Europe cartoon map - B. Crété, 1914/15

CARICATURE MAP OF EUROPE IN 1914 "Carte Symbolique de L'Europe. / Europe en 1914." Lithograph printed in colour made by B. Crété in 1914/15. Size: (paper) 50 x 65 cm. This rare political caricature map of Europe depicts the alliance situation and territorial issues towards the end of the first year World War I. The key countries involved in the war are represented by human or animal caricatures with various national symbols that help illustrate the situation. The map was first issued in Poland where it was drawn by the Warsaw artist Vladislav Levinsky. Warsaw at the time being one of the largest cities in the Russian Empire, the 'Russian Perspective' is apparent. The image is dominated by the glorious and serene figure of Tsar Nicholas II who is poking Germany, illustrated as a raging bull focused on France, represented by Marianne, the symbol of the French Republic, riding a great cockerel. Behind the Tsar the endless armies of Russia mobilize – a reference to Tsar Nicholas II's July 1914 decision to mobilize the Russian army, this 'prodding' Germany to declare war, which it swiftly did. Habsburg Austria is depicted a dead field with grave markers and an upside down fallen crown, foreshadowing the end of the Austro-Hungarian Empire. England, at sea, hides behind her Navy. Finland, still being part of the Russian Empire, is full of wild animals. Norway and Sweden are stereotypically beautiful maidens looking over an atlas. Italy is a peaceful mandolin player lulling Sicily to sleep. Spain and Portugal are neutral, but Alfonso XIII, a known auto enthusiast is shown behind the wheel. This map appeared in several editions in Poland and Paris through 1915, with only minor changes. It is unclear which hold primacy or if they were published simultaneously. Although the human personification of continents and countries can be seen as early as the 14th century, human and animal metaphors on maps reached a new level in Europe between 1845 and 1945 with political cartoon maps. The rise of these satirical maps reflected the momentous political and cultural changes that occurred during the time. Political leaders were caricaturized and European nations were given symbolic identities that lent humor and accessibility to the geographical map. Based on popular stereotypes, these visual representations even found their way into the classroom to help bring geography and politics to life. Original serio-comic maps are very scarce due to their ephemeral nature. Provenance: collection Martinus Cornelis Sigal (1888 - 1969), collector’s stamp on verso. Price: 1.650,-

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 7594

Exposition - Emilio Vilá, 1926

Exposition Emilio Vilá. Kleurenlithografie uit 1926 ontworpen door Emilio Vilá. Afm.: ca. 120 x 80 cm. Vanaf 1912, in de wijken Montmatre en Montparnasse, was de van oorsprong Catalaanse Emilio Vilà (1887-1967) een van de eerste en meest erkende affichekunstenaars in Parijs. Hij werkte voor prestigieuze filmmaatschappijen uit die tijd, zoals Gaumont, Fox, Pathé, Paramount, Galeries Barbés, Monat Films en maakte ook reclameposters voor een veelheid aan producten. De jaren twintig waren zijn gouden jaren. Zijn atelier was gevuld met affiches en zijn werken stegen dusdanig in prijs dat hij het zich kon veroorloven een klein paleis te huren aan de Boulevard Voltaire 58, een appartement met 12 balkons, een privélift, verschillende tentoonstellingszalen en met een binnenplaats met bronzen beelden. Gedurende deze tijd behoorde Vilà tot de crème de la crème van Parijs en werd bezocht door buitenlandse beroemdheden. Galerie la Boëtie aan de gelijknamige straat, was tussen 1912 en 1941 een van de meest toonaangevende galerieën van Europa met exposities van kunstenaars als Pablo Picasso, Marcel Duchamp en Fernand Léger. Van 7-20 mei 1926 werden er werken getoond van Emilio Vilá. Prijs: Euro 1.450,- (incl. lijst)

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 6736

Femmes sautillent - Alméry Lobel-Riche, ca. 1920

Femmes sautillent, (women hopping), drypoint etching with colours made around 1920 by Alméry Lobel-Riche. Signed and numbered in pencil below the image. Size (platemark): 35 x 25 cm. "Les Années Folles" (The Roaring Twenties) were an era of vibrant cultural, artistic, and social activity. In Paris, artists, writers, musicians, and intellectuals from around the world converged. Just like in the United States, jazz music became popular in France during the 1920s. Countless jazz clubs featured live performances and new dance styles, such as the Charleston, became popular among young people. Dancing also took place in nature, in public places such as parks, beaches, and fields, where people had space to move freely. Some dances were given special names, such as "moonlight dancing," where people danced under the moon, or "picnic dancing," where they enjoyed a meal outdoors between dances. Women wore shorter skirts, bobbed hairstyles, and more revealing clothing, reflecting the society's freer and more liberal attitude. The new ideas and forms of expression must have been welcomed and embraced by graphic artist Alméry Lobel-Riche (1877-1950). His work was often quite erotic and controversial for his time. Price: Euro 975,- (incl .frame)      

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 8756

Foreigners in Japan, Yokohama-e - Utagawa Yoshitomi, 1861

????? (Land of strangers), woodcut printed in colours made by Utagawa Yoshitomi, published by Kiya S?jir? in 1861. Size approx. 37 x 25 cm. From the 1630s until the mid-nineteenth century, Japan was virtually closed off to foreigners. The Dutch were the only Westerners permitted to reside and trade there, from 1641 onwards. They were subject to strict regulations and were only allowed to live on Dejima, an artificial island in the port of Nagasaki. Chinese traders also conducted business with Japan through Nagasaki and had their own trading post (T?jin yashiki, ????) in the harbour from 1689 onwards. However, unlike the Dutch on Dejima, the Chinese had more freedom to come and go. In 1858, the Dutch monopoly ended, marking the end of the Dejima era. The United States, Great Britain, France, and Russia also gained trading rights with Japan. Foreigners settled in Yokohama, which quickly developed into Japan's main port. They had much more freedom there than in Nagasaki, and women were also allowed to reside there. An international community emerged, in which the Dutch were no longer the primary figures. Dutch assistance was still sought for building a Japanese navy and constructing steamships. The Dutch established a machine factory, set up a naval school, and trained Japanese naval officers. The woodcut shown here depicting a Dutch woman, a Chinese man, and Pygmies/(Negritos?) is a so-called Yokohama-e print, printed from a woodblock depicting foreigners in the port city of Yokohama. Foreigners were a curiosity for the Japanese, and these prints met a huge demand. Prints made in Yokohama were more refined than earlier prints from Nagasaki. The artistic level was higher, the printing quality was better, and more colours were used. Price: Euro 850,- (incl. frame)

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 7948

The Four Seasons - Gottfried Sieben, c. 1900

Frühling, "Sommer", "Herbst", "Winter" [Spring, Summer, Autumn, Winter], four lithographs printed around 1900 by F. Karg in Vienna, after drawings by Gottfried Sieben. Coloured by a later hand. Size: 30 x 20 cm (each) . Gottfried Sieben (1856-1918) was an Austrian painter, writer and illustrator of numerous newspapers, magazines and erotica. Sieben was a student of the Akademie der bildenden Künste in Vienna. From 1880 he was responsible for the satirical weekly floh! and then for the magazine Wiener Caricaturen. From 1881 he published town views and drawings of events in Austria-Hungary in illustrated newspapers. He also contributed to various newspapers and magazines, such as the Neues Wiener Tagblatt, the fashion magazine Zeitung für die Elegante Welt and the humorous magazine Tritsch-Tratsch. This series of four-season must have been published separately. Price: Euro 650,- (set of four prints)    

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 852

The Four Seasons - Oreste Marozzi, ca. 1910

Allegories of the four seasons. Drawings in ink and watercolour made by Oreste Marozzi around 1910. Three of the four drawings are signed on the backing board: “O. Marozzi – dis. e dip.” Diameter: each medallion approx. 28 cm. Liberty style (“Stile Liberty”) the Italian variant of Art Nouveau, flourished between about 1890 and 1914. It took its name from Arthur Lasenby Liberty and the department store he founded in 1874 in London and later in Milan’s Galleria, which specialized in importing ornaments, textiles and art objects from Japan and the Far East. Liberty style was especially popular in large cities outside of Rome which were eager to establish a distinct cultural identity, particularly Milan, Palermo and Turin, the city where the first major exposition of the style in Italy was held in 1902. Like other versions of Art Nouveau, Liberty style had the ambition of turning ordinary objects, such as chairs and windows, into works of art. Unlike the French and Belgian Art Nouveau, based primarily on nature, Liberty style was more strongly influenced by the Baroque style, with lavish ornament and color, both on the interior and exterior. The Italian poet and critic Gabriele d'Annunzio wrote in 1889, as the style was just beginning, "the genial sensual debauche of the Baroque sensibility is one of the determining variants of the Italian Art Nouveau." The allegories of the four seasons which we have here, are designs for panels of a cabinet. “Ver” (Spring) has her hair adorned with braids, ribbons, and light blue gems, probably aquamarines. They match the gems on her dress and can be associated with the freshness and clarity of spring waters. Its tranquil colour may remind one of blooming flowers and the awakening of nature during the spring season. She wears a fine damask dress hinting at her wealth. In her hand, there is a feather pen and opened letter hidden by a bunch of flowers. What does the season have in mind for her? With her slightly inclined head, “Aestas” (Summer) reminds us of Botticelli’s Venus but with her hair up and decorated with a softly intertwined ribbon and pearls cascading towards the forehead. What we see of her dress is a celebration of light veils over a red tunic. A large blue gem ornamented with rubies make a necklace that support her gracious looks. She is holding a sheaf of wheat, alluding to Ceres, the personification of harvest and summer, The portrait of “Autunnus” (Autumn) in profile, is reminiscent of one of Botticelli’s three graces. A cascade of blonde wavy hair is partially pinned on the head with a braid and adorned with two strands of pearls. The maiden's fingers make their way through the leaves below, while from a branch that wraps around the lady's neck, we catch a glimpse of a purple dress with a red precious stone (presumably a ruby) at the center, placed above a delicate veiled chemise, in line with the fashion of the Renaissance era. “Hiems” (Winter) has two pine cones next to her right shoulder, symbolizing the winter season. Her thick blonde hair is protected by a veil fastened with ribbons adorned with an amethyst. She wears a ribbon with a matching pendant as a necklace. The purple gemstones are used to symbolize spirituality, mysticism, and a connection to the divine. Oreste Marozzi (1874-1947) was an Italian artist and illustrator. Marozzi gained recognition for his contributions to the art world during the late 19th and early 20th centuries. He was associated with the Liberty style. While specific details about Marozzi's life and career are limited, his illustrations are highly regarded for their beauty and craftsmanship. His work often featured delicate lines, intricate details, and a sense of whimsy. Although Oreste Marozzi might not be as well-known as some other artists of his time, his artistic contributions remain significant. Provenance: Galleria Sangiorgi. Giorgio Sangiorgi (1886-1965) was a principle of the most renowned art-dealing family in Rome. The firm was located at 117 via Ripetta at Palazzo Borghese and was famous for many important auctions, with catalogues written in collaboration with leading scholars. The galleria specialized in ancient art, furniture, ceramics and textiles. Price: Euro 3.950,-

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 7841

France, Charente-Maritime - Romeijn de Hooghe + Pieter Mortier, 1693

BEAUTIFUL CHART OF THE FRENCH ATLANTIC COAST "Carte Marine des Environs de l’Isle d’Oleron", copper engraving made by Romeijn de Hooghe and published by Pieter Mortier of Amsterdam in 1693. Coloured by a later hand. Size: 59 x 48 cm. Elaborately etched and engraved chart of the French Atlantic of the coast off nowaday Charente-Maritime, extending from the Gironde Estuary in the South to the mouth of the Loire and Brittany (Bretagne) in the North, centered on the Pertuis d'Antioche strait with Îsle de Ré and La Rochelle. With a history of invading English, Îsle de Ré’s main port Saint-Martin was fortified in 1681 as a component of the belt of forts and citadels built to protect the military harbour of Rochefort (on the river Charente). With large inset views of La Rochelle, the port Marans and the island of Oléron, along with a decorative cartouche and dedication coat of arms. The Gironde is subject to very strong tidal currents, still today great care is needed when navigating the estuary. The lighttower of Cordouan stands at its entrance, already in 1694. Throughout the map there is detailed navigational information, such as currents, tides, the nature of the seabed, the harbours and indications of the water depths, reefs, shoals and sandbanks. The map is from the “Cartes marines a l'usage des armées du Roy de la Grande Bretagne”, the second part of the “Neptune François”, in which charts are larger and more lavishly decorated than those of any preceding book of this kind. This magnificent work was intended more as a show piece than something to be used by pilots at sea. (According to Cor Koeman it is “the most expensive sea-atlas ever published in Amsterdam in the seventeenth century”.) This part of the atlas, which contains nine charts, constitutes "the most spectacular type of maritime cartography”. It was prepared for the use of William III who needed accurate information on the Channel coasts for his war plans against Louis XIV of France. In 1694 he sent an expedition to attack several of the ports which are illustrated in the etched vignettes that decorate these charts. What has won their lasting fame, however, is the identity of their author: the artist-engraver Romeijn de Hooghe (1645-1708). Since he undertook all stages of production himself, the charts exhibit a rare harmony of design and execution. The allegorical subjects which characterise his designs are here transformed into dramatic cartouches. Price: Euro 1.350,-

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 4634

French Royal Army - after Hubert-François Gravelot, 1766

INFANTRY OF THE FRENCH ROYAL ARMY “En Joue” [“present/ready”] , copper engraving after Hubert-François Gravelot form the “Planches gravées d’après plusieurs positions dans lesquelles doivent se trouver les Soldats, conformément à l’Odonnance du Roi de l’exercice de l’Infanterie. Du 1er Janvier 1766” [Plates engraved after several positions in which the soldiers must be during the Infantry Exercise of 1 January 1766, in accordance with the King’s Order.]  Published in 1766 by Guillaume de la Haye. Coloured by a later hand. Size (plate): 27 x 29,5 cm (frame: 48 x 50,5 cm.) The French Royal Army (French: “Armée Royale Française”) serving from the mid-17th century until July 1830 was a model for the new regimental system that was to be imitated throughout Europe. It was regarded as Europe’s greatest military force and one of the most powerful armies in the world. The exercise of 1766 took place in a short period of peace for the Kingdom of France, between the end of the Seven Years’ War ending in 1763 and the Anglo-French War beginning in 1778. Price: Euro 450,- (incl frame)

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 4704

French Royal Army - after Hubert-François Gravelot, 1766

INFANTRY OF THE FRENCH ROYAL ARMY Copper engravings after Hubert-François Gravelot form the “Planches gravées d’après plusieurs positions dans lesquelles doivent se trouver les Soldats, conformément à l’Odonnance du Roi de l’exercice de l’Infanterie. Du 1er Janvier 1766” [Plates engraved after several positions in which the soldiers must be during the Infantry Exercise of 1 January 1766, in accordance with the King’s Order.]  Published in 1766 by Guillaume de la Haye. Coloured by a later hand. Size (plate two soldiers): 27 x 27,5 cm (frame: 48 x 48,5 cm.). Size (plate four soldiers): 27 x 56,5 cm (frame: 48 x 76 cm.). The French Royal Army (French: “Armée Royale Française”) serving from the mid-17th century until July 1830 was a model for the new regimental system that was to be imitated throughout Europe. It was regarded as Europe’s greatest military force and one of the most powerful armies in the world. The exercise of 1766 took place in a short period of peace for the Kingdom of France, between the end of the Seven Years’ War ending in 1763 and the Anglo-French War beginning in 1778. Price plate with two soldiers: euro 275,- (incl frame) Price plate with four soldiers: euro 395,- (incl frame)

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 4709

Friesland - Abraham Allard, after 1703

Frisiae Dominium vernacule Friesland, verdeeld in de hoofd-deelen van Oostergoo, Westergoo en Sevenwolde. Als ook der XI steden in XXX grieteneyen, kopergravure vervaardigd en uitgegeven door Abraham Allard kort na 1703. In de tijd met de hand gekleurd. Afm. 50,5 x 58,5 cm. In 1580 werd het grootste deel van Friesland opgenomen in de Unie van Utrecht. Het gewest werd toen aangeduid als de heerlijkheid Friesland. De Staten van Friesland waren samengesteld uit afgevaardigden van de 11 steden en de 30 grietenijen. De voormalige gouwen Oostergo, Westergo, Zevenwouden en de elf steden vormden samen de kwartieren van Friesland (1579–1795). Links onder zien we de zgn. Stenen Man een monument op de Westerzeedijk in Harlingen. Op 1 november 1570 werd Friesland getroffen door de Allerheiligenvloed die bijna het gehele gewest overstroomde, grote schade aanrichtte en de dijken in ontredderde staat achterliet. Dijkherstel was dringend nodig, maar de Friezen konden niet tot overeenstemming komen over de kosten. Dankzij de bemoeienissen van stadhouder Caspar de Robles werd er snel een akkoord bereikt om de dijken (met name rondom Harlingen) te dichten en te versterken. Het dijktraject werd in twee delen gedeeld. Het noordelijk deel moest door de Binnendijkers en het zuidelijk deel door de Buitendijkers worden onderhouden. Toen het werk klaar was, werd er in 1576 door de Binnendijkers op de grens een grensscheiding (Terminus) geplaatst, met een kop naar het zuiden en een kop naar het noorden. Deze grensscheiding werd een gedenkzuil ter ere van De Robles die de Stenen Man (Fries: Stiennen Man) kwam te heten. (Het monument werd rond 1725 afgebroken, omdat het beschadigd was door de vorst en in 1774 opnieuw opgebouwd.) Literatuur: P.J. de Rijke “Hoogtepunten van Friese cartografie”, nr. 063-2 Prijs Euro 350,-

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 5602

Fruit still life - Hendrina Sollewijn, 1783-1863

Late summer still life of fruit, watercolour by Hendrina Alida Sollewijn (1783-1863). Signed in the bottom left corner "H:A: Sollewijn fecit." Size: 40 x 29.5 cm. Hendrina Sollewijn from the Dutch town of Haarlem was, according to a 19th century source, a “meritorious painter of flowers and fruits. Every day she has the best opportunity to practice in the surroundings of her hometown, by drawing flowers and plants”. On a marble tabletop, a basket of fruit is displayed. The composition includes a grapevine with leaves, two types of grapes, peaches with a fly on top, a sliced-open pumpkin, raspberries, bindweeds, grass with ripe seeds, a dahlia, an anemone(?), and a butterfly. Vaguely in the background, there are trees still with their leaves. Autumn is approaching. Price: Euro 1.250,- (incl. frame)

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 5703

Funfair in Amsterdam - Rouargue brothers, 1857

KERMIS OP DE BOTERMARKT IN AMSTERDAM “Kermesse Amsterdam”, staalgravure vervaardigd door naar en door Emile Rouargue (ca. 1795-1865) en Adolphe Rouargue (1810-na 1870) uit “Voyage pittoresque en Hollande et en Belgique” van de de hand van Edmond Texier, uitgegeven te Parijs 1857. Later met de hand gekleurd. Afm.: 11,5 x 16,5 cm. We zien de kermis voor het Waaggebouw op de Botermarkt, het tegenwoordige Rembrandtplein. De Botermarkt was een markt- en tevens wagenplein, gedomineerd door de Regulierspoort die na de stadsuitlegging van 1663 werd omgebouwd tot waag. Met de demping van een deel van de Reguliersgracht in 1785 ontstond het Thorbeckeplein. De botermarkt was het centrum van de jaarlijkse kermis in Amsterdam. Uit een kermislied: “De Botermarkt krioelt, Ey, ziet eens hoe men woelt, En wemelt door elkander heen, Daar oud en jong is op de been. Men zingt, men springt, Terwijl m’ een glaasje drinkt.” Op de voorstelling is het een drukte van belang, bij uitstallingen worden koopwaren aangeboden en er is volop vertier. Medio 19e eeuw wordt op de Botermarkt een standbeeld van Rembrandt geplaatst en krijgt het plein krijgt z’n huidige naam: Rembrandtplein. Prijs: Euro 195,-

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 6624

Gelderland, Veluwe, Betuwe, Zutphen - Guillaume Sanson + Pieter Mortier, 1692

GROTE KAART VAN GELDERLAND MET VELUWE, BETUWE EN HET GRAAFSCHAP ZUTPHEN "La Veluwe, La Betuwe et le Comté de Zutphen dans le Duché de Gueldre." Gravure gedrukt van twee koperplaten naar het ontwerp van Guillaume Sanson en uitgegeven door Pieter Mortier in 1692 als deel van diens “Atlas Nouveau contenant toutes les parties du Monde”. In de tijd met de hand gekleurd. Afm. 56,5 x 76 cm. De kaart is ontworpen door Guillaume Sanson (1633-1703), de derde zoon van Nicolas Sanson d’Abbeville (1600-1667), die als grondlegger van de Franse cartografie beschouwd wordt. In de tweede helft van de zeventiende eeuw namen Franse geografen een vooraanstaande positie in, want in Frankrijk werd baanbrekend werk verricht op het gebied van de geografie. Door betere instrumenten was een nauwkeuriger plaatsbepaling mogelijk en zo waren de Franse geografen in staat betrouwbaardere kaarten te maken. Maar het spreekt vanzelf dat men voor de weergave van een gebied in Nederland gebruik moest maken van in Nederland vervaardigde kaarten. In dit geval moeten de kaarten van de kwartieren van de Gelderse cartograaf Nicolaes van Geelkercken uit 1639 als voorbeeld zijn gebruikt. De kaart van Sanson werd uitgegeven tussen 1672 en 1702 door Hubert Jaillot te Parijs, maar het was in de 17e-eeuw normaal dat kaarten werden gekopieerd van andere uitgevers. Hier hebben we dan ook te maken met een in opdracht van de Amsterdamse uitgever Pieter Mortier gemaakte kopie op bijna dubbel zo groot formaat. Interessant genoeg kopieerde hij daarbij ook het titelcartouche en noemt Mortier in het cartouche nog steeds Jaillot als uitgever en niet zichzelf. Ook de allegorische figuren en vaandels van het cartouche bleven ongewijzigd, met aan de bovenkant een zon en banderol en de spreuk “Nec pluribus Impar” (boven alles verheven) het embleem en devies van Lodewijk XIV. Literatuur: Dick Blonk en Peter van der Krogt (2021) “Geldria Ducatus, Geschiedenis en Cartobibliografie van het Hertogdom Gelderland tot 1860”,  kaartnr. 52.1. Prijs: Euro 975,-

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 8724

German East Africa - Adolf Lehmann, ca. 1900

„Aus Deutsch-Ostafrika. Landschaft Moschi am Kilimandscharo“ (from German East Africa. Landscape of Moshi at Kilimanjaro.) Lithograph made around 1900 by Adolf Lehmann for a series of Geographische Charakterbilder” published by the Leipziger Schulbilderverlag von F. E. Wachsmuth. Size: 59.5 x 82 cm. German East Africa was a German colony in the area that roughly corresponds to Burundi, Rwanda, and the mainland of present-day Tanzania. Its territory was almost three times the size of modern-day Germany. The colony was established in 1885. Mount Kilimanjaro was considered the "highest mountain of Germany" during the German Empire and was also known as the "Kaiser-Wilhelm-Spitze." It symbolized Germany's global ambitions in the race for the division of the "Dark Continent." Colonists (approximately 5,350 Germans in 1913) established plantations for rubber, hemp, cotton, and coffee. In this view, you can see Moshi, one of the places where a garrison of Schutztruppen (colonial troops) was stationed. Ivory trading was also prominent, as shown by the "ivory caravan" here. After the defeat of the German Empire in World War I, the territory was divided between the United Kingdom and Belgium. Later, it was transformed into a mandate territory. Price: Euro 375,-

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 8111

Groningen - Nicolas Sanson + Pieter Mortier, 1692

STAD EN LANDE VAN GRONINGEN OP GROOT FORMAAT “La Seigneurie de Groningue subdivisée en toutes ses lurisdictions“, kopergravure op twee gemonteerde bladen vervaardigd door Nicolas Sanson “geographe ordinaire du Roy“, hier in een uitgave van Pieter Mortier uit 1692. In de tijd fraai met de hand gekleurd. Afm. 55,8 x 80,5 cm. We zien de Stad en Lande van Groningen en een deel van Friesland en Drenthe met de grenzen van de verschillende jurisdicties. De kaart toont het gebied van Leeuwarden in het westen tot in Oost-Friesland en het Nederstift Munster (“Evesche de Munster”) in het oosten. Opmerkelijk is dat de provincie Drenthe als een kwartier van Overijssel wordt afgebeeld, evenals de Ommelander landschappen en kwartieren. Linksonder een cartouche met impressum, fraai versierd met het wapen van de provincie Groningen. Rechtsboven een cartouche met schaalstokken van Italiaanse mijlen [1 Italiaanse mijl = 1000 stappen], Duitse leugen [1 leuge = 1 uur gaans], Franse lieues [1 lieue de Paris = 3898m] en uitleg van de gebruikte tekens. Een kompasroos middenboven geeft het noorden aan. Het is een van de eerste kaarten waarbij de gradenverdeling zich niet tot de randen beperkt, maar ook in lijnen op de kaart werd doorgetrokken. De lengtegraden zijn - zoals destijds gebruikelijk - gerekend vanaf het eiland Ferro [El Hierro in het Spaans], het meest westelijke Canarische Eiland dat in de Middeleeuwen werd beschouwd als de rand van hun wereld]. De eerste versie van de kaart verscheen in 1673 op het moment dat de troepen van Lodewijk XIV zich nog op het grondgebied van de Republiek bevonden. Zijn drang naar glorie werd echter gestopt en de Hollandse Oorlog met de Vrede van Nijmegen in 1678 beëindigd. De kaart werd verschillende malen herdrukt tot 1760, zonder dat er wijzigingen op het kaartblad werden aangebracht. Literatuur: J.J. Vredenberg-Alink, De kaarten van Groningerland, nr. V A 11. Prijs: Euro 850,-

Inter-Antiquariaat Mefferdt & De JongeProfessional seller

Book number: 5091