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GRAPHEUS, Cornelis (1452-1558). Le triumphe d'Anvers faict en la susception du Prince Philips Prince d'Espaign. Antwerp: Gillis van Diest for Pieter Coecke, 1550.
2o (272 x 186 mm). Letterpress title within woodcut architectural border, large woodcut architectural border surrounding privilege at end, 29 woodcuts comprising 20 full-page, 4 double-page, 4 half-page and one [on L3] printed on two joined sheets and folding. 17th-century calf gilt, the spine in seven compartments with six raised bands, gilt-lettered in one and -decorated in the remaining. Provenance: early inscription about Philips' entry on front flyleaf; Joannes Baptiste Verdussen (1659-1759), from the family of Antwerp printers (bookplate with motto "Virtus pietas homini tutissima" on both pastedowns); E. Delicourt (bookplate); Eugene Berman (1899-1972), artist and stage designer known for his imaginary landscapes and architectural conceits (inscription dated 1949 on front flyleaf); acquired from Paul Gourary, 1963.
FIRST EDITION IN FRENCH, issued by Peeter Coecke the same year in Flemish and Latin. Celebrating the recognition of Charles V's eldest son Philip as hereditary ruler of the Low Countries, this series of woodcuts depicts Antwerp's entry on September 10, 1549. The Antwerp entry reflected the themes of the other entries, notably the tensions between wealthy cities with their ancient rights and liberties and the pressure of a dynasty that wished to centralize power. The woodcuts also illustrate the reception of renaissance style in the Low Countries.
Pieter Coecke van Aelst (1502-1550), the artist who presided over the decorations of the Antwerp entry, countered the lingering Late Gothicism in the Low Countries and paved the way for the academic mannerism of Floris and his school. His designs of the arches show him embroidering on to classical forms the strapworks, cartouches and other flourishes which would become hallmarks of Antwerp mannerism (see R. Strang, Art and Power, Los Angeles, 1984, pp. 87-90). The folding plate depicts the Palace and its bridge or gallery. The English arch is on K4r and on L1r is the famous Giant of Antwerp, Antigonous or Druon, whose exploits are related on the facing page and verso. VERY RARE: according to American Book Prices Current, no copy has sold at auction in at least 50 years. Fairfax Murray German 188 (Flemish edition); Hollstein IV:197.
2o (272 x 186 mm). Letterpress title within woodcut architectural border, large woodcut architectural border surrounding privilege at end, 29 woodcuts comprising 20 full-page, 4 double-page, 4 half-page and one [on L3] printed on two joined sheets and folding. 17th-century calf gilt, the spine in seven compartments with six raised bands, gilt-lettered in one and -decorated in the remaining. Provenance: early inscription about Philips' entry on front flyleaf; Joannes Baptiste Verdussen (1659-1759), from the family of Antwerp printers (bookplate with motto "Virtus pietas homini tutissima" on both pastedowns); E. Delicourt (bookplate); Eugene Berman (1899-1972), artist and stage designer known for his imaginary landscapes and architectural conceits (inscription dated 1949 on front flyleaf); acquired from Paul Gourary, 1963.
FIRST EDITION IN FRENCH, issued by Peeter Coecke the same year in Flemish and Latin. Celebrating the recognition of Charles V's eldest son Philip as hereditary ruler of the Low Countries, this series of woodcuts depicts Antwerp's entry on September 10, 1549. The Antwerp entry reflected the themes of the other entries, notably the tensions between wealthy cities with their ancient rights and liberties and the pressure of a dynasty that wished to centralize power. The woodcuts also illustrate the reception of renaissance style in the Low Countries.
Pieter Coecke van Aelst (1502-1550), the artist who presided over the decorations of the Antwerp entry, countered the lingering Late Gothicism in the Low Countries and paved the way for the academic mannerism of Floris and his school. His designs of the arches show him embroidering on to classical forms the strapworks, cartouches and other flourishes which would become hallmarks of Antwerp mannerism (see R. Strang, Art and Power, Los Angeles, 1984, pp. 87-90). The folding plate depicts the Palace and its bridge or gallery. The English arch is on K4r and on L1r is the famous Giant of Antwerp, Antigonous or Druon, whose exploits are related on the facing page and verso. VERY RARE: according to American Book Prices Current, no copy has sold at auction in at least 50 years. Fairfax Murray German 188 (Flemish edition); Hollstein IV:197.