Châtelain-- Henri Abraham

Flag chart - Henri Chatelain, 1720

CHART OF THE WORLD'S FLAGS AND NAVAL ENSIGNS “Carte des pavillons accompagnée d'observations pour en faire comprendre le blazon et les differentes devises aussy bien que d'une table alphabetique pour les trouver facilement.” Copper engraviung published in Amsterdam by Henri Chatelain in 1720. Coloured by a later hand. Size: c. 49,5 x 59 cm. This beautiful chart illustrates the world's flags during the War of the Spanish Succession (1701-1713) and the Great Northern War (1700-1721). It includes French flags (Royal flag, Admiral's flag, merchant flag, Marine flag, flag of the General States), Dutch Flags (Dutch Republic, Amsterdam, Middelburg, flag of the Prince of Orange, Hoorn, Dunkirk, Terschelling and Vlieland, Zeeland, Flanders, Oostende), German flags (Emden, Bremen, Hamburg, Schleswig, Lübeck, Weimar, Rostock, Brandenburg, Stralsund), the Danish flag, flags of Bergen, Stettin, Gdansk, Riga, Königsberg, the Czar, Moscow, Sweden, Monaco, Modena, Tuscany, Venice, Sicily, Livorno, four Ottoman flags, as well as flags of Algeria and Tripoli. England is represented by six flags, plus two for Scotland and one further for Ireland. In the lower row, the flag of Empire of China stands out. It appears as a great whirlpool surrounded by eight decorations, which is a misinterpretation of the Qing flag, a dragon on a yellow field with eight banners. Other flags of interest include the pope's banner, a curious Portuguese flag bearing a priest, the flags of various trading companies, the flag of the Tartars (dragon), and the arm and saber flag of Poland. Courland (Kurzeme, the western part of Latvia) sports both a national banner and a naval flag featuring a black crab on a field of red. In addition to the actual flags depicted on the sheet, Chatelain provides a primer for understanding a flag's heraldic terminology in general, and supplies the reader an alphabetical table to aid in the location of specific flags on the sheet. This sheet was printed in the last of the seven volumes of Chatelain's Atlas Historique, a monumental work which was published over the course of some fifteen years - the first volume was completed in 1705, the seventh in 1720. Henri Abraham Chatelain (1684-1743) was a Huguenot pastor of Parisian origins. Chatelain proved a successful businessman, creating lucrative networks in London, The Hague, and then Amsterdam. He is best known as a Dutch cartographer who published the Atlas Historique, in seven volumes between 1705 and 1720. Innovative for its time, the Atlas Historique combined fine engraving and artwork with scholarly studies of geography, history, ethnology, heraldry, and cosmography. It was published thanks to a partnership between Henri, his father, Zacharie, and his younger brother, also Zacharie, the text was contributed to by Nicolas Gueudeville, a French geographer. The maps were by Henri, largely after the work of Guillaume Delisle, and they offered the general reader a window into the emerging world of the eighteenth century. Price: Euro 1.100,-

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 4265

Keywords: Châtelain-- Henri Abraham

Châtelain-- Henri Abraham

Japan, Deshima - Henri Chatelain, 1720

Vue et description de la Ville de Meaco Capitale du Japon avec d'autres particularitez du Pays. Kopergravure uit Henri Châtelain’s Atlas Historique, uitgegeven te Amsterdam in 1720. In de tijd met de hand gekleurd. Afm. 38,2 x 49,5 cm. We zien een combinatie van topografische en historische informatie van Japan. Bovenaan een aangezicht van Kioto, de toenmalige (tot 1869) hoofdstad. Links boven een verhalende voorstelling van de martelingen die de Christenen hadden ondergaan. Aan de andere kant een even grote voorstelling van een Japanse huwelijks ceremonie. Het waren met name Portugese Jezuïten die het Christendom in Japan probeerden te verspreiden. In 1612 sprak de shogun een ban uit over de verspreiding van het katholieke geloof en in 1616 werd, met een uitzondering voor China, de buitenlandse handel beperkt tot de havens van Hirado en Nagasaki. In 1639 werden de Portugezen het land uitgezet. De in Japan aanwezige Nederlanders werden slechts getolereerd op het kunstmatige eiland Dejima (Deshima) in de haven van Nagasaki, waarvan midden onderaan een afbeelding is te zien. Het vogelvlucht gezicht op Dejima is overgenomen van een groter gezicht van Arnoldus Montanus uit 1669. Links- en rechtsonder zien we de stad Sakai en de tempel aldaar (“Temple le plus celebre du Japon”). Sakai was een van de grootste en belangrijkste zeehavens van Japan sinds de Middeleeuwen, tegenwoordig maakt het deel uit van de prefectuur Osaka.  In het midden beschrijvingen van Kioto (“Meaco”) en Tokio (toen genaamd “Jedo”). Prijs: Euro 650,-

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 3737

Keywords: Châtelain-- Henri Abraham

Châtelain-- Henri Abraham

Southern Africa - Chatelain

Carte du Royaume de Congo, du Monomotapa et de la Cafrerie Later met de hand gekleurde kopergravure van het zuidelijk deel van Afrika van de hand van Henri Chatelain. Uitgegeven te Amsterdam ca. 1719. Formaat: ca. 40,5 x 52 cm. Deze kaart werd eerder door Guillaume Delisle gemaakt, maar door Chatelain nu aangevuld met tekstblok rechtsonder. Congo, Monomotapa en het land van de Kaffers worden beschreven. De kaart zit vol details, met name over de stammen en koninkrijkjes en er zijn verschillende verwijzingen naar goudmijnen en handel die er plaats vond. De kaart komt uit Chatelaines Atlas Historique. Prijs: Euro750,- (excl. BTW, excl. lijst)

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 1727

Keywords: Châtelain-- Henri Abraham

Chéret-- Jules

l'Aureole du Midi - Jules Chéret, 1895-1900

“l'Aureole du Midi, Pétrole de Sûrete”, colour lithograph designed by Jules Chéret, published by impremerie Chaix between 1895-1900 for their “Maîtres de l'Affiche: publication mensuelle contenant la reproduction des plus belles affiches illustrées des grands artistes, français et étrangers"..Size (paper): 40 x 29 cm. l'Aureole du Midi was a lamp oil. "Safe, extra clear and without smell. Sold in lead cans of 5 litres." The Maitres de l'Affiche series was the direct result of international interest in posters and poster artists that reached its height in the mid-1890s in Europe and America. The masterpieces of artists like Jules Chéret, Henri de Toulouse-Lautrec, and Alphonse Mucha transformed commercial advertisements into an esteemed art form worthy of public adoration and scholarly pursuit. Along with the decade's wave of poster journals, books, and exhibitions came a serious desire to collect the artworks for personal enjoyment and study -- but the sheer size of posters made storage awkward and often times impossible. The Maitres de l'Affiche ("Masters of the Poster") series was born of this dilemma. By offering subscribers reductions of the era's most important posters, collectors and enthusiasts were able to build miniature archives of posters from around the world. The complete Maitres de l'Affiche series boasted 256 expertly produced miniature lithographic plates representing the best of the Belle Époque. During its five-year run from late 1895 to 1900 the series was hugely successful, and it continues to be popular today, offering experts and novices alike a convenient and dazzling overview of some of the finest achievements in poster art. It is not surprising that the exquisite Maitres de l'Affiche collection was the brainchild of Jules Chéret, inventor of the three-stone lithographic process and virtual founder of the modern poster.  As early as the 1860s, Chéret's magnificent creations brought elegance and colour to the urban landscape of Paris and soon generated an international industry.  By 1866, Chéret opened his own print shop, which would eventually become a branch of the large French publisher Imprimerie Chaix.  His role as artistic director at Chaix provided Chéret with the platform and resources necessary to launch the Maitres series. The first four plates were released in December of 1895 and featured posters by Chéret, Toulouse-Lautrec, Julius Price, and Dudley Hardy.  The series would continue for a total of sixty months, ending in November of 1900 -- truly spanning the peak of the poster craze.  In the end, there were a total of 240 regular plates and 16 bonus plates. The Maitres de l'Affiche series operated much like a contemporary magazine.  A poster enthusiast had the option of purchasing the current month's four plates from a specialized dealer, or he could choose to subscribe to the series for the length of one year.  In France, a one-year subscription cost 27,- francs, equivalent to roughly five to ten original full-sized versions of the posters highlighted in the Maitres series. The first plate of every month was a poster by Chéret himself, making him the most frequently represented artist in the series.  As a matter of fact, Chéret's 60 regular and seven bonus plates comprise nearly 25-percent of the entire collection.  All in all, 97 artists from around the world were represented in the Maitres de l'Affiche series, though more than half of them were French.  In contrast, only four were from Italy, six from Germany and eight from England. A range of popular styles are evident in the collection, including the classic Art Nouveau of Alphonse Mucha and Privat Livemont, the illustrations of Edward Penfield and Adolphe Willette, and the graphic qualities of Toulouse-Lautrec and Pierre Bonnard. The original, full-sized posters and the Maitres prints they inspired were never considered in competition with one another; rather, they were viewed as two entirely different entities.  While posters were large and bold, prints were beloved for their exquisite size and detail.  In addition, posters were often printed on inexpensive newsprint due to their anticipated short lifespan. Prints, on the other hand, were made on very fine paper using printing techniques too intricate for larger items.  Print collecting was an extremely popular hobby in its own right well before posters became fashionable.  Chéret introduced the modern poster, but it was not until Toulouse-Lautrec's Moulin Rouge in 1891 that posters were elevated to an art form print collectors deemed worthy of their attention.  In many ways, the Maitres series can be seen as the successful marriage of the poster and print crazes. In his preface to Volume I of the Maitres series, Roger Marx, a notable 19th-century art historian and critic, described the streets of Paris as 'a museum in the breeze.' He wrote that 'the poster has a precarious fate... it gleams in sun, fades in the mist, dangles sadly in shreds, [and] sways in the wind after a heavy shower.'  Although innately ephemeral in its purpose, the poster was saved by its beauty and charm.  Les Maitres de l'Affiche, in its convenient format, has certainly stood the test of time. Price: Euro 375,- (excl. frame), Euro 575,- (incl. frame)  

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 5096

Keywords: Chéret-- Jules

Chéret-- Jules

La Bodinière - Jules Chéret, 1895-1900

“La Bodinière”, colour lithograph designed by Jules Chéret, published by impremerie Chaix between 1895-1900 for their “Maîtres de l'Affiche: publication mensuelle contenant la reproduction des plus belles affiches illustrées des grands artistes, français et étrangers"..Size (paper): 40 x 29 cm. The Théâtre La Bodinière was a theater in Paris directed by Charles Bodinier between 1890 and 1902. It staged lectures and performances for a distinguished audience of aristocrats, grand bourgeois and intelligentsia. The Maitres de l'Affiche series was the direct result of international interest in posters and poster artists that reached its height in the mid-1890s in Europe and America. The masterpieces of artists like Jules Chéret, Henri de Toulouse-Lautrec, and Alphonse Mucha transformed commercial advertisements into an esteemed art form worthy of public adoration and scholarly pursuit. Along with the decade's wave of poster journals, books, and exhibitions came a serious desire to collect the artworks for personal enjoyment and study -- but the sheer size of posters made storage awkward and often times impossible. The Maitres de l'Affiche ("Masters of the Poster") series was born of this dilemma. By offering subscribers reductions of the era's most important posters, collectors and enthusiasts were able to build miniature archives of posters from around the world. The complete Maitres de l'Affiche series boasted 256 expertly produced miniature lithographic plates representing the best of the Belle Époque. During its five-year run from late 1895 to 1900 the series was hugely successful, and it continues to be popular today, offering experts and novices alike a convenient and dazzling overview of some of the finest achievements in poster art. It is not surprising that the exquisite Maitres de l'Affiche collection was the brainchild of Jules Chéret, inventor of the three-stone lithographic process and virtual founder of the modern poster.  As early as the 1860s, Chéret's magnificent creations brought elegance and colour to the urban landscape of Paris and soon generated an international industry.  By 1866, Chéret opened his own print shop, which would eventually become a branch of the large French publisher Imprimerie Chaix.  His role as artistic director at Chaix provided Chéret with the platform and resources necessary to launch the Maitres series. The first four plates were released in December of 1895 and featured posters by Chéret, Toulouse-Lautrec, Julius Price, and Dudley Hardy.  The series would continue for a total of sixty months, ending in November of 1900 -- truly spanning the peak of the poster craze.  In the end, there were a total of 240 regular plates and 16 bonus plates. The Maitres de l'Affiche series operated much like a contemporary magazine.  A poster enthusiast had the option of purchasing the current month's four plates from a specialized dealer, or he could choose to subscribe to the series for the length of one year.  In France, a one-year subscription cost 27,- francs, equivalent to roughly five to ten original full-sized versions of the posters highlighted in the Maitres series. The first plate of every month was a poster by Chéret himself, making him the most frequently represented artist in the series.  As a matter of fact, Chéret's 60 regular and seven bonus plates comprise nearly 25-percent of the entire collection.  All in all, 97 artists from around the world were represented in the Maitres de l'Affiche series, though more than half of them were French.  In contrast, only four were from Italy, six from Germany and eight from England. A range of popular styles are evident in the collection, including the classic Art Nouveau of Alphonse Mucha and Privat Livemont, the illustrations of Edward Penfield and Adolphe Willette, and the graphic qualities of Toulouse-Lautrec and Pierre Bonnard. The original, full-sized posters and the Maitres prints they inspired were never considered in competition with one another; rather, they were viewed as two entirely different entities.  While posters were large and bold, prints were beloved for their exquisite size and detail.  In addition, posters were often printed on inexpensive newsprint due to their anticipated short lifespan. Prints, on the other hand, were made on very fine paper using printing techniques too intricate for larger items.  Print collecting was an extremely popular hobby in its own right well before posters became fashionable.  Chéret introduced the modern poster, but it was not until Toulouse-Lautrec's Moulin Rouge in 1891 that posters were elevated to an art form print collectors deemed worthy of their attention.  In many ways, the Maitres series can be seen as the successful marriage of the poster and print crazes. In his preface to Volume I of the Maitres series, Roger Marx, a notable 19th-century art historian and critic, described the streets of Paris as 'a museum in the breeze.' He wrote that 'the poster has a precarious fate... it gleams in sun, fades in the mist, dangles sadly in shreds, [and] sways in the wind after a heavy shower.'  Although innately ephemeral in its purpose, the poster was saved by its beauty and charm.  Les Maitres de l'Affiche, in its convenient format, has certainly stood the test of time. Price: Euro 375,- (excl. frame), Euro 575,- (incl. frame)  

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 5094

Keywords: Chéret-- Jules

Chéret-- Jules

La Gomme - Jules Chéret, 1895-1900

“La Gomme”, colour lithograph designed by Jules Chéret, published by impremerie Chaix between 1895-1900 for their “Maîtres de l'Affiche: publication mensuelle contenant la reproduction des plus belles affiches illustrées des grands artistes, français et étrangers". Size (paper): 40 x 29 cm. La Gomme was a play from 1889 in three acts by the now partly forgotten French playwright Félicien Champsaur (1858-1934), one of the most productive writers of the late 19th century and the first half of the 20th century. The Maitres de l'Affiche series was the direct result of international interest in posters and poster artists that reached its height in the mid-1890s in Europe and America. The masterpieces of artists like Jules Chéret, Henri de Toulouse-Lautrec, and Alphonse Mucha transformed commercial advertisements into an esteemed art form worthy of public adoration and scholarly pursuit. Along with the decade's wave of poster journals, books, and exhibitions came a serious desire to collect the artworks for personal enjoyment and study -- but the sheer size of posters made storage awkward and often times impossible. The Maitres de l'Affiche ("Masters of the Poster") series was born of this dilemma. By offering subscribers reductions of the era's most important posters, collectors and enthusiasts were able to build miniature archives of posters from around the world. The complete Maitres de l'Affiche series boasted 256 expertly produced miniature lithographic plates representing the best of the Belle Époque. During its five-year run from late 1895 to 1900 the series was hugely successful, and it continues to be popular today, offering experts and novices alike a convenient and dazzling overview of some of the finest achievements in poster art. It is not surprising that the exquisite Maitres de l'Affiche collection was the brainchild of Jules Chéret, inventor of the three-stone lithographic process and virtual founder of the modern poster.  As early as the 1860s, Chéret's magnificent creations brought elegance and colour to the urban landscape of Paris and soon generated an international industry.  By 1866, Chéret opened his own print shop, which would eventually become a branch of the large French publisher Imprimerie Chaix.  His role as artistic director at Chaix provided Chéret with the platform and resources necessary to launch the Maitres series. The first four plates were released in December of 1895 and featured posters by Chéret, Toulouse-Lautrec, Julius Price, and Dudley Hardy.  The series would continue for a total of sixty months, ending in November of 1900 -- truly spanning the peak of the poster craze.  In the end, there were a total of 240 regular plates and 16 bonus plates. The Maitres de l'Affiche series operated much like a contemporary magazine.  A poster enthusiast had the option of purchasing the current month's four plates from a specialized dealer, or he could choose to subscribe to the series for the length of one year.  In France, a one-year subscription cost 27,- francs, equivalent to roughly five to ten original full-sized versions of the posters highlighted in the Maitres series. The first plate of every month was a poster by Chéret himself, making him the most frequently represented artist in the series.  As a matter of fact, Chéret's 60 regular and seven bonus plates comprise nearly 25-percent of the entire collection.  All in all, 97 artists from around the world were represented in the Maitres de l'Affiche series, though more than half of them were French.  In contrast, only four were from Italy, six from Germany and eight from England. A range of popular styles are evident in the collection, including the classic Art Nouveau of Alphonse Mucha and Privat Livemont, the illustrations of Edward Penfield and Adolphe Willette, and the graphic qualities of Toulouse-Lautrec and Pierre Bonnard. The original, full-sized posters and the Maitres prints they inspired were never considered in competition with one another; rather, they were viewed as two entirely different entities.  While posters were large and bold, prints were beloved for their exquisite size and detail.  In addition, posters were often printed on inexpensive newsprint due to their anticipated short lifespan. Prints, on the other hand, were made on very fine paper using printing techniques too intricate for larger items.  Print collecting was an extremely popular hobby in its own right well before posters became fashionable.  Chéret introduced the modern poster, but it was not until Toulouse-Lautrec's Moulin Rouge in 1891 that posters were elevated to an art form print collectors deemed worthy of their attention.  In many ways, the Maitres series can be seen as the successful marriage of the poster and print crazes. In his preface to Volume I of the Maitres series, Roger Marx, a notable 19th-century art historian and critic, described the streets of Paris as 'a museum in the breeze.' He wrote that 'the poster has a precarious fate... it gleams in sun, fades in the mist, dangles sadly in shreds, [and] sways in the wind after a heavy shower.'  Although innately ephemeral in its purpose, the poster was saved by its beauty and charm.  Les Maitres de l'Affiche, in its convenient format, has certainly stood the test of time. Price: Euro 275,- (excl. frame), Euro 475,- (incl. frame)  

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 5100

Keywords: Chéret-- Jules

Chéret-- Jules

Grand Théâtre de l'Exposition - Jules Chéret, 1895-1900

“Grand Théâtre de l'Exposition”, colour lithograph designed by Jules Chéret, published by impremerie Chaix between 1895-1900 for their “Maîtres de l'Affiche: publication mensuelle contenant la reproduction des plus belles affiches illustrées des grands artistes, français et étrangers". Size (paper): 40 x 29 cm. The 1889 World Exhibition in Paris dedicated an entire palace to children (and their parents) disigned by Emile Ulmann, who made it "a marvel of elegance and ingenuity". In the middle of the Children's Palace, there was a large room that held 800 people seated, plus those standing in the walkways. At the end of this room there was a very large stage, suitable for all kinds exhibitions, acrobats, various shows such as Folies-Bergère, and other theatrical performances; making it the Grand Théâtre de l'Exposition. The Maitres de l'Affiche series was the direct result of international interest in posters and poster artists that reached its height in the mid-1890s in Europe and America. The masterpieces of artists like Jules Chéret, Henri de Toulouse-Lautrec, and Alphonse Mucha transformed commercial advertisements into an esteemed art form worthy of public adoration and scholarly pursuit. Along with the decade's wave of poster journals, books, and exhibitions came a serious desire to collect the artworks for personal enjoyment and study -- but the sheer size of posters made storage awkward and often times impossible. The Maitres de l'Affiche ("Masters of the Poster") series was born of this dilemma. By offering subscribers reductions of the era's most important posters, collectors and enthusiasts were able to build miniature archives of posters from around the world. The complete Maitres de l'Affiche series boasted 256 expertly produced miniature lithographic plates representing the best of the Belle Époque. During its five-year run from late 1895 to 1900 the series was hugely successful, and it continues to be popular today, offering experts and novices alike a convenient and dazzling overview of some of the finest achievements in poster art. It is not surprising that the exquisite Maitres de l'Affiche collection was the brainchild of Jules Chéret, inventor of the three-stone lithographic process and virtual founder of the modern poster.  As early as the 1860s, Chéret's magnificent creations brought elegance and colour to the urban landscape of Paris and soon generated an international industry.  By 1866, Chéret opened his own print shop, which would eventually become a branch of the large French publisher Imprimerie Chaix.  His role as artistic director at Chaix provided Chéret with the platform and resources necessary to launch the Maitres series. The first four plates were released in December of 1895 and featured posters by Chéret, Toulouse-Lautrec, Julius Price, and Dudley Hardy.  The series would continue for a total of sixty months, ending in November of 1900 -- truly spanning the peak of the poster craze.  In the end, there were a total of 240 regular plates and 16 bonus plates. The Maitres de l'Affiche series operated much like a contemporary magazine.  A poster enthusiast had the option of purchasing the current month's four plates from a specialized dealer, or he could choose to subscribe to the series for the length of one year.  In France, a one-year subscription cost 27,- francs, equivalent to roughly five to ten original full-sized versions of the posters highlighted in the Maitres series. The first plate of every month was a poster by Chéret himself, making him the most frequently represented artist in the series.  As a matter of fact, Chéret's 60 regular and seven bonus plates comprise nearly 25-percent of the entire collection.  All in all, 97 artists from around the world were represented in the Maitres de l'Affiche series, though more than half of them were French.  In contrast, only four were from Italy, six from Germany and eight from England. A range of popular styles are evident in the collection, including the classic Art Nouveau of Alphonse Mucha and Privat Livemont, the illustrations of Edward Penfield and Adolphe Willette, and the graphic qualities of Toulouse-Lautrec and Pierre Bonnard. The original, full-sized posters and the Maitres prints they inspired were never considered in competition with one another; rather, they were viewed as two entirely different entities.  While posters were large and bold, prints were beloved for their exquisite size and detail.  In addition, posters were often printed on inexpensive newsprint due to their anticipated short lifespan. Prints, on the other hand, were made on very fine paper using printing techniques too intricate for larger items.  Print collecting was an extremely popular hobby in its own right well before posters became fashionable.  Chéret introduced the modern poster, but it was not until Toulouse-Lautrec's Moulin Rouge in 1891 that posters were elevated to an art form print collectors deemed worthy of their attention.  In many ways, the Maitres series can be seen as the successful marriage of the poster and print crazes. In his preface to Volume I of the Maitres series, Roger Marx, a notable 19th-century art historian and critic, described the streets of Paris as 'a museum in the breeze.' He wrote that 'the poster has a precarious fate... it gleams in sun, fades in the mist, dangles sadly in shreds, [and] sways in the wind after a heavy shower.'  Although innately ephemeral in its purpose, the poster was saved by its beauty and charm.  Les Maitres de l'Affiche, in its convenient format, has certainly stood the test of time. Price: Euro 375,- (excl. frame), Euro 575,- (incl. frame)  

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 5098

Keywords: Chéret-- Jules

Chéret-- Jules

Palais de Glace - Jules Cheret, 1894

Colour lithograph designed by Jules Chéret. Signed in the print in the lower right corner. Printed by Chéret's printing company Chaix in 1894. This work is a smaller version of the posters hanging on the streets of Paris and appeared as an attachment to Le Courrier Français. Size (paper) 54 x 36 cm (frame 64 x 46.5 cm). Jules Roques, the owner of Le Courrier Français, was one of the greatest supporters of the work of Jules Chéret (1836-1932). At one point, Roques rented the enormous curtain of the Cafe des Ambassadeurs, one of the largest music halls in Paris, and covered it from top to bottom with posters by Chéret, with the name of his magazine above it. He also regularly issued posters as supplements to his Courier Français, smaller in size but of the same quality. Nowhere are the pleasures of Paris more evident than in the posters made for the Palais de Glace. Chéret designed one masterpiece after another for the skating palace of the Belle Époque. In this poster we see one of his statuesque "Chérettes" swinging over the ice, the viewer has little choice but to admire her. In 1894, the Palais de Glace opened its doors on the Champs Elysées. Except for the ice rink, people went there to see and be seen. It would be the place to be in Paris. Such skating palaces were also being opened in Brussels, Vienna, London and elsewhere in Europe. In the 20th century, the Palais de Glace gradually lost its appeal and was forced to close in 1980. Nowadays, the Théatre du Rond-Point is located in the monumental building. Price: Euro 1.250,- (incl. frame)

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 1783

Keywords: Chéret-- Jules

Chéret-- Jules

Théâtre de l’Opéra - Jules Chéret, 1897

Advertising poster for the ball at the “Théâtre de l’Opéra” in Paris, colour lithograph designed by Jules Chéret, printed by Chaix in 1897. Backed with linen. Size: approx. 124 x 89 cm. Starting in 1892 Chéret took on the commission to advertise the masked balls held every season at the Théâtre de l'Opéra. He executed a different poster for them almost every year through 1898. Frequently these images were printed without text, so that throughout the season separate imprints (bearing different dates and venues, as four balls were held each year) could be added to the posters. The image is perfectly laid out, combining elegance, romance, charm, beauty and sex appeal in a light-hearted, lively manner. The eye mask does nothing to conceal the charm of this lovely reveler whose dazzle throws all other participants into shadowy insignificance. Jules Chéret (1836-1932) was the first to create colour posters, vibrant designs for cabaret, variety and theater such as Olympia, Folies Bergères and Moulin Rouge. Later he expanded his work to create advertisements for all kinds of products. He is seen as the father of modern lithography and advertising posters. Focusing on image rather than text, Chéret revolutionized the way posters were designed. He believed that a poster should not necessarily show a product, it was merely important that it generated a positive reaction from the viewer. With his large posters depicting free-thinking ladies, he instigated the emancipation of women. Before Chéret, women were usually depicted either as prostitutes, or as Puritan. His so-called ‘Chrérettes’ were neither. It was noticeably liberating for the women of Paris, who were now allowed to wear décolletage and smoke in public. Today, Chéret is one of the most collected artists of the Belle Époque. Price: Euro 2.150,-  

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 5261

Keywords: Chéret-- Jules

Coenders-- Wilhelm en Frederik

Groningen and Ommelanden - Wilhelm and Frederik Coenders van Helpen, 1678

THE SO-CALLED "COENDERS MAP" - THE OLDEST WALL MAP OF THE PROVINCE OF GRONINGEN  "Prov: Groningae et Omlandiae Tabula.", copper engraving on four mounted sheets made around 1678 by Cornelis Appeus after the design by Wilhelm and Frederik Coenders van Helpen. Coloured by a later hand. Size: 105 x 135 cm. The map is dedicated to Hendrik Casimir II, the stadtholder of Friesland, Groningen, and Drenthe from 1664 to 1696. At the top it features the coats of arms of the stadtholder and the province, at the bottom those of the major water boards in the region. Below the map there are views of the cities of Groningen and Appingedam. On both sides of the map, there are depictions of "adelijcke ende considerable huysen" (noble and considerable houses), including the coats of arms of the families residing in these prominent "borgen" (fortified houses or castles) of the time. All of the borgen have meanwhile (mostly in the 19th century) been demolished, except the Fraeylemaborg in Slochteren. The Coenders brothers used cartographic work by Frederik de Wit as a basis for their map and added various elements to it. The Coenders map is the first wall map ever made of the province of Groningen. Only about a dozen examples have survived. Price: Euro 18.500,- (incl. frame)

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 8227

Keywords: Coenders-- Wilhelm en Frederik

Conti-- Carl

Dutch winter scene - Carl Conti after Franz de Paula Ferg, 1786-1795

AANGENAME VERPOZING TIJDENS DE HOLLANDSE WINTERS. Kopergravure vervaardigd door Carl Conti naar het ontwerp van Franz de Paula Ferg (ook wel Franz Ferg), uitgegeven te Wenen tussen 1786-1795. Later met de hand gekleurd. Afm.: 26 x 30,3 cm. Later in de 17e-eeuw en gedurende de 18e-eeuw, parallel aan het opkomend standsbesef in de Republiek, wordt het ijsvermaak meer en meer het privilege van het gewone volk. Op deze prent lijkt de gegoede burgerij vooral als toeschouwer aan de waterkant te staan. Een groepje dames en heren neemt het tafereel in ogenschouw. Men ontmoet elkaar en neemt ogenschijnlijk de laatste nieuwtjes door. Bij de koek-en-zopie tent in de achtergrond hangt een krans uit: er wordt brandewijn geschonken. De Paula Ferg (1689-1740) maakte met name portretten van het dagelijks leven, veelal markt- en dorps scenes. Prijs: Euro 750,- (incl. lijst)

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 1378

Keywords: Conti-- Carl

Coronelli-- Vincenzo (1650-1718)

Land yacht - Vincenzo Coronelli, 1707

“Carro, ca va à vela su'le Piaggie di Schevelingue” [wagen die gaat op de wind over het strand van Scheveningen]. Kopergravure uitgegeven te Venetië door Vincenzo Coronelli in 1702. Later met de hand gekleurd. Afm. 13,5 x 17 cm. Na de Slag bij Nieuwpoort in 1600 kwam de werktuigbouwkundige Simon Stevin (1548-1620) op het idee om een wagen met een zeil te bouwen. Hij legde het plan voor aan Prins Maurits, destijds stadhouder van Holland en Zeeland, aan wie Stevin sinds 1593 privélessen wiskunde gaf. Tevens diende Stevin als ingenieur in het leger van de prins. Maurits, die veel waardering voor Stevin had, zag wel wat in het voorstel en liet de zeilwagen op zijn kosten bouwen. De eerste rit met het nieuwe voertuig werd in februari 1602 gemaakt. Met een toen ongekende snelheid van 50 km per uur werd over het strand in twee uur de afstand Scheveningen– Petten afgelegd. Na die eerste tocht gebruikte Maurits de zeilwagen nog vele malen om zijn gasten mee te vermaken. Prijs: Euro 325,-

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 6782

Keywords: Coronelli-- Vincenzo (1650-1718)

Covens & Mortier

Africa - Guillaume de L’Isle, Covens and Mortier, 1724

“Africa Accurate in Imperia, Regna, Status & Populos divisa, ad usum serenissimi Ludovici XV Galliarum Regis. - Carte D'Afrique Dressée pour l'usage du Roy“. Copper engraving made by Johannes Condet, after the design of Guillaume de L’Isle (aka Delisle), published in Amsterdam by the firm of Johannes Covens and Cornelis Mortier in 1742.  Original outline colouring with additions by a later hand. Size: 49 x 64 cm. In this map Delisle shows Africa without the Ptolomaic-based Nile River imaginary source lakes. Delisle also gives the correct longitude for the Mediterranean Sea of 42o, thus correcting the width of the northern shape of Africa. The interior has the main regions identified with capital letters for BARBARIE, EGYPTE, NUBIE, NIGRITIE, GUINÉE, ABISSINIE, ETHIOPIE and CAFFERIE. Dotted lines divide all of Africa into numerous sub regions labelled Royaumes, Etates, etc. Within the regions, considerable detail and additional placenames are shown particularly around those areas settled or explored by Europeans in West-Africa, Abyssinia, the Congo, Southeast Africa on the Zambesi River and South Africa. At Cape of Good Hope, the Dutch settlements at Drakenstein, Stellenbosch and Fort Hollandia are shown. Lake Marawi [Malawi] in Central Africa is identified for the first time on this Delisle map. It is also the first time Senegal and Niger Rivers are separated. Guillaume De L´isle (1626- 1757) is often referred to as the father of modern geography. He was elected a member of the French Académie Royale des Sciences in 1702, and then was appointed Premier geographe du Roi in 1718. His new office consisted of teaching geography to the Dauphin, King Louis XIV’s son, hence the dedication in the title. Price: Euro 650,-

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 4067

Keywords: Covens & Mortier

Covens & Mortier

American ports, West-Indies - Covens & Mortier, c. 1740

PORTS AND HARBORS OF NORTH AND SOUTH AMERICA AND THE WEST INDIES "Les Principales Forteresses Ports &c. De L'Amerique Septentrionale". Copper engraving published by Covens & Mortier c. 1740. Original hand colouring with later additions. Size: 48,8 x 61,5 cm. This rare chart shows 18 separate maps of harbors and islands throughout North and South America. The sheet was created to accompany Covens & Mortier's reduction of Henry Popple's influential map of the British possessions in North America (1733). Popple's chart was originally published in 20 sheets and the Amsterdam firm of Covens and Mortier reduced it to four, more manageable sheets. The maps included on this chart were derived from the insets on Popple's map, and feature towns, forts, topography, soundings, shoals, and anchorages. Included are the harbors of New York, Boston, Charleston, Providence (Rhode Island), St. Augustine (Florida), Anapolis Royal (Nova Scotia), Placentia (Newfoundland), Havana (Cuba), St. Iago (Santiago, Cuba), Kingston (Jamaica), Port Antonio (Jamaica), Fort Royal (Martinique), Cartagena (Colombia), and Portobelo (Panama), as well as the islands of Barbados, Antiqua, Bermuda, and Curaçao. Price: Euro 1.650,-    

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Book number: 673

Keywords: Covens & Mortier

Covens & Mortier

Amstelland - Covens & Mortier, 1749

Carte Particuliere d'Amstelland ou les Environs d'Amsterdam, Muyden, Weesp, Naarden &c. / PARTICULIERE KAART VAN AMSTELLANDT of het omleggende van Amsterdam, Muyden, Weesp, Naarden &c. [special map of the Amstelland area, or the surroundings of Amsterdam, Muiden, Weesp, Naarden, etc.) Copper engraving published in 1749 by Johannes Covens and Cornelis Mortier in Amsterdam. Coloured by a later hand. Size: 52 x 64,5 cm. This map shows the area south of Amsterdam where peat extraction has been taking place since about 1530. The increasing population and shrinking forest area had created a growing demand for peat as fuel. Entire villages perished from starvation for fuel. (See the "Geweeze Dorp Tamen -former village Tamen- north of Uithoorn.) The peat was dredged from below the water level and dried and processed on the narrow so called legakkers. The puddles created by peat (indicated on the map by with a frayed edge) are clearly visible at the bottom left of the map. Bijlmermeer, Naardermeer, Horstermeer and Haarlemmermeer (with smooth banks) on the other hand, were originally natural lakes in the peat area. Of all these ponds and lakes, only the Naardermeer is still a wetland. Literature: Donkersloot-De Vrij "De Vechtstreek" (1985), pp 110-111 Heinemeijer/Wagenaar "Amsterdam in kaarten" (1987), pp 98-101. Price: Euro 1.950,- (incl. frame)  

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 5611

Keywords: Covens & Mortier