Het eerste [-sevende] deel van de teeken-konst. [Complete].
Published [ca. 1675]
Item ID 73412
Amsterdam, Frederick de Wit [ca. 1675]. Folio (31.6 x 19.7 cm). 140 fine engraved plates including seven engraved titles, the first with a portrait of the author. 19th-century half calf over marbled boards. Spine with four raised, gilt-ornamented bands; compartments with gilt floral vignettes and title. Marbled endpapers. Edges sprinkled red. Hollstein lists a few editions (with 120 plates) of Bloemaert’s inspiring work, but not this one. It was only recently that a survey by the Rijksmuseum in Amsterdam brought the number of known editions from three to eight. Among the ‘new’ ones is this undated edition, published by the Amsterdam engraver, printer and publisher Frederick – or Frederik – de Wit (1630-1706) and consisting of seven suites of 20 engraved and individually numbered plates each. This edition is not in OCLC, and a recently discovered complete copy in the Rijksmuseum in Amsterdam is in fact the only other known copy. De Wit is principally renowned for his high-quality maps and he is notorious for not dating them. Likewise, the Teeken-konst is not dated. The Amsterdam watermark is not in any major reference work, but most closely resembles one in Churchill, no. 13, dated 1675. There are later editions published by Hendrik Bosch in 1723, by Renier and Joshua Ottens in 1740, and even later. Copies of any edition are usually incomplete due to the individual quality of the engravings, which made them desirable for framing, or for use by student artists. The aim of this work was to instruct other artists how to draw. Fowler (2012) suggests that each of the individual plate should be regarded as a separate drawing lesson. Most images are of people; a few depict cattle, horses, and cats. Abraham Bloemaert (1564-1651) was a Dutch painter and etcher, who first published this work, in a shorter version, as Artis Apellae liber . The plates were engraved by his son, Frederick Bloemaert (1614-1690). The seven suites of 20 plates each are consecutively numbered. Number 36 is numbered ‘26’, and 113 as ‘112’. The binding is later, but attractive and well-preserved. Some scattered light spotting, a few, mostly marginal light smudges, otherwise a very good, clean copy. Churchill Watermarks in paper , p. 66; C. O. Fowler (2012) Between the heart and the mind: Ways of drawing in the seventeenth century ; Hollstein II, pp. 65, 86; Rijksmuseum website on Bloemaert. One of two known copies of this edition