simon frisius (102 resultados)

Series of 12 numbered plates of birds (11 plates) and butterflies (1 plate) set in beautiful landscapes, engraved by Simon Wynouts Frisius (ca. 1580-1629), in mirror image after the plates of the series by Marcus Gheeraerts I (not Marcus Gheeraerts II as catalogued by Hollstein), originally published by Hendrik Hondius in 1610.The Frisius series is here in its third state with "F. de Widt excudit" on the first plate, but with the monogram of Claes Jansz. Visscher, who acquired the plates from Hondius, still present on the other plates.Frederick De Wit was active in Amsterdam from 1654-1690 (Gruys & De Wolf, p. 199) and the paper is watermarked with a seven-pointed foolscap very similar to Laurentius II, 476, dated 1686, so the series was probably issued around that time.Minor stain on the first leaf not affecting the plate and the last leaf browned with a torn-off corner restored. Very good copy.l Burch 10; Hollstein (Dutch and Flemish) VII, p. 28 (Frisius 92-103). Modern boards. With 12 numbered engraved plates (ca. 6.5 x 20.5 cm). Pages: [12] ll.

LeatherBound. Condición: NEW. LeatherBound edition. Condition: New. Reprinted from 1707 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. 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: 69.

LeatherBound. Condición: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1618 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. 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. Pages: 158 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: 158 Language: Latin.

Simon Frisius Ilustrador. 'UNLETTERED, PLATE SHOWS THE BINNENHOF, VIJVERBERG, AND GEVANGENPOORT; CANNONS AND FIREWORKS CELEBRATING THE 1609 TRUCE.'Bird's-eye view of The Hague with city streets, the Binnenhof complex, and festive scenes including cannon fire and fireworks celebrating the Twelve Years' Truce in 1609.Made by Simon Frisius after own design.Medium: Etching on hand-laid (verge) paper.Sheet size: 25 x 16 cm (9.84 x 6.3 inch). Image size: 25 x 16 cm. (9.84 x 6.3 inch).THE HAGUE, BINNENHOF, VIJVERBERG, TRUCE OF 1609, DUTCH GOLDEN AGE, BIRD'S-EYE VIEW, FIREWORKS, CIVIC CELEBRATION, SIMON FRISIUS | PCO-EXPO-404 (DUTCH)BACKGROUND INFORMATIONMuseum Het Prinsenhof Delft, inv. 5724.22. Dated between 16001628.Reference: Museum Het Prinsenhof Delft, 5724.22.Biography engraver: Simon Wynouts Frisius (ca. 1580-1628) was a Dutch engraver, etcher, draughtsman and calligrapher, born in Harlingen. He spent a few years in Paris but returned to the Netherlands, where he would spend his final days in The Hague. Condition: very good, given age. Original folds as published. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

A selection of 41 portraits (plus the engraved allegorical title-page, and the two other prints) from the first edition of Hendrick Hondius's series of portraits of artists from the Low Countries. The complete set, which contained 70 portraits, appeared in or soon after 1610 (the portrait of Jacobus de Geyn is dated 1610). Johannes Janssonius in Amsterdam published a second edition in 1618 with the title Theatrum honoris in quo nostri apelles . imagines. The prints were also sold separately and have no fixed order, so the number of portraits and the additional prints included varies from copy to copy. Although there was no fixed order, the STCN calls for three parts.The portraits in the complete series fall into three categories: 22 copy Domenicus Lampsonius's series of portraits of artists working before ca. 1500; 26 portray artists active in the sixteenth century, and 20 portray contemporary artists.The present selection contains after (1) the engraved title-page (H 80), (2) the plate with the three putti with banderols (23 x 15 cm; H 81), (3) a leaf with the mounted extra added portrait of Hendrik Hondius by Fredericus Boultats after the drawing by Hondius himself with a biographical note in French below, (4) the leaf with the dedicatory poem by Hendrick Hondius, "Picturae amatoribus, admiratoribusque", 41 portraits, and the allegorical print (21.5 x 13.5 cm), with in the foot margin the motto "Post Funera, Vita" (Life after death), by Hondius (H 115), suggesting that the deceased subjects will live on.The present selection appears to deliberately cover artists after ca. 1500, including only one of the portraits after Lampsonius (Cornelis Engelbrechtsz by Hondius, a borderline case chronologically). It includes 23 of the 26 16th-century artists and 17 of the 20 contemporary artists. It therefore gives a good overview of artists in the Low Countries from ca. 1500 to ca. 1610.In total there are 10 portraits by the famous engraver, etcher and publisher Hendrick Hondius (1573-1650), 23 by Simon Wynouts Frisius (ca. 1580-1629), 5 by the pupil of Jacques de Geyn II, Andries Stock (ca. 1580-1648) and 4 by Robert de Baudous (ca. 1574-ca. 1660), although many of the portraits are however signed by Hondius.Some marginal stains the top corner of several leaves damaged and the spine and boards somewhat rubbed, but still in good condition.l New Hollstein, Hendrick Hondius, 80-115 (pp. 90-105); Hollstein VII, Frisius, p. 32; Von Szwykowski 1856, p. 1; Kramm III, p. 718; Van Someren 1, 211a; Burchard 15. Contemporary half calf, brown sprinkled paper sides. An engraved print series with an architectural title-page with allegorical figures (an elaborate architectural cartouche with 3 allegorical female figures, a terrestrial globe, 2 putti, a shield bearing only 3 smaller blank shields, a bull's head, a winged head and garlands of fruit); an engraved print with three putti tumbling through the air with 2 banderoles, each bearing a 4-line verse; a letterpress dedicatory verse with a band of arabesque typographic ornaments above and below; 41 engraved portraits (20 x 12 cm) by Hendrik Hondius (9), Robert de Baudous (4), Simon Frisius (23) and Andries Stock (5); and an allegorical closing print (a skeleton holding an hour glass and an arrow, not in the copy on Google Books). The three plates outside the portraits are all by Hendrick Hondius. With an extra added portrait of Hendrick Hondius, engraved by Fredericus Boultats after a drawing by Hondius himself (16.5 x 11 cm; mounted on a blank leaf). Pages: [44] engraved ll. plus [1] letterpress leaf.

Impressive large allegorical print of the defeat of the Arminians at the Synod of Dort in 1618, here in the rare first Visscher state. The publisher and engraver Claes Jansz. Visscher heavily reworked the plate of an earlier print by Simon Frisius commemorating the Dutch-Spanish truce of 1609, entitled: Pyramis pacifica. He revised the image so extensively, that his revision is often treated as a separate work, making the present version its first state. It is the most spectacular print to come out of the Arminian controversy. A more common, much smaller and less impressive engraving was also published.A heated theological and political conflict had raged in the Low Countries between the Arminians (from 1610 also called Remonstrants) and Gomarists for more than a decade when it came to a head with the Synod of Dort (1618/19), which decided in favour of the Gomarists. The Synod led to the 1619 execution of the Republic's greatest statesman Johan van Oldenbarnevelt, who had supported the Arminian cause. In revenge his sons Reinier and Willem conspired to assassinate the (Gomarist) Dutch stadholder Maurits of Nassau, Prince of Orange. Other prominent members of Dutch society who had political, religious or personal grudges against the Prince lent their support. The plot was betrayed in February 1623, and the conspirators arrested and executed from March to May.A corner at the foot torn off and replaced with blank paper, with the loss of most of the imprint and the ends of the last 8 lines of verse. Further with a few spots and tiny holes, and small restored tears, but generally in good condition and still attractive.l Atlas van Stolk 1347; Hollstein XXXVIII, p. 21, no. 29, state III (4 copies); Muller, Historieplaten 1329a ("zeldzaam"). Large 1mo broadsheet (66.5 x 46.5 cm), with engraved illustration (53 x 45.5 cm) at the head (with Visscher's name in the plate at lower right) and a letterpress verse text below.

Bust portrait of theologian Lucas Trelcatius II (1573-1607), turned towards the right, looking at the observer. In oval frame, lettered at the top: "PRUDENTIA ET SIMPLICITATE", within further rectangular frames. Inscribed under the portrait: "LUCAS TRELCATIUS FILIUS, S.S.Theologiae Professor." With address of van der AA: "Lugd. Bat. ex Officina Petri Vander Aa." Included in Van der Aa's "Fundatoris, Curatorum et Professorum celeberrimorum aliorumque illustrium virorum." published in Leiden between 1715 and 1716. ".Lucas Trelcatius, was een theoloog en schrijver uit Noord-Nederland. Engraving with some etching on paper from three plates; trimmed on plate mark, total: 358 x 258 mm; mounted on larger sheet of laid paper; light yellowing of the paper; small lacuna on the right; some light foxing. Van Someren 147.

Blattgröße circa 41 cm x 34 cm. Condición: Sehr gut. Platte 17,6 x 26 cm Original Radierung um 1620. Simon Wynouts FRISIUS (1580-1629) Belgien. Flusslandschaft mit einer Stadt im Hintergrund, aus der Serie "Landschaften mit Figuren" nach David Vinckboons. In der Platte (Boot links) signiert: S. Frs. fec. , R.B. excudit. Exzellenter kräftiger Druck auf Bütten. In ein altes Album Passepartout montiert. Hinterlegter Riss im geglätteten Mittelfalz. Wir senden umgehend mit beiliegender MwSt.Rechnung. Sprache: Deutsch Gewicht in Gramm: 1001.

Bust portrait of theologian Lucas Trelcatius (1542-1602), turned towards the right, looking at the observer. In oval frame, lettered at the top: "LILIUM INTER SPINAS", within further rectangular frames. Inscribed under the portrait: "LUCAS TRELCATIUS PATER, S.S.Theologiae Professor." With address of van der AA: "Lugd. Bat. ex Officina Petri Vander Aa." Included in Van der Aa's "Fundatoris, Curatorum et Professorum celeberrimorum aliorumque illustrium virorum." published in Leiden between 1715 and 1716. ". Engraving with some etching on paper from three plates; with broad margins; plate mark: 350 x 254 mm, total: 417 x 328 mm: some browning on the most external margins; mounted on cardboard with pen and black ink inscriptions. Van Someren 147.

Bust portrait of theologian Lucas Trelcatius II (1573-1607), turned towards the right, looking at the observer. In oval frame, lettered at the top: "PRUDENTIA ET SIMPLICITATE", within further rectangular frames. Inscribed under the portrait: "LUCAS TRELCATIUS FILIUS, S.S.Theologiae Professor." With address of van der AA: "Lugd. Bat. ex Officina Petri Vander Aa." Included in Van der Aa's "Fundatoris, Curatorum et Professorum celeberrimorum aliorumque illustrium virorum." published in Leiden between 1715 and 1716. ". Engraving with some etching on paper from three plates; with broad margins; plate mark: 352 x 254 mm, total: 418 x 330 mm; browning paper with some light staining, traces of previous mountings on verso; smudges due to handling on the right side; on verso some pencil scribbling on the bottom corners. Van Someren 147.

Bust portrait of theologian Lucas Trelcatius (1542-1602), turned towards the right, looking at the observer. In oval frame, lettered at the top: "LILIUM INTER SPINAS", within further rectangular frames. Inscribed under the portrait: "LUCAS TRELCATIUS PATER, S.S.Theologiae Professor." With address of van der AA: "Lugd. Bat. ex Officina Petri Vander Aa." Included in Van der Aa's "Fundatoris, Curatorum et Professorum celeberrimorum aliorumque illustrium virorum." published in Leiden between 1715 and 1716. ". Engraving with some etching on paper from three plates; with broad margins; plate mark: 350 x 254 mm, total: 420 x 328 mm: despite some light brown stains and very light smudges on the margins, in very good condition. Van Someren 147.

Bust portrait of theologian Lucas Trelcatius II (1573-1607), turned towards the right, looking at the observer. In oval frame, lettered at the top: "PRUDENTIA ET SIMPLICITATE", within further rectangular frames. Inscribed under the portrait: "LUCAS TRELCATIUS FILIUS, S.S.Theologiae Professor." With address of van der AA: "Lugd. Bat. ex Officina Petri Vander Aa." Included in Van der Aa's "Fundatoris, Curatorum et Professorum celeberrimorum aliorumque illustrium virorum." published in Leiden between 1715 and 1716. ". Engraving with some etching on paper from three plates; with broad margins; plate mark: 352 x 254 mm, total: 420 x 330 mm; some very light stains and foxing, though in very good condition. Van Someren 147.

Bust portrait of theologian Lucas Trelcatius (1573-1607), turned towards the right, looking at the observer. In oval frame, lettered at the top: "LILIUM INTER SPINAS", within further rectangular frames. Inscribed under the portrait: "LUCAS TRELCATIUS PATER, S.S.Theologiae Professor." With address of van der AA: "Lugd. Bat. ex Officina Petri Vander Aa." Included in Van der Aa's "Fundatoris, Curatorum et Professorum celeberrimorum aliorumque illustrium virorum." published in Leiden between 1715 and 1716. ". Engraving with some etching on paper from three plates; trimmed to plate edge, total: 349 x 253 mm: mounted on a larger sheet; despite some light brown stains in very good condition. Scribblings in pen and black ink, namely dates. Van Someren 147.

The investiture of Maurice with the Order of the Garter on the 4th of February 1613. In the main hall of the Binnenhof in The Hague, a herald puts the garter on Maurits in the presence of the English ambassador, Johan van Oldenbarnevelt, the members of the States General and many other guests.Smaller plate after the broader original by Frisius, published in 1613. The text below explains the lettering in the print.Used as plate in vol. 2 of Isaac Commelin's "Wilhelm en Maurits van Nassau, Princen van Orangien.", published by Jan Jansz. in 1651. Etching on paper, plate mark: 282 x 380 mm, total: 285 x 405 mm; printed on two sheets of paper, joined in the middle, on the verso; vertical crease and a further crease at bottom, above the text line; three rims of the margins show the coloring of the edges of the book from which this plat. After a print by Simon Frisius (Muller 1289).

Condición: Good. Etching / engraving, handcoloured on hand laid paper. Sheet size: 42 x 37,5 cm. (16,5 x 14,8 inch). Image size: 39 x 34,2 cm. (15,4 x 13,5 inch).From: 'Les guerres de Nassau.', by G. Baudartius / G. Baudart, published in Amsterdam by M. Colin de Thovoyon in 1616. This important work on the first five decades of the 80 Years War raging in the Netherlands, Belgium and the western part of Germany from 1568-1648, was written from a Contra-Remonstrant point of view. Many of the plates are after 'Geschichtsblatter' by Frans Hogenberg and after plates from J. J. Orlers' work. New plates were added as well.Made by 'Simon Frisius' after an anonymous artist. Condition: Good, given age. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.Keywords: 1603 CAMPAIGN-MAURITS-EIGHTY YEAR WARRBOS-A3-31 (RB-279).

Portrait of Gillis Mostaert holding palette and brushes. On the background a landscape. Signed on the palette: 'Hh excud', on the top left: 'Cum privil'. 41st plate of the series. Inscription on the bottom: 'ÆGIDIUS MOSTART, FLANDER. / PICTOR. / Nomine Mostarti duo sunt, fratrésque gemelli, / Arte pares, vultu, moribus, ingenio. / Gilius inventor felix, laetúsque color: / Sic color in verbis, et sine felle sales'. l Etching and engraving, with some margin, trimmed to lower plate mark sign, total: 209 x 136 mm; small tear on the bottom right; traces of glue on the top corners; Hollstein 163.

Portrait of Michael van Mierevelt holding a portrait and brushes. On the background a landscape. Signed on the right: 'Hh' and on the bottom: 'Cum privilegio' . 55th plate of the series. Inscription on the bottom: 'MICHAEL MIREVELT, DELPHENSIS PICTOR. / Pingendo ad vivum quo non praestantior alter: / Delphicus hinc Zeuxis dicitur esse novus. / Principibus magnis fuit invitatus: at ipsum / Ante alias urbes patria culta tenet'. l Etching and engraving, pasted on thicker paper; total: 206 x 128 mm; Hollstein 177.

Portrait of Johannes Stradanus with palette and brushes in front of a painting. 49th plate of the series, first of the third part. On the shield hanging on the right: 'PARS/ III. / Henr. Hondiu. / excudit. / Cum / privil.' Inscription on the bottom: 'IOANNES STRADANUS, BRUGENS. PICT. / Stradano Belga florens Hetruria gaudet, / Quae tantum Belgis invidet artificem. / Cujus et ipse Myron opera et miratur Apelles: / Quem doctae et pulcrae progenuere Brugae' l Etching trimmed within plate mark; total: 205 x 153 mm; state III/3; Hollstein 171.

Portrait of Hendrick van Cleef holding palette and brushes. On the background a landscape with Roman ruins. Signed on the palette: 'Hh exc. Cum privil'. 35th plate of the series. Inscription on the bottom: 'HENRICUS CLIVENSIS, ANTVERP. / PICTOR / Urbes atque Arces, Montes, Terrásque jacenteis, / Et Valles, Fontes, Flumina, Rura, Lacus, / Atque Casas humiles, tum tecta superba domorum / Quae pinxit, recreant mirificé haec oculos'. l Etching and engraving trimmed to plate mark, total: 193 x 119 mm; pasted on paperboard; some dirt on the top right corner; Hollstein 157.

Portrait of Anthonie Blocklandt. In the background the Last Supper. 31st plate of the series. Monogrammed on the top with privilege: 'Cum privil. Hh. exc.' Inscription on the bottom: 'ANTONIUS BLOCLANDUS, BATAVUS PICTOR. / Nobilis hic arte est, genere est hic nobilis idem, / Formâ qui pinxit corpora conspicuâ. / Cúm pictam primo vidisset lumine Romam, / Mox rediit Romae cedere turpe putans'. l Etching with small margins; plate mark: 206 x 124, total: 211 x 131 mm; Hollstein 153.

Portrait of Hendrick Vroom; on the background a marine. 54th plate of the series. Monogrammed on the right with privilege: 'Hh. exc. / cum privil.' Inscription on the bottom: 'HENRICUS VROOM, HARLEMENSIS. / PICTOR. / Vromius hic multúm terris jactatus et alto : / Qui docuit vitâ multa ferenda probo. / Naufragia et Tabulas, Scopulos, caelíque Ruinas / Tam bene qui potuit pingere nemo fuit'. Number '16' added on the bottom right in brown ink. l Etching trimmed to plate mark; total: 199 x 123 mm; Hollstein 176.

Portrait of Joris Hoefnagel holding a small portrait; on the background a landscape over a balustrade with a vase of flowers. 44th plate of the series. Inscription on the bottom cut out from the bottom of the title: 'GEORGIUS HOEFNAGLIUS PICT. ANTVERPIANUS[.]' Signed on the left: 'Hh forma / Cum privil' l Etching trimmed within plate mark; total: 182 x 126 mm; external borders reinforced on the verso; Hollstein 166.

Portrait of Joachim Beuckelaer. In the background the city of Antwerp. 26th plate of the series. Monogrammed on the right: 'Hh. exc.' Inscription on the bottom: 'IOACHIMUS BUECKELAER, ANTVERP. / PICTOR / Hic tenui pinxit pretio dum vita manebat : / Ast Tabulis pictis gloria non tenuis. / Cujus post mortem colimus tabulasque culinas. / Nec mirum. multis docta culina placet'. l Etching trimmed within plate mark; total: 197 x 125 mm; pasted on another print on thicker paper; Hollstein 148.

Portrait of Michiel Coxie. On the left some allegorical figures. 43rd plate of the series. Signed on the bottom of the allegory: 'S. frisius f.' on the easel 'Hh. exc.' Inscription on the bottom: 'MICHAEL COEXIUS, MECHLINIENS. / PICTOR. / Coexius illustris pictor, Mechlinia cujus / Patria, doctorum quae fuit artificum. / Hic magno pinxit. nam Zeuxis creditur esse: / Carus divitibus, principibúsque Viris'. l tching and engraving trimmed within plate mark, pasted on thicker paper; total: 198 x 118 mm; Hollstein 165.

Portrait of Henrdrik Vroom (1562/163- 1640), three-quarter length, turned to the left, head slightly turned to face the viewer; with moustache and goatee, wearing a doublet with flat collar and a mantle draped around him.Beyond him an opened view on a seascape with ships.Inscribed below: HENRICUS VROOM, HARLEMENSIS PICTOR. Vromius hic multum terrus jac tatus et alto:.Tam bene qui potuit pingere nemo fuit.[NL] Portret ten halven lijve naar links van Hendrik Cornelisz. Vroom. Onder het portret zijn naam en vier regels in het Latijn. Prent uit deel 3 van de serie Pictorum Aliquot Celebrium Praecipuae Germaniae Inferioris Effigies. Serie van 72 kunstenaarsportretten vervaardigd door Hendrick Hondius I, Simon Frisius, Andries Jacobsz. Stock en Robert de Baudous. Vroom was schilder van marines, tekenaar en prentkunstenaar, werkzaam te Haarlem; hij was rooms-katholiek. Gegraveerd door Hendrik Hondius I (1573-1650) naar Simon Wijnants Frisius (1580-1629) . Engraving and etching on paper, with small margins, mounted on another sheet of paper; total: 241 x 169 mm; some smudges due to handling; overall in good condition. Hollstein 176, New Hollstein 178; in white cardboard passepartout.

Portrait of Joos van Winghe holding palette and brushes. Signed on the palette: 'Cum Privilegio. Hh ex'. 40th plate of the series. Inscription on the bottom: 'IODOCUS WINGIUS, BRUXELL. / PICTOR / Wingius hic multum pingebat corpora viva: / Venae, membra, artus, omnia consipicua. / Cujus laudatur, quae expressa est, Belgica nuda: / Quâ ostendit Patriae tristia fata suae'. Etching trimmed to plate mark, total: 198 x 122 mm; Hollstein 162.

[45] Cristianus Quebornus Antv. Pictor (Pictorum aliquot celebrium, præcipué Germaniæ Inferioris, effigies; series title). Portrait of Christian van den Queborn; on the background a landscape with Roman ruins, possibly of the temple of Hercules Victor. 45th plate of the series. Inscription on the bottom cut out from the bottom of the title: 'CHRISTIANUS QUEBORNUS. ANTV. / PICTOR.[.]'.Portret van Christian van den QuebornChristianus Quebornus Antv. Pictor (title on object)Schildersportretten (series title) Etching trimmed within plate mark; total: 169 x 116 mm; external borders reinforced on the verso; Hollstein 167.

[34] Antonius Morus, Ultraiectinus Pictor. (Pictorum aliquot celebrium, præcipué Germaniæ Inferioris, effigies; series title). Portrait of Anthonis Mor, while paining a (self?)-portrait. On the background a landscape with city view on Utrecht. Signed on the table in the foreground: 'Hh / Cum privil'. 34th plate of the series. Inscription on the bottom: 'ANTONIUS MORUS, ULTRAIECTINUS / PICTOR / Quaestus, nomen, honos, si munera magna petenda: / Voto respondent omnia, More, tuo. / Te coluit Caesar, tum magnus Caesaris haeres. / Multum his principibus te placuisse viris'. On the verso collector's mark of Paul Menso, L.4347. Etching trimmed within plate mark, total: 212 x 121 mm; Hollstein 156.

[51] Cornelius Ketel, Goudanus. (Pictorum aliquot celebrium, præcipué Germaniæ Inferioris, effigies; series title). Portrait of Cornelius Ketel holding a glove. Signed on the top left: 'Hh exc. Cum privil'. 51st plate of the series. Inscription on the bottom: 'CORNELIUS KETEL, GOUDANUS. / Primus hic á Luca Leidano pictor habetur / Goudanus, Batavi gloria uterque soli. / Quam bene conveniant, docuit, Pictura, Poesis : / Quae pinxit, prius hic finxerat ingenio' Engraving trimmed to plate mark, total: 212 x 121 mm; pasted on laid paper; Hollstein 173.

Pictorum aliquot celebrium praecipuae germaniae inferioris effigies. Toutes les planches de cette série porte l'excudit de Hondius, mais certaines ont été gravées par d'autres artistes. 21 x 12.