the sheer size of these sheets. Both are folded multiple times, as issued, but both also have some additional (sometimes sharp) creases. Some of the folds are tearing, into the image, but without paper loss. References: Hollstein Dutch 288: 5. Hollstein gives no states, but at least two different states are recognised by the Prentenkabinet of the Rijksmuseum Amsterdam. Of these, this is the first (the second having additional lettering in the lower margin).

Amsterdam, Covens, Mortier & Covens Jr., [ca. 1758]. Reissue of the edition by L. Schenk, Amsterdam, 1747. With a rare French part. Folio, modern suede-like fabric covers. (2) 15 22 pag. Illustrated with 2 portraits : J. v. Campen by [Lutma] and A. Quellinus by H. Quellinus. And with 109 engravings and etchings. Some of these are folding, of which some are very large. Illustrators are A. de Putter, Hub. Quellinus and J. Vennekool(?). They based their illustrations on designs by the sculptor Artus Quellinus, but plate 69 and 70 are after 'R.V.H.'. This is a good and complete copy (besides the modern covers), with the French text part. In the Dutch part the signature mark D was corrected by pasting over with a C. After 15 pages of Dutch text follow 22 pages in French, with a seperate title page in French. This French part has a seperate signature marking: A-E2, F1. The British Library seems to have a seperate French copy, OCLC-nummer: 939433060. Other copies in Dutch and international libraries lack the French part. Literature: Fuhring 4169-4199. BookID nr. B1845.

Leather Bound. Condizione: New. Language: Latin. Language: Latin. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2024, utilizing the invaluable guidance of the original edition published many years ago in 1636. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - Latin, Pages: - 415, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 415 415.

Leather Bound. Condizione: New. Language: Latin. Language: Latin. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2024, utilizing the invaluable guidance of the original edition published many years ago in 1637. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - Latin, Pages: : - 436, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 436 436.