Page 1

Antiquariaat van der Steur

0


VOF Antiquariaat van der Steur Catalogus 41 / Catchpennyprints Texts: Photos: Concept: Editing:

Anna de Bruyn Arine van der Lely - van der Steur Arine van der Lely - van der Steur Anna Bianco Anna Bianco Arine van der Lely - van der Steur

1


VOF Antiquariaat van der Steur Balistraat 81B 2585 XN The Hague The Netherlands

Opening hours: Saturday 14.00 - 17.00 and by appointment. Tel. +31 (0) 70 743 90 80 IBAN: NL50ABNA0561545367 (BIC code: ABNANL2A) KvK: 63198851 BTW nr: 8551.33.75 B01 antiquariaat@vandersteur.nl www.vandersteur.nl

2


0


th

Den Haag, 24 September 2017

Dear reader, st

We are proud to present our 41 catalogue dedicated to Catchpenny Prints. This catalogue includes prints published in The Netherlands until last century. The catalogue begins with a short introduction and explanation of some striking items. At the end you can find the list of reference literature. We included photos of all the items. High resolution images are available on our new website www.vandersteur.nl. We would be happy to provide you with any further information needed. Just send an email to antiquariaat@vandersteur.nl with your questions. Please include the reference number of the item in question. This catalogue is available online. We kindly invite you to visit our websites for any updates. A printed version of this catalogue is available on request against printing and shipping costs. You can follow us on Facebook, Twitter and we post blogs about interesting objects in our collection on (http://antiquariaatvandersteur.blogspot.nl ). You could also send us an email to subscribe to our digital newsletter, so you are always up to date about our new projects and adventures. The prices in this catalogue already include the value-added tax. Faithfully yours, Arine van der Lely - van der Steur Anna de Bruyn

1


Introduction

Between the many beautiful books and old master prints of Antiquariaat A.G. van der Steur, their collection of catchpenny prints might seem to stand out as the ugly duckling. These prints were printed from crudely cut woodcuts - or later lithographs -, distributed on cheap paper, and colored quite messily in a few primary colors by hand or with stencils. Even their name, ‘catchpenny print’, points to their low economic value. Being worth only a few cents, they were available to anyone, most importantly to children. Although their economic value might have been low in the 18th and 19th century, in terms of both their content and visual qualities they are nothing less than small treasures. They show their viewers all kinds of scenes, from alphabets to biblical miracles, to historic events, such as Hugo Grotius’ heroic escape from castle Loevestein (CP 110). Or think of the folk tales like “Jan de Wasser en zijn Wijf” in which the world is turned upside down when Griet orders her husband Jan de Wasser to take over her domestic tasks (CP 103). And how about the prints teaching children wise moral lessons, from helping the elderly (CP 117), to not swallowing needles (CP115). In short, these prints provide us with a unique window into the social world of the children who bought them or received them as rewards for good behavior. And what is more, they do it in a way that is a real pleasure to the eye. To create a system in this wide array of subject matters, the prints are ordered by the following themes: • • • • • • •

Alphabets and Games, Dutch historical events and topography, Genre Scenes: Social life, Events, Literature, Fiction & Allegories, Soldiers, Biblical events, parables and miracles, and Animals.

Each print is presented by its original title or the first lines of the text. If no title was available, one has been assigned. These titles are accompanied by the stock numbers assigned to the prints by their publisher. In some instances, the addresses of these publishers are indicated on the print, in other cases these are the addresses of the ‘wederverkopers’, the booksellers distributing the prints. In all cases, we have included descriptions of both the appearance and content of the prints.

1


We hope the catalogue will be a joy to read, as it was a joy to compile, not in the least because it offered us a chance to let these catchpenny prints shine as the wonderful treasures that they are. Anna de Bruyn


5


Catalogus 41

6


7


Games and Alphabets

8


9


Centsprent: Ziet, hoe hij, wien de stem ontbreekt, / Door middel van de hand nog spreekt … No. 14. The alphabet (alfabet) for deaf-mute people. Every letter, except the J, is given both in the Latin alphabet and in sign language (gebarentaal) with a verse indicating how the reader can form the signs with their hand. Signed, W.B. Amsterdam, Van Staden (1812 – 1850); numbered ‘No 14’ in upper right corner. 25 woodcut illustrations (each ca. 52 x 43 mm) on handmade paper; 4 verses, and under each image a 2-line verse; total: 390 x 345 mm; folded four times; slightly damaged along the folds, small rust stains. De Meyer: pp. 294-295, Boerma: pp. 819-820 (Staden, N. 14). Reference no. 63232 (CP 031) € 181,50

10


Centsprent: Zie hier, ô lieve Jeugd die ‘t spelen steeds bemint, / wat onze Konst en Vlyt U aanbiedt in deez’ print … No. 66. Didactic print of the alphabet (ABC-prent), showing the uppercase and lowercase letters accompanied by an object with a name starting with that letter, such as an ark, a bridge, and a coffee mill. Signed: Waleson. Breda, W. van Bergen (1784 - 1815), via de Erve H. Rynders, Amsterdam, whose address is mentioned on the print: ‘by de Erve H. Rynders, in de Tweede Tuin Dwarsstraat te Amsterdam’; numbered ‘No. 42’ in top right corner. 25 woodcut illustrations (each ca. 40 x 45 mm) on paper; hand coloured in orange and brown; 4 verses, and verses under each image in letterpress; total: 420 x 330 mm; folded twice, restorations with tape on verso. De Meyer p. 79, Boerma p. 721 (Bergen 66). Reference no. 63471 (CP 072) € 302,50

11


Centsprent: [Alphabet of names (A - P)] No. 144, 145. Alphabet of children’s names with objects or activities starting with the corresponding letter, such as ‘alleenspraak van Albertus’, and ‘Hendrik met den hoepel’. This popular type of didactic prints is as old as the printing press itself and exists in many versions, such as with animals or trades. Schaarbeek, Hemeleers & Van Houter (1827 - 1894), numbered ‘No. 144.’ and ‘No. 145’ in the upper right corner. 2 leaves with 8 woodcut illustrations (each ca. 90 x 75 mm) on paper, stencil coloured in red, green, yellow and blue; 4-line verses under each image, in letterpress; 2 leaves, each total: 325 x 390 mm; second leaf has some part of the top and bottom margins missing. Meyer p. 166, Boerma p. 716 (Hemeleers 144, 145). Reference no. 63494 (CP 095) € 151,25

12


Centsprent: Leve Dibbitz, blijf beveelen, U is de vesting toevertrouwd, koning Willem heeft kasteelen op U, Generaals, gebouwd. 91. Popular print reading: "Leve Dibbitz, blijf beveelen, U is de vesting toevertrouwd, koning Willem heeft kasteelen op U, Generaals, gebouwd." The letters are formed out of an arrangement of human figures, plants, animals, bricks, and a mermaid. General Dibbets (1782-1839) fought as a lieutenant general in the Napoleonic wars, and he was Commander-in-chief in Maastricht at the time of the Belgian Revolution. He was awarded the knighthood of the Military Order of William (Militaire Willems-Orde). Den Bosch, Lutkie & Cranenburg (1848 – 1881), numbered ‘No 91.’ at the top. Woodcut illustrations in 4 rows on mechanically produced paper; total: 315 x 400 mm; folded three times, torn along the folds; stains in upper half of the image. De Meyer p. 228, Boerma p. 787 (Lutkie 91). Reference no. 63476 (CP 077) € 114,95

13


Centsprent: Leve Dibbitz, blijf beveelen, U is de vesting toevertrouwd, koning Willem heeft kasteelen op U, Generaals, gebouwd. Popular print reading: "Leve Dibbitz, blijf beveelen, U is de vesting toevertrouwd, koning Willem heeft kasteelen op U, Generaals, gebouwd." The letters are formed out of an arrangement of human figures, plants, animals, bricks, and a mermaid. General Dibbets (1782-1839) fought as a lieutenant general in the Napoleonic wars, and he was Commander-in-chief in Maastricht at the time of the Belgian Revolution. He was awarded the knighthood of the Military Order of William (Militaire Willems-Orde). Den Bosch, Lutkie & Cranenburg (1848 – 1881); no number, but commonly published under 91. Woodcut illustrations in 4 rows on paper; total: 335 x 415 mm; folded three times, some tears and holes along the folds, rust stains. De Meyer p. 228, Boerma p. 787 (Lutkie 91). Reference no. 63611 (CP 124) ₏ 114,95

14


Centsprent: Nieuw Letterspel voor Kinderen. / Nouveau Jeu d’alphabet pour les Enfants. N. 62. B Children’s print with an ABC of 25 animals, each for a different letter of the alphabet, except the ‘J’. Alphabet prints were exceptionally popular in the Netherlands, and appeared in many forms, such as an alphabet of names, trades and - as in this case - animals. Although the prints offer children a playful way to learn, it is uncertain whether these prints were actually used at schools. Instead they were most likely given as a reward for good behaviour. To find animals for all letters of the alphabet was apparently not an easy task. The X has no accompanying animal, but a child in front of an x-shaped garlands, possibly Christ. The I (or J) stands for ‘Jokko’ or ‘Joco’, a chimpanzee. The other animals mentioned are a monkey, buck, crocodile, badger, donkey, ferret, goose, dog, cat, lion, mouse, nightingale, oxen, horse, quail, roe deer, sheep, pigeon, fox, owl, wolf, polar bear and wild boar.Turnhout, Brepols (1840 - 1885, second period); via Willem Hissink, Zutphen, whose address is mentioned on the print: ‘Te Zutphen, bij Willem Hissink’; numbered ‘N. 62. B.’ in upper right corner.Inscription in ink on verso: ‘A.T. Rinsema’, who also owned print CP 105 in the catalogue. 25 woodcut illustrations (each ca. 57 x 53 mm) on paper; stencil coloured in yellow, red and blue; total: 420 x 345 mm; folded three times, small holes where the folds intersect, reinforced on the edges on verso, small tear in left and right margin, restored with tape, frayed edges, slight darkening and stains in the margins. Meyer p. 269, Boerma p. 726 (Brepols 62). Reference no. 63503 (CP 104) € 242,00

15


Centsprent: Jeu de l’oie / Ganzenspel. No. 44. Print of the Game of Goose (ganzenbord), one of the most popular games in Dutch history. It probably originated from Italy in the sixteenth century, and the first Dutch edition was printed in 1640 in Amsterdam by Claes Jansz. Visscher. The journey over the board from number 1 to 63 stands for the journey through life, which can take unexpected turns, misfortune being symbolised by the well, prison and death, and fortune by the geese, that allow players to move forward a second time. Schaarbeek, Hemeleers & Van Houter (1827 1894), numbered ‘44’ in the upper right corner. Woodcut illustration in border (260 x 350 mm) on paper; hand coloured in yellow, red and blue; text under image in letterpress; total: 335 x 385 mm; reinforced with tape on verso, slightly darkened top and bottom margin. Meyer p. 163, Boerma p. 759 (Hemeleers 44). Reference no. 63499 (CP 100) € 108,90

16


Centsprent: Het Vermakelijk Harlikein-Spel. No. 95. Children’s print with the game called ‘Harlekijnspel’, named after the Harlequin figure in the middle of the print, carrying a bag with the number 7. Around him is an arch with the numbers 2 to 12. The game is played with two dice. The players have to put a token on the number rolled with the dice. Number seven is the pot, and the players who roll seven leave their token there, meaning that throughout the game more tokens stay in the pot. The person who is the last to have tokens left wins. The rules are explained at the bottom of the print. Schaarbeek, Hemeleers & Van Houter (1827 - 1894), numbered ‘95’ in the upper right corner. Woodcut illustration (310 x 250 mm) on paper; hand coloured in yellow, red and blue; text under image in letterpress; total: 390 x 315 mm; paper in good condition. Meyer p. 164, Boerma p. 760 (Hemeleers 95). Reference no. 63497 (CP 098) € 90,75

17


Centsprent: Het nieuw Arlequin Spel. / Le nouveau Jeu d’Arlequin. No. 84. Children’s print with the game called ‘Harlekijnspel’, named after the Harlequin figure in the middle of the print, carrying a bag with the number 7. Around him is an arch with the numbers 2 to 12. The game is played with two dice. The players have to put a token on the number rolled with the dice. Number seven is the pot, and the players who roll seven leave their token there, meaning that throughout the game more tokens stay in the pot. The person who is the last to have tokens left wins. The rules are explained at the bottom of the print. Turnhout, Glenisson en Van Genechten or Glenisson en zonen (1833 - 1900), numbered ‘84’ in the upper left corner. Woodcut illustration in border (325 x 270 mm) on paper; hand coloured in yellow, red and green; text under image in letterpress; total: 400 x 315 mm; paper in good condition. Meyer p. 140, Boerma p. 748 (Glenisson 84). Reference no. 63498 (CP 099) € 48,40

18


Centsprent: Domino en Kaartespel. No. 83. Catchpenny print with domino tiles and playing cards, intended to be cut out.Inscription in ink on verso: ‘S Beets 5t.’Den Bosch, Lutkie & Cranenburg (1848 – 1881), numbered ‘No 83’ in the upper right corner. 50 woodcut illustrations (each ca. 33 x 24 mm) on paper; stencil coloured in yellow, blue and purple; total: 315 x 360 mm; folded twice, some small tears and holes along the folds, frayed edges. Meyer p. 228, Boerma p. 787 (Lutkie 83). Reference no. 63482 (CP 083) € 78,65

19


Centsprent: Domino en Kaertspel / Jeu de Domino et de Cartes. N. 16. Catchpenny print with 28 domino tiles and 32 playing cards, intended to be cut out.Turnhout, Glenisson en Van Genechten or Glenisson en zonen (1833 - 1900), numbered ‘N 16’ in the top. Two sets of woodcut illustrations, on the left 28 (each ca. 25 x 40 mm) and on the right 32 (each ca. 20 x 35 mm) in borders on paper; stencil coloured in yellow, red and blue; total: 335 x 405 mm; folded once. Meyer p. 135, Boerma p. 746 (Glenisson 16). Reference no. 63500 (CP 101) € 78,65

20


Centsprent: Jeu de Cartes / Jeu de Domino. N. 60. Catchpenny print with 28 domino tiles and 32 playing cards, intended to be cut out and used for playing. Schaarbeek, Hemeleers & Van Houter (1827 - 1894), numbered ‘N 60’ in the top. Two sets of woodcut illustrations, on the left 28 (each ca. 25 x 40 mm) and on the right 32 (each ca. 20 x 35mm), on mechanically produced paper; stencil coloured in yellow, red and blue; total: 320 x 390 mm; slightly torn edges. Meyer p. 163, Boerma p. 759 (Hemeleers 60). Reference no. 63511 (CP 112) € 90,75

21


Dutch Historical Events & Topography

22


23


Centsprent: Beschouw, o vaderlandsche Jeugd! / Der vadren Trouw en Moed en Deugd. / En dat uw teeder hartontbrand / In zucht voor hun en ’t Vaderland, A. Catchpenny print with 16 events from Dutch history, mainly from the Eighty Years’ War (Tachtigjarige Oorlog), showing famous historical figures such as Albert Beijling being burried alive, Jan van Schaffelaar jumping of the tower in Barneveld, Kenau Hasselaer defending Haarlem against the Spanish, and the murder of Prins Willem (William I). At the top, the seal ‘Tot nut van ‘t algemeen’ of the Maatschappij tot Nut van ’t Algemeen, and signed ‘G. oortman’. When in 1784 the Maatschappij tot Nut van ’t Algemeen was founded, several publishers received permission to use their stamp on prints that had been approved by the association, as being of moral and pedagogical value. Stichter commissioned the brothers G. and J. Oortman to create a series of ‘Nutsprenten’ of which only 6 prints appeared. Amsterdam, Erve de Wed. C. Stichter (1715 – 1813) ‘Te Amsterd., bij d’Erven van de Wed. C. Stichter, Boekverk. in de Warmoesstraat, schuin over de Oude kerksteeg, in de Oude Berg Calvarie, in N. 159’; lettered ‘A.’ in upper right corner, the first print in Stichter’s series of ‘nutsprenten’. 16 woodcut illustrations (each ca. 70 x 60 mm) on paper; under each image a 4-line verse; total: 410 x 330 mm; Pro Patria watermark; folded twice. De Meyer p. 309, Boerma p. 827 (Stichter A). Reference no. 63132 (CP 008) € 169,40

24


Centsprent: I. Abdy van Rynsburg, 2. ’t Slot te Maarssen, 3. Van Speyks Boot, 4. Gevecht bij Bautersem ... DD. Images of various locations in the Netherlands and abroad, events in Dutch history, and instances from Dutch everyday life, including: the abbey of Rijnsburg, a castle in Maarssen, Van Speyk’s ship, the battle at Bautersem, the battle at Houthalen, the Citadel of Antwerp, the Chêne Chapelle at Allouville, a fortune-teller, and a beggar (Abdij van Rijnsburg, Slot te Maarssen, Van Speyks schip, de slag bij Bautersem, de slag bij Houthalen, de Citadel van Antwerpen, de eik te Allouville, een waarzegster, een bedelaar). Signed: A. (Alexander) Cranendoncq. Amsterdam, C.C.L. van Staden (1812 – c. 1850); address mentioned on the print: ‘Te Amsterdam, bij C.C.L. van Staden, op de Waal bij de Oude Schans, no. 72.’; lettered ‘Letter DD.’ in upper right corner. 12 woodcut illustrations (each ca. 60 x 70 mm) on paper; hand coloured in yellow and brown; above each image a title, under each image a 2-line verse; total: 430 x 340 mm; folded twice; some small holes, affecting one of the images; Not mentioned in De Meyer; it is a later impressions pulled from the same plate by P.C.L. van Staden under number 19: De Meyer p. 295 (Staden 19). Boerma, p. 820 (Staden DD). Reference no. 63200 (CP 012) € 60,50

25


Centsprent: I. Abdy van Rynsburg, 2. ’t Slot te Maarssen, 3. Van Speyks Boot, 4. Gevecht bij Bautersem ... No. 19. Images of various locations in the Netherlands and abroad, events in Dutch history, and instances from Dutch everyday life, including: the abbey of Rijnsburg, a castle in Maarssen, Van Speyk’s ship, the battle at Bautersem, the battle at Houthalen, the Citadel of Antwerp, the Chêne Chapelle at Allouville, a fortune-teller, and a beggar (Abdij van Rijnsburg, Slot te Maarssen, Van Speyks schip, de slag bij Bautersem, de slag bij Houthalen, de Citadel van Antwerpen, de eik te Allouville, een waarzegster, een bedelaar). Signed: A. (Alexander) Cranendoncq. Amsterdam, P.C.L. van Staden, address ‘Te Amsterdam bij P.C.L.van Staden Czn, Heerengracht hoek Hartenstraat.’ (1822 - 1850), number ‘No. 19’’ in upper right corner. 12 woodcut illustrations (each ca. 60 x 70 mm) on paper; above each image a title, under each image a 2line verse; total: 400 x 300 mm; folded three times, some small holes, frayed edges. De Meyer p. 295, Boerma p. 820 (Staden 19). Reference no. 63201 (CP 013) € 60,50

26


Centsprent: Het Stadhuis te Delft / Het Koninklijk Paleis te Amsterdam, No. 47. Two large woodcut illustrations showing the City Hall in Delft, and the bottom the Royal Palace of Amsterdam (Paleis op de Dam). The top woodcut is probably a reused block of a waste collector, who is loading his cart. The bottom woodcut, with three drummers, was likely used as a New Year wish. Both woodcuts are signed ‘LUB’ (D. and H. van Lubeek?).Zutphen, W.C. Wansleven (c.1820 - c.1845); address mentioned on print: ‘Te Zutphen, ter Boekdrukkerij van W. C. Wansleven.’; numbered ‘no. 47.’ in the upper right corner. Two woodcut illustrations on hand-made paper; stencil coloured with blue and brown; under each image a caption; total: 420 x 340 mm; Pro patria watermark; folded three times, some small holes, scribbles in pencil on the verso, frayed edges. Meyer p. 328, Boerma p. 835 (Wansleven 47). Reference no. 63209 (CP 018) € 90,75

27


Centsprent: Der Vaad’ren deugd en kloek bestaan, / Toont deze prent ons duidelijk aan ... No. 36. Moralising print displaying historical events and the virtue and courage of important Dutch figures, encouraging the readers to follow in their footsteps: Laurens Koster, Jan van Schaffelaar, Hugo de Groot, the Peace of Münster (Vrede van Münster), the herring (haring) harvest and the tulip (tulpen) trade, e.a.Rotterdam, T. J. Wijnhoven-Hendriksen (1819 - 1849); address mentioned on print: ‘Te Rotterdam, bij T.J. Wijnhoven Hendriksen, Hoeken Plaatdrukker op de Hoogstraat.’; numbered ‘no. 36.’ in the upper right corner. 12 woodcut illustrations (each ca. 55 x 75 mm) on paper; hand coloured in yellow and orange; 4 verses, under each image a 2-line verse, describing the important figure or event; total: 410 x 330 mm; Pro Patria watermark; small hole in the bottom right woodcut illustration. Meyer p. 344, Boerma p. 840 (Wijnhoven 36). Reference no. 63217 (CP 021) € 121,00

28


Centsprent: Kom lieve Jeugd! Zie hier een Zomer Veldgezicht / Zoo ik ‘t uw nader zeg / kent gy de plaats zeer ligt. No. 42. Children’s print showing a Dutch landscape and city view. The top image is of the farm Huis Noord-End in Amsterdam, with at the left a woman transporting milk cans by boat. The bottom shows the Vriesche Poort (Friesepoort) in Alkmaar, the city walls, and people walking outside in the fields. Amsterdam, Wendel (1803 - 1845), via M. Binger, whose address is mentioned on the print: ‘te Amsterdam, by Meyer Binger, Joode Bree-Straat, No. 35’; numbered ‘No. 42’ in top right corner. 2 woodcut illustrations (each ca. 135 x 250 mm) on paper; hand coloured in red, yellow and green; verses in two columns under each image in letterpress; total: 390 x 310 mm; traces of previous mounting and bottom left corner of margin missing. De Meyer p. 282, Boerma p. 838 (Wendel 42). Reference no. 63469 (CP 070) € 272,25

29


Centsprent: Kom lieve Jeugd! Zie hier een Zomer Veldgezicht / Zoo ik ‘t uw nader zeg / kent gy de plaats zeer ligt. No. 42. Children’s print showing a Dutch landscape and city view. The top image is of the farm Huis Noord-End in Amsterdam, with at the left a woman transporting milk cans by boat. The bottom shows the Vriesche Poort (Friesepoort) in Alkmaar, the city walls, and people walking outside in the fields. Amsterdam, Wendel (1788 – 1845), via de Erve H. Rynders, Amsterdam, ‘Te Amsterdam, by de Erve H. Rynders, in de Tweede Tuin Dwarsstraat.’ Numbered ‘No. 42’ in top right corner. 2 woodcut illustrations (each ca. 135 x 250 mm) on paper; thumb coloured in orange, and later (?) editions in brown; verses under each image in letterpress; total: 400 x 320 mm; Pro Patria watermark, countermark: ‘GR’, with crown, encircled with branches, (Voorn 1960, nr. 140, pp. 136, 192); in good condition. De Meyer p. 282, Boerma p. 838 (Wendel 42). Reference no. 63470 (CP 071) € 272,25

30


Centsprent: Hoe moed en trouw, gepaard aan list, / Weleer de Groot te redden wist; / En hoe hij vlugtte als metselaar, / Wordt ge in deez’ fraaije prent gewaar, no. 32. Popular print showing the escape of Hugo de Groot (Grotius) from Loevestein Castle, highlighting his wife’s courage and loyalty combined with Elsje’s clever ruse of smuggling him out in a book chest.Rotterdam, T. J. Wijnhoven-Hendriksen (1819 - 1849); via J. C. Post, whose address is mentioned on the print: ‘Te Leeuwarden, bij J.C. Post’, Leeuwarden; numbered ‘No. 32.’ in upper right corner. 12 woodcut illustrations (each ca. 50 x 70 mm) on paper; hand coloured in blue and red; under each image a 2-line verse, narrating the story; total: 400 x 330 mm; Pro Patria Watermark; folded twice, small tears along the folds and edges; a few light stains. Meyer p. 343, Boerma p. 839-840 (Wijnhoven 32). Reference no. 63223 (CP 026) € 242,00

31


Centsprent: Voorstelling der ontvlugting van den zeer beroemden Hugo Grotius of Huig de Groot, No 11. Children’s print of Hugo de Groot’s (Hugo Grotius) miraculous escape from Loevestein Castle in a book chest. The verses highlight the cleverness of his wife’s ruse and the courage and loyalty of their servant. The history is embellished with elements of humour and suspense, such as the transporters nearly discovering De Groot in the chest: ‘”Daar leeft wat, Vader! in de kist!” Dit woord verijdelt schier de list; Maar Elsje zegt, door hoop gedreven: “Ja! boeken hebben geest en leven.”’Woodcuts by Christiaan Jacob Schuyling, signed ‘Schuyling.’ in bottom right illustration.Rotterdam, T. C. Hoffers (1820 - 1839); address mentioned on the print: ‘Te Rotterdam, ter Boekdrukkerij van T.C. Hoffers, in de Korte Pannekoekstraat bij de Nieuwe Markt, Wijk I, No. 330.’ numbered ‘No 11’ in upper right corner. 8 woodcut illustrations (each ca. 65 x 101 mm) on paper, hand coloured in green and red; 4-line verses under each image in letterpress; total: 390 x 320mm; Pro Patria watermark; folded twice, slightly creased edges. Meyer p. 172, Boerma p. 764 (Hoffers 11). Reference no. 63509 (CP 110) € 229,90

32


Centsprent: Zie hier wat in den Spaanschen tijd, / Het trouwe Leijden heeft geleden ... no 33. The history of the siege and relief of Leiden (Beleg en Ontzet van Leiden, 1573-1574), displaying how the citizens of the city remained loyal to William of Orange and persevered, despite the harshness of the war and famine.Rotterdam, T. J. Wijnhoven-Hendriksen (1819 - 1849); address mentioned on print: ‘Te Rotterdam, bij T. J. Wijnhoven Hendriksen, Boek en Plaatsdrukker op de Hoogstraat’; numbered ‘No. 33.’ in the upper right corner. 12 woodcut illustrations (each ca. 50 x 70 mm) on hand-made paper; hand coloured in yellow and orange; 4 verses, under each image a 2-line verse, explaining the depicted event; total: 400 x 330 mm; Pro Patria watermark, in good condition. Meyer p. 343, Boerma p. 840 (Wijnhoven 33). Reference no. 63218 (CP 022) € 302,50

33


Centsprent: Nederlandsche Weldadigheid, Litt. A. Popular print showing various charitable initiatives, most of which were organised by the Maatschappij van Weldadigheid (Society of Humanitarianism) a Dutch private organisation founded by Johannes van den Bosch in 1818 to help poor families in the aftermath of the Napoleonic French occupation. The initiatives include: free vaccinations, admission to an orphanage, the ‘Fundatie van Renswoude’, Frederiksoord, the orphanage in Veenhuizen, a ‘gasthuis’, the distribution of soup and peat (turf), donations, the distribution of bread, a home for the disabled, a courtyard in an alms house, and a retirement home.At the top, the seal ‘Tot nut van ‘t algemeen’ of the Maatschappij tot Nut van ’t Algemeen. This association granted publishers permission to use their seal on prints that they had established to be of moral and pedagogical value. Signed: A. Cranendonck; inscription on verso: W.J. Venema. Amsterdam, Hendrick van Munster en Zoon, (1819 - 1835), address mentioned on the print: ‘Te Amsterdam, ter Boekdrukkerij van Hendrik van Munstern en Zoon, op de Warmoesgracht, N. Z., No. 7’; Amsterdam; lettered ‘Litt. A.’ in upper right corner. 12 woodcut illustrations (each ca. 65 x 87 mm) on handmade paper; under each image a 4-line verse, above each image a number corresponding to a title at the bottom; text in letterpress; total: 420 x 335 mm; Pro Patria watermark; folded three times, some small holes along the folds, small tear at the bottom. De Meyer p. 236, Boerma p. 790 (Munster A). Reference no. 63345 (CP 048) € 108,90

34


Centsprent: Trekken en gedenkwaardigheden uit de levens van beroemde Nederlandsche Mannen. T. Leaf with eight depictions of Dutch men and naval heroes: Jan Steen and his chaotic household, Joachim Zwartenhond, Jan van Galen, Joost Banker, Michiel de Ruyter, Reyer Klaasz., Hugo de Groot (Grotius). The verses under the images of the naval heroes describe their heroic deeds and praise their courage and cleverness. The two illustrations of Jan Steen stand apart from the rest. Although he is praised for his beautiful art, he is mainly presented as a mischievous and chaotic figure. The print projects the chaos of his genre paintings onto his own character and household, ‘een huishouden van Jan Steen’.Inscription in ink on verso: ‘Hedzer Fokkes / Fokkes’.Gorinchem, Jacobus Noorduyn (1819 - 1840), mentioned on the print: ‘Te Gorinchem, bij J. Noorduyn, Drukker en Boekverkooper’; lettered ‘T’ at the top right. 8 woodcut illustrations (each ca. 10 x 65 mm) on paper; hand coloured in blue and yellow; under each image a 4-line verse; total: 327 x 410 mm; Pro Patria Watermark; folded three times, slightly damaged on the folds. De Meyer p. 261, Boerma p. 800 (Noorduyn T). Reference no. 63351 (CP 054) € 169,40

35


Centsprent: Wie immer Amsterdam beziet / Vergete toch het Doolhof niet ... No. 13. Children’s print showing the ‘Oude Doolhof’ of Amsterdam. This first public labyrinth on the corner of the Prinsengracht en de Looiersgracht was intended as an amusement park. The owner, Vincent Jacobsz. Coster, planted hedges and assembled statues of famous figures, which are also depicted in the print. They are biblical figures (David, Goliath, King Salomon and Mordecai), monarchs (Willem I, and rulers from England, Sweden, Persia, and China), and other figures, such as a shepherd and a faun.(Marijke Spies, Amsterdamse doolhoven. Populair cultureel vermaak in de zeventiende eeuw, 2001, p. 71)Amsterdam, Erve H. Rynders (1781 - 1845), address mentioned on the print: ‘Te Amsterdam, by d’Erve H. Rynders, in de Tweede Tuindwarsstraat’; numbered ‘No. 13.’ in upper right corner. 20 woodcut illustrations (each ca. 65 x 50 mm) on paper; hand coloured in orange; 4-line verses under each image; total: 425 x 335 mm; Pro Patria watermark, countermark: ‘I S B’; small restorations on verso, some small stains. De Meyer p. 281, Boerma p. 810 (Rynders 13). Reference no. 63465 (CP 066) € 242,00

36


Centsprent: [Belgian Revolution / Belgische Opstand 1830]. No. 79. Popular print with several events from the Belgian Revolution (Belgische opstand) of 1830, such as the death of Jan Lewe van Aduard, a Schout-bij-nacht. Apparently the people in Deventer did not judge the rebels kindly; the fifth verse reads: ‘Gij vecht voor ‘t belgisch laf gebroed, o Onberaden Gallen; Voor Neêrlands vast besloten moed Zal menig uwer vallen’. Deventer, J. de Lange (1818 - 1845); via Mindermann & Co, whose address is mentioned on the print: ‘Te Amsterdam, bij Mindermann en Comp., in de Bergstraat’, numbered ‘No. 79.’ in the upper right corner. 16 woodcut illustrations (each ca. 48 x 68 mm) on paper, hand coloured with blue, yellow and red; above each image a caption and under each image a 4-line verse; total: 430 x 34 mm; folded twice, damaged and torn folds, restored with tape on verso. Meyer p. 207, Boerma p. 778 (Lange 79). Reference no. 63486 (CP 087) € 151,25

37


Centsprent: [Belgian Revolution / Belgische Opstand] N. 9. Catchpenny print showing several moments in the Belgian Revolution (Belgische Revolutie) in 1830 and 1831: the riots in Brussels of August 1830, the occupation of the arsenal in Antwerp, David Hendrik Chassé (commander of Antwerp Citadel) bombarding the city of Antwerp, the Dutch garrison in Maastricht defending the city, Van Speyk blowing up his ship, the Ten Days’ Campaign, the Battle of Hasselt, and the Dutch conquest of Leuven. No other historical event aroused such strong emotions with publishers of catchpenny prints as the Belgian Revolution. Many prints on the subject have been published, in which they mocked the Belgians, as in this print: “O Brusselaar! beroofd van zinnen, Ontrolt gij nu de oproer-vaan: / Wat zult gij met die misdaad winnen? Duur komt die vrijheid u te staan!” The Dutch heroes, such as Van Speyk, were praised for their courage and loyalty. Deventer, J. de Lange (1752 - 1787); address mentioned on the print: ‘Ter Boekdrukkerij van J. de Lange, aan den Brink te Deventer’; numbered ‘N. 9.’ in upper right corner. Eight woodcut illustrations (each ca. 63 x 117 mm) on handmade paper; hand coloured in yellow, green and blue; total: 420 x 350 mm; folded twice; Pro Patria Watermark; water stain in upper and lower part of the leaf; some small holes. Meyer p. 204, Boerma p. 777 (Lange 9). Reference no. 63501 (CP 102) € 151,25

38


Centsprent: Dit Prentgeschenk leert u van Speyck, / Door moed beroemd, in deugden ryk ... No 27. Popular print with the history of Jan van Speijk. No other figure in the Belgian Revolution has been praised like van Speijk, the orphan from Amsterdam, who became a lieutenant and would rather blow up his own ship, than be captured by the Belgians. His self-sacrifice was greatly admired by the Dutch, although today his reputation has diminished, with Ronald Prud'Homme van Reine calling his act a suicide attack in his book on Van Speijk’s ‘hero cult’ (Liever niet de lucht in; de omstreden zelfmoordaanslag van Jan Carel van Speijk. Amsterdam, 2016).The print tells of van Speijk’s youth, how he lost his parents, and worked as a tailor and grocer. However, his mind was too great for that kind of work, and he joined the Navy. Through diligence and fearlessness he worked himself up to the rank of lieutenant. The print’s narrative ends with the large explosion; ‘Geen redding over, steekt hij moedig ‘t kruid in brand, / En handhaafd d’eer van hem en ‘t lieve Vaderland.’Dated 1831 in the top.Rotterdam, T. C. Hoffers (1820-1839), numbered ‘No 27’ in upper right corner. 8 woodcut illustrations (each ca. 65 x 110 mm) on paper, hand coloured in green and orange; under each image a 4-line verse in letterpress; total: 410 x 335 mm; Pro Patria watermark, with countermark “H I H L de Boer”; folded twice, slightly damaged along the folds, slightly frayed edges, water stains in the margins. Meyer p. 173, Boerma p. 763 (Hoffers 27). Reference no. 63508 (CP 109) € 242,00

39


40


Centsprent: Slag van Waterloo / Bataille de Waterloo. No 48. Popular historical print of the Battle of Waterloo. The 6 images present several moments on the battlefield, ending with Napoleon fleeing, and Wellington and Blücher celebrating the victory.Turnhout, Brepols (1813 – 1845), via J. Proost, Leeuwarden, mentioned on the print: ‘Bij J. Proost, Boehandelaar de Leeuwaarden’; numbered ‘No. 48’ in bottom right corner.Inscribed in pen on verso: ‘Hedzer Fokkes Fokkema, 1828’. 6 woodcut illustrations (each ca. 88 x 145 mm) on hand-made paper; hand coloured in yellow and brown; under three images a caption in Dutch, under each image verses in Dutch and French in letterpress; total: 395 x 340 mm; folded three times, small holes on the folds, frayed edges, ink of inscription on verso bled through paper. De Meyer p. 95, Boerma p. 726 (Brepols 48). Reference no. 63355 (CP 058) € 169,40

41


Centsprent: Slag van Waterloo / Bataille de Waterloo. No 48. Popular historical print of the Battle of Waterloo. The 6 images present several moments on the battlefield, ending with Napoleon fleeing, and Wellington and Blücher celebrating the victory.Turnhout, Brepols (1840 - 1885); numbered ‘No. 48’ in the top. 6 woodcut illustrations (each ca. 88 x 145 mm) on mechanically produced paper; under three images a caption, of which 1 in French and 2 in Dutch; verses under each image in Dutch and French in letterpress; total: 420 x 340 mm; folded once, small reinforcements along the edges, woodblocks worn and broken. The bad state of the woodblocks could indicate that the print was printed around 1860, when Brepols experienced a low point in sales prices for their traditional catchpenny prints, to the point that they did not commission any new woodblocks and that they considered stopping their export to the Netherlands. De Meyer p. 95, Boerma p. 726 (Brepols 48). Reference no. 63606 (CP 119) € 121,00

42


Centsprent: Coats of arms of Frisian cities. Leaf with 7 images of coats of arms of Dokkum, Harlingen, Stavoren, Sloten, Workum, IJlst en Hindeloopen. Scribbles at the bottom, probably by Frisian children: ‘F W H’, and ‘Hendrik Wijbes 1809.’Leeuwarden, Johannes Seydel (1813 - ?), address mentioned on the print: ‘Te Leeuwarden, ter Drukkerye van Joh. Seydel, Bybel-, Boek- en Papier-Verkooper by de Vischmarkt.’ 7 woodcut illustrations (each ca. 105 x 85 mm) on handmade paper, hand coloured in red; total: 325 x 400 mm; extensive restorations on verso; mounted on cardboard. Relatively rare; De Meyer knew only two other examples, Boerma three. De Meyer p. 290, Boerma p. 819 (Seydel, no nr.; same as Seydel No. 24, but without the coat of arms of Sneek). Reference no. 63230 (CP 029) € 242,00

43


Centsprent: Coats of arms of Friesland and Frisian cities. Leaf with 7 images of coats of arms of Frieslandt, Leeuwarden, Harlingen, Sneeck, Bolsward, Franeker, Dockum, Stavoren.Leeuwarden, Johannes Seydel (1813 - ?), address mentioned on print: ‘Te Leeuwarden, ter Drukkerij van Joh. Seydel, Bybel-, Boek en Papier-Verkooper by de Vismarkt.’ 8 woodcut illustrations (each ca. 105 x 85 mm) on handmade paper; hand painted in brown; total: 300 x 400 mm; Pro Patria Watermark; upper margin missing, folded three times, small tear at the top, small hole.Not in De Meyer and Boerma; part of a series of prints with coats of arms of Frisian cities, in which woodcuts were reused in various combinations. This combination of woodcut illustrations has not been described yet. Reference no. 63231 (CP 030) € 181,50

44


Centsprent: Hare Majesteit Frederica. Louisa Wilhelmina, Koningin der Nederlanden. Portrait of Wilhelmine of Prussia, or Wilhelmina van Pruisen, (1774 – 1837) who was the first wife of King William I of the Netherlands and so the first queen of the Netherlands. She is standing beside a throne and table, holding a sceptre and resting her hand on a book. Next to her is her daughter Paulina. The scene is enclosed by a decorative, oval frame of tendrils, draped fabrics and armaments, with at the bottom the Dutch coat of arms with the motto ‘Je Maintiendrai’. The device is printed from a separate woodcut. Amsterdam, Erve H. Rynders (1781 - 1845), address mentioned on the print: ‘Te Amsterdam, by d’Erve H. Rynders, in de Tweede Tuindwarsstraat.’ Large woodcut illustration and a small woodcut illustration at the bottom on hand-made paper; hand coloured in red, green, yellow and blue; total: 360 x 300 mm; Pro Patria watermark, countermark: ‘GR’, encircled with branches, and crown; folded twice; folds and edges restored, small margins, foxing and small stains. De Meyer p. 282, Boerma p. 812 (Rynders -). Reference no. 63463 (CP 064) € 242,00

45


Centsprent: Hare Majesteit Frederica. Louisa Wilhelmina, Koningin der Nederlanden. Portrait of Wilhelmine of Prussia, or Wilhelmina van Pruisen, (1774 – 1837) who was the first wife of King William I of the Netherlands and so the first Queen of the Netherlands. She is standing beside a throne and table, holding a sceptre and resting her hand on a book. Next to her is her daughter Paulina. The scene is enclosed by a decorative, oval frame of tendrils, draped fabrics and armaments, with at the bottom the Dutch coat of arms with the motto ‘Je Maintiendrai’. The device is printed from a separate woodcut. Amsterdam, Erve H. Rynders (1781 - 1845), address mentioned on the print: ‘Te Amsterdam, by d’Erve H. Rynders, in de Tweede Tuindwarsstraat.’ Large woodcut illustration and a small woodcut illustration at the bottom on hand-made paper; hand coloured in red, green, yellow and blue; total: 415 x 335 mm; Pro Patria watermark, countermark: ‘GR’, encircled with branches, and crown; folded once, paper in good condition. De Meyer p. 282, Boerma p. 812 (Rynders -). Reference no. 63607 (CP 120) € 272,25

46


Centsprent: Het Metalen Kruis. No. 6. Het Metalen Kruis (metal cross), a badge awarded to those who participated in the Ten Days' Campaign against the Belgian Revolution (Belgische Opstand), with around it a ribbon and dice, and at the bottom left another smaller metal cross. Accompanied by a description explaining the rules to a dice game. The winner receives the title ‘Ridder van het Metalen Kruis’ (Knight of the Metal Cross).Rotterdam, T.J. Wijnhoven-Hendriksen (1819 - 1849); address mentioned on the print: ‘Te Rotterdam, bij T.J. Wijnhoven Hendriksen, Boek- en Plaatdrukker op de Hoogstraat’; numbered ‘No. 6’. 2 woodcut illustrations on handmade paper; hand coloured in blue and orange; under the image a text in letterpress; total: 405 x 335 mm; mounted on cardboard, paper in good condition, except small restoration with tape on the verso. De Meyer pp. 343, 539, Boerma p. 839 (Wijnhoven 6). Reference no. 63235 (CP 034) € 211,75

47


Centsprent: [William V on horseback] No. 66. Portrait of Willem V (William V of Orange) on horseback in a frame with garlands, likely after an etching by Reinier Vinkeles, after a drawing by Tethart Philip Christian. Signed ´A. Bouwens´. Den Bosch, Lutkie & Cranenburg (1848 – 1881), via de Erve Wijsmuller, Amsterdam; numbered ‘No 66.’ in the top right corner. Large woodcut illustration (295 x 240 mm) on paper; hand coloured; total: 385 x 305mm; folded once, restorations with tape, small part of margin in upper left corner missing. De Meyer p. 228, Boerma p. 786 (Lutkie 66, also no. 99). Reference no. 63477 (CP 078) € 217,80

48


Centsprent: Willem V, in leven prins van Oranje en Nassau, stadhou-/der, capitein generaal en admiraal der Nederlanden, no. 43. Print in remembrance of Willem V (William V of Orange), portrayed in military uniform on horseback, in a landscape with a mansion and trees; in a floral border with 2 chalices and putti, and at the top his initial ‘W’ with the vanitas symbols of an hour glass, and a skull and bones.Zaltbommel, Noman (1814 - 1830), mentioned on the print: ‘Bij J. Noman, Boekdrukker te Z Boemel’; numbered ‘No. 43’ in bottom right corner. Large woodcut illustration (200 x 195 mm) on handmade paper, paper mounted on cardboard, hand coloured in blue, green and brown; caption in letterpress; total: 370 x 313 mm; folded twice; small tears along the vertical fold; a small tear on the left, repaired with tape. De Meyer p. 246, Boerma p. 791 (Noman 43). Reference no. 63341 (CP 044) € 181,50

49


Genre Scenes: Social life, Events

50


51


Centsprent: [Eight trades / acht ambachten] N. 45. A popular print with eight different professions: a stonecutter (steenzager), a stonemason (steenhouwer), a basket maker (mandenmaker), a tinsmith (loodgieter), a dredger (baggeraar), a carpenter (timmerman), a planter, and a wheelwright (wagenmaker). Each image is accompanied by a description of the work and an explanation of its use. The woodcuts are copies after engravings from Spiegel van het Menselyk Bedryf (1694) an emblem book with 100 trades, by Jan and Caspar Luyken, following the moralist style of Jacob Cats. Deventer, J. de Lange (1818 - 1845); via Mindermann & Co., Amsterdam, whose address is mentioned on the print: ‘Te Amterdam, bij Mindermann en Comp., in de Bergstraat’; numbered ‘No. 45.’ in the upper right corner. 8 woodcut illustrations (each ca. 90 x 80 mm) on paper, hand coloured with orange and brown; 4-line verses under each image; total: 335 x 415 mm; Pro Patria Watermark; folded twice, paper in good condition, except small tear in left margin and small hole in centre. Meyer p. 206, Boerma p. 778 (Lange 45). Reference no. 63489 (CP 090) € 169,40

52


Centsprent: [National costumes, nationale klederdrachten] No 16. Couples from different parts of the Netherlands: a Frisian farmer and his wife leaving the church, a farmers couple from Schouwen (Zeeland) going to the market, a man inviting a market woman to a fair, and a fisherman and his wife repairing their nets. Under each image a description of the figures, or a fragment of their conversation, both in Dutch and French, sometimes in a local dialect. Signed H.V.L. Amsterdam, Breda en Namen, W.G. van de Sande en Co. (1806-1811); address mentioned on print:By W. G. v. d. Sande et Comp. in het Papier-magasyn in de Warmoestraet No. 33a Amsterdam, Breda en Namen’; numbered ‘No. 16’ in upper right corner.Van de Sande is little known, the print appeared after 1814 with Johan Noman under the same number. 4 woodcut illustrations (each ca. 150 x 130 mm) on paper; hand coloured in blue and brown; total: 395 x 330 mm; rare print in good condition; folded twice. De Meyer p.285, Boerma p. 813 (Sande 16). Reference no. 63233 (CP 032) € 302,50

53


Centsprent: Bedelaar / Krygsman / Boer / Edelman, No. 2 Popular print showing the four classes: a beggar, soldier, farmer and nobleman. In each image an inscription: ‘Aes en Aes en heeft niet’; ‘Deux Aes en geeft niet’; ‘Quater trois moet geeven’; ‘Daer Sinque Six van moet leven’,This appears to be a reference to the ‘DeuxAesbijbel’, named after a note with Nehemia 3:5, describing how the rich refused to contribute to the rebuilding of Jerusalem. The note reads: ‘Deux aes en heeft niet, six cinque en gheeft niet, quater dry die helpen vrij’. This refers to a dice game, meaning that the poor (deux aes) do not own anything, the rich (six and five) do not give anything, but the middle class (three and four) are the ones willing to help. Amsterdam, J. Wendel en Zoon (1819 - 1842); address mentioned on print: ‘Te Amsterdam, by, J. Wendel, Boekdrukker, op de Angeliesgragt, by de tweede Dwarsstraat’; numbered ‘no. 2.’ in the upper right corner. Four woodcut illustrations (each ca. 145 x 110 mm) on hand-made paper; above each image a caption identifying the figure, and under each a 4-line verse; total: 395 x 320 mm; Pro Patria watermark; slightly frayed edges; small restorations on verso. Meyer p. 337, Boerma, p. 837 (Wendel 2). Reference no. 63211 (CP 020) € 453,75

54


Centsprent: Vooraf gedaan, daarna bedacht, Heeft menigëen in leed gebragt. No 16. Children’s print showing various incidents through carelessness and mischief, teaching the young readers to think before they act. All depicted accidents take place around the house, such as a girl swallowing a needle, a boy’s finger being cut off, and a child being beaten by a policeman who caught him playing ding dong ditch. Each image is accompanied by a verse with a wise moral lesson. Woodcuts by Christiaan Jacob Schuyling, signed ‘Schuyling’ in bottom right illustration.Rotterdam, T. C. Hoffers (1820 - 1839); address mentioned on the print: ‘Te Rotterdam, ter Boekdrukkerij van T. C. Hoffers, in de Korte Pannekoekstraat bij de Nieuwe Markt, Wijk I, No. 330.’ numbered ‘No. 16’ in upper right corner. 16 woodcut illustrations (each ca. 60 x 55 mm) on hand-made paper, hand coloured in red and blue; 4-line verses under each image; total: 365 x 330 mm; watermark with London coat of arms; slightly frayed and torn edges. Meyer p. 172, Boerma p. 764 (Hoffers 16). Reference no. 63514 (CP 115) € 151,25

55


Centsprent: Heer Strik, een heertje naar de mode ... (various subjects) no. 15. Various subjects such as people going for a walk, a conspiracy, and a man taking his wife and children in a basket to California to seek his fortune.The various images are reused woodcuts, and show little coherence. The captions are sometimes funny, but often little inventif. Despite that, prints from this series were widely distributed and they are in many public collections (Boerma pp. 304 – 306). Amsterdam, Erve Wijsmuller (1828 - 1851), mentioned on print; numbered ‘No. 15.’ in the upper right corner. 8 woodcut illustrations of diverse sizes on paper; hand coloured in yellow and red; under each image a caption or a verse; total: 340 x 430 mm; folded twice, slight damage in the centre, several small stains. Boerma p. 841 (Wijsmuller 15). Reference no. 63220 (CP 023) € 54,45

56


Centsprent: Wanneer gij onvermoeid met ijver steeds blijft leeren / Verwacht dan lieve jeugd, nog menig schoone plaat (...) No. 40. Leaf with 12 images of Asiatic people, such as a Persian lady, Tatars, a Samoyedic man (Samojeed), a Bengali girl, and people from the Kamchatka Peninsula (Kamtsjatka) and Malabar. Signed: G. Kromsigt. Den Bosch, Lutkie & Cranenburg (1848 – 1881), numbered ‘No 40.’ in the top. 16 woodcut illustrations; hand coloured in yellow, blue and red; 4 verses, and under each image a caption; total: 390 x 310 mm; folded twice. Meyer p. 227, Boerma p. 785 (Lutkie 40). Reference no. 63479 (CP 080) € 78,65

57


Centsprent: Beijvert u, o Jeugd! om goed en wijs te worden, / Bewandelt steeds het pad van wetenschap en deugd (...) No. 78. Popular print with 12 images of Asiatic people, such as an Indian Rajah, an Indian Soldier, an Arab girl, a Samoyede (Samojeed), and people from Kochi / Cochin and Siam. Den Bosch, Lutkie & Cranenburg (1848 – 1881), numbered ‘No 78.’ in the top. 16 woodcut illustrations; hand coloured in yellow, blue and red; 4 verses, and under each image a caption; total: 390 x 315 mm; folded once, small restorations on verso. Meyer p. 226, Boerma p. 787 (Lutkie 78, also no. 15). Reference no. 63480 (CP 081) € 78,65

58


Centsprent: De Amsterdamse Slagt-Tyd, Ossen- en Varken-Markt. no 81. Catchpenny print of the slaughtering season in Amsterdam, with cattle being sold at the market. The top woodcut shows oxen being sold, while in an inn some men are drinking together to improve the atmosphere and thereby hopefully the sales. The woodcut below it shows in three separate images how the oxen are slaughtered, and how their meat is prepared. The bottom two woodcuts depict the same routine for pigs.The Erven de Weduwe Egmont had several new, but also various sixteenth-century woodcuts in their stock, of which this is probably one. Amsterdam, De Erve de Weduwe J. Egmont (1761 - 1804); address mentioned on the print: ‘Gedrukt by de Erve de Weduwe Jacobus van Egmont op de Reguliers Breêstraat, te Amsterdam’; numbered ‘No. 81.’ in upper left corner. 4 woodcut illustrations (each ca. 70 x 270 mm) in borders, on hand-made paper; hand coloured in red and blue; verses in letterpress in 1 or 3 columns under each image; total: ca. 390 x 295 mm; folded twice, a small hole in the centre, pasted in passepartout. De Meyer p. 246, Boerma p. 738 (Egmont 81). Reference no. 63614 (CP 127) € 242,00

59


Centsprent: Het Trouw-Verbond. No 115. Marriage print in which an elegantly dressed couple hold hands above a pedestal with atop two flaming hearts bound together by a chain. The accompanying verse expounds on how a marriage of love and virtue is worth every treasure. The illustration (minus the border) and the text are borrowed from the weekly periodical of De Vrolyke Louw en Krelis 25 November Anna 1767, No 47, with a print of the wedding of Willem V and Wilhelmina van Pruisen. Amsterdam, De Erve de Weduwe J. Egmont (1761 - 1804), address mentioned on the print: ‘Gedrukt by de Erve de Weduwe Jacobus van Egmont op de Reguliers Breêstraat, te Amsterdam’; numbered ‘No. 115.’ in upper left corner. Large woodcut illustrations (each ca. 270 x 310 mm) in a trapezium border, on hand-made paper; verses in 2 columns in letterpress under the image; total: ca. 390 x 330 mm; folded once, paper fragile and reinforced in small areas on the verso. De Meyer p. 247, Boerma p. 739 (Egmont 115). Reference no. 63615 (CP 128) € 181,50

60


Centsprent: Hier hebt gy agtien fraaije Prentjes, / Ziet lieve Kinderen deze ventjes [scenes of farming, hunting, fishing] No 21. Children’s print showing men farming, fishing and hunting. Prints like these had a didactic function, teaching children different aspects of trades. This print specifically stimulates children to be industrious and diligent, by showing them how much pride the depicted men take in their work, and the joy it brings them: ‘Den Landman heeft de beste pret, Als hy zyn Graan op stapel zet’. The last three images are winter scenes, with young men and women enjoying themselves on the ice, and saving a man from drowning.Woodcuts unsigned, but possibly by G. Oortman, who cut various plates in Hendriksen’s stock.Rotterdam, J. Hendriksen (1782 - 1828), address mentioned on the print: ‘Te Rotterdam, by J. Hendriksen, Boek- en Plaatdrukker op de Hoogstraat’; numbered ‘No 21’ in upper left corner. 18 woodcut illustrations (each ca. 43 x 70 mm) on paper, hand coloured in yellow and orange; six verses in three columns, and under each image a 2line verse; total: 400 x 330 mm; paper in good condition, except small traces of previous mounting on verso, mounted on passepartout. Meyer p. 169, Boerma p. 761 (Hendriksen 21). Reference no. 63506 (CP 107) € 242,00

61


Centsprent: De Hobbelaars, De Hengelaar, etc. [various genre scenes], no. 77. Popular print with various genre scenes of objects, places and people, each accompanied by a warning or moral lesson. Children are warned for the sails of the windmill and for going out in stormy weather, but also encouraged to help the poor and to work diligently as a farmer or fisherman. The bottom row includes a nice image of ‘koekhakken’ a seventeenth-century game played at fairs, where the players hit a piece of thick, hard cake, and the person who could break the cake received it as a reward. Originally the game was played with an axe, but it was later replaced by a stick since this led to too many accidents - for which the print also warns. Signed, J. P(lugger).Zaltbommel, Noman (1828 - 1845), via Erve Wijsmuller, Amsterdam, who is mentioned on the print: ‘Bij de Erve Wijsmuller, Boekhandelaars te Amterdam’; numbered ‘No. 77’ in upper right corner. 12 woodcut illustrations (each ca. 85 x 60 mm) on paper; hand coloured in orange and yellow; total: 420 x 340 mm; folded twice, in good condition. De Meyer p. 247, Boerma p. 792 (Noman 77). Reference no. 63344 (CP 047) € 181,50

62


Centsprent: De Haring-Visschery. no 57. Catchpenny print with 12 images of activities around the herring harvest, such as the preparations and the tasks at sea. The captions read: ‘de touwbaander’ (a rope maker), ‘Het kalfaten en Optuigen der Haringbuizen’ (repairing and rigging Herring busses, the vessels used by Dutch and Flemish herring fishermen), ‘Het inwerpen der Netten’ (bringing the nets aboard), ’Het Afzenden der Haringnetten’ (taking away the nets), ‘Fictaliëren’ (provisioning), ‘Een buis gereed om te zeilen, leggende voor de Stad Enkhuizen (a buss ready to set sail off the coast of Enkhuizen), ‘Buizen Zeildag’ (ships setting sail), ‘komen op het Vischwater’ (ships reaching the fishing ground), ‘werpen de netten uit’ (throwing out of the nets), ‘de Haringvangst’ (herring harvest), ‘de buis komt binnen’ (ships returning), Het lossen en Verpakken der Haring (unloading and packaging the herring). The woodcuts are signed by J. Plugger, and were used in his book De haringvisscherij. Gouda, G.B. van Goor, 1848. The impressions in Plugger’s book are few millimetres higher at the top, compared to the impressions in the print. Noman probably bought the plates and cut off a small part at the top to better fit the images on one large sheet of paper.Plugger’s book follows the logical order of the activities, but Noman changed the order of illustrations. The rigging of the vessels was the fourth illustration in the book, but was moved forward in the print as the second illustration. This means that in Noman’s illustration do not follow the right order of events: the ships are already rigged (ill. 2), before the nets are restored (ill. 3) and brought to the ships (ill. 4). To keep the order of the images logical, Noman changed some of the captions. Illustration 3, the restoring of the nets in Plugger’s book, now bears a caption identifying the image as the bringing aboard of the nets. Noman also changed the setting. Whereas in Plugger’s book the ships are Flemish, Noman specifically mentions that the ships set sail from the city of Enkhuizen. Zaltbommel, J. Noman, or J. Noman & Zoon (1814 - 1845); via de Erven Wijsmuller, whose address is mentioned on the plate: ‘Te Amsterdam, bij de Erven Wijsmuller, in de Huidenstraat’; numbered ‘No. 57.’ in upper right corner. 12 woodcut illustrations (each ca. 57 x 75 mm) in borders, on hand-made paper; hand coloured in orange, yellow and blue; a caption under each image in letterpress; total: ca. 435 x 335 mm; folded once, slightly creased paper, in good condition, pasted in passepartout. De Meyer p. 246, Boerma p. 792 (Noman 57). Reference no. 63613 (CP 126) € 181,50

63


64


Centsprent: De Nieuwsmodische Amsterdamsche Dienst-Meisjes. No. 6. 40 images of maids working around the house (cleaning the windows, cooking dinner, scrubbing the floors, etc.), and several events in their lives, such as being fired, finding new employment and getting married. Signed: ‘I D’ (Johannes Donker?) in bottom right illustration. Amsterdam, Erve H. Rynders (1781 - 1845), address mentioned on the print: ‘Te Amsterdam, by d’Erve H. Rynders, in de Tweede Tuindwarsstraat, bij de Angeliersstraat’; numbered ‘No. 6.’ in upper right corner. 40 woodcut illustrations (each ca. 37 x 40 mm) on paper; hand coloured in red, yellow and blue; a description under each image; total: 378 x 237 mm; Pro Patria watermark, countermark: ‘GR’, with crown, encircled with branches, (Voorn 1960, nr. 140, pp. 136, 192); folded twice; no margins. De Meyer p. 281, Boerma p. 809 (Rynders 6). Reference no. 63464 (CP 065) € 151,25

65


Centsprent: 's Menschen Intreede op deeze Waereld, no. 6. Children’s print showing the needs of children in the first years of their life, from birth to learning how to walk, and the joys and worries that come with it. The prints reminds the youthful readers how grateful they ought to be for their parents’ care. Amsterdam, J. Wendel en Zoon (1819 - 1842); via Erve H. Rynders, Amsterdam, whose address is mentioned on the print: ‘Te Amsterdam, by de Erve H. Rynders, in de Tweede Tuyn Dwarsstraat’; numbered ‘No. 6.’ in upper right corner. 8 woodcut illustrations (each ca. 75 x 60 mm) on hand-made paper; 4 verses, under each image a 2-line verse; total: 375 x 315 mm; Pro Patria Watermark; restorations on the verso, small stain in bottom margin. Meyer p. 336, Boerma p. 837 (Wendel 6). Reference no. 63224 (CP 027) € 332,75

66


Centsprent: Deez’ prent met veel verscheidenheid, / Wordt lievers u weêr toegeweid … no. 40. Educational print showing nine illustrations of well-behaved children as examples that the young readers should follow, such as learning their lessons, cleaning spilled water and giving bread to a poor lady. Amsterdam, P.C.L. van Staden (c. 1850 - c. 1870); via B. Lenfring, whose address is mentioned on the print: ‘B Lenfring, Haarlemmerdijk 443 te Amterdam’; numbered ‘No. 40.’ in upper right corner. 9 woodcut illustrations (each 80 x 75 mm) on mechanically-produced paper, hand coloured in green, red and yellow; 6 verses and under each image a 6-line verse; total: 370 x 295 mm; folded twice, several brown stains, some small holes. De Meyer p. 296, Boerma p. 821 (Staden 40). Reference no. 63246 (CP 040) € 60,50

67


Centsprent: Deez’ prent met veel verscheidenheid, / Wordt lievers u weêr toegeweid … no. 41. Educational print showing nine illustrations of well-behaved children as examples that the young readers should follow, such as learning their lessons, cleaning spilled water and giving bread to a poor woman. Amsterdam, P.C.L. van Staden (c. 1850 - c. 1870), address mentioned on the print: ‘Te Amsterdam, bij P. C. L. van Staden Czn, Heerengracht hoek Hartenstraat’; numbered ‘No. 41.’ in upper right corner, but originally printed under No. 40. 9 woodcut illustrations (each 80 x 75 mm) on mechanically-produced paper, hand coloured in blue, orange and yellow; 6 verses and under each image a 6-line verse; total: 400 x 330 mm; folded once, frayed edges, small water stain at the top right. De Meyer p. 296, Boerma p. 821 (Staden 40, although print is numbered 41). Reference no. 63243 (CP 039) € 60,50

68


Centsprent: Soin domestique. / Huishoudelijke zorg. No 13. A rare print of a mother delousing her son outside, while a small dog jumps up playfully against the boy. This print entitled ‘Soin domestique’ or ‘Huishoudelijke zorg’ (domestic care) is the thirteenth in a series of lithographs with profane subject matters published by Glenisson en Van Genechten. The series were not intended as children’s prints, but rather as a ‘kunstprenten’. Like many others in the series, this print was unknown to both Boerma and de Meyer.Turnhout, Glenisson en Van Genechten or Glenisson en zonen (1833 1900); numbered ‘No. 13.’ in bottom right corner. Inscription in ink on verso: ‘A.T. Rinsema’, who also owned print CP 104 in the catalogue. Large lithograph on paper, total: 340 x 425 mm; folded once; reinforced along fold and edges on verso; slightly frayed and torn edges. For the series, see: Meyer p. 269, Boerma p. 726 (Glenisson 13). They apparently did not see nr. 13, because they do not mention a title or subject matter. Reference no. 63504 (CP 105) € 242,00

69


Centsprent: O hoe edel is het Kind, Dat to deugden is gezind! No 17. Children’s print with 12 examples of virtuous behaviour: children giving alms, caring for the sick, helping blind beggars, saving people from drowning and rescuing a baby from a burning house. In the last illustration, the children are rewarded for their good deeds with gifts. Catchpenny prints like this were intended to contribute to children’s moral education. The verses often have a religious tone, indicating how a good Christian should behave and telling their young readers to be grateful for God’s goodness.Woodcuts by Christiaan Jacob Schuyling, signed ‘Schuyling’ in bottom right illustration.Rotterdam, T. C. Hoffers (1820 - 1839); with the address mentioned on the print: ‘Te Rotterdam, ter Boekdrukkerij van T.C. Hoffers, in de Korte Pannekoekstraat, bij de Nieuwe Markt, Wijk I, No. 330.’ numbered ‘No. 17.’ in upper right corner. Collector’s mark on verso: Simon Emmering (Amsterdam 1914-1999). 12 woodcut illustrations (each ca. 60 x 75 mm) on paper, hand coloured in red and yellow; 4-line verses under each image; total: 420 x 350 mm; watermark with London coat of arms; good impression, brown stain in right margin, and slightly frayed edges. Meyer p. 172, Boerma p. 764 (Hoffers 17). Reference no. 63516 (CP 117) € 145,20

70


Centsprent: Hier ziet gij, lieve jeugd, veel zaken ... No. 77. Children’s print with 36 objects, such as a beehive, bible, glass, etc., encouraging children to use the objects diligently (the Bible) or with care (the scissors). Amsterdam, C.C.L. van Staden (1812 – c. 1850); address mentioned on the print: ‘Te Amsterdam, bij C.C.L. van Staden, op de Waal bij de Oude Schans, no. 77.’ lettered ‘Letter Z.’ in upper right corner. 36 woodcut illustrations (each ca. 40 x 35 mm) on paper; hand coloured in yellow, orange and blue; under each image a 4-line verse in letterpress; total: 420 x 340 mm; folded once. De Meyer p. 294, Boerma p. 819 (Staden Z). Reference no. 63199 (CP 011) € 60,50

71


Centsprent: Bateau à vapeur. / Chemin de fer. 55. Popular print with a steamboat (stoomboot) and a steam train (stoomtrein), both in great detail. The top image shows the steamboat with a paddle wheel on its side, masts, sails and a chimney. The bottom image depicts a train made up of a steam locomotive, a wagon carrying the coal, and behind it a carriage for passengers. Both are identified with captions in French: ‘Bateau à vapeur’ and ‘Chemin de fer’ (railroad). The blocks were probably engraved especially for Hemeleers (de Meyer p. 598). Schaarbeek, Hemeleers & Van Houter (1827 - 1894), numbered ‘55’ in the upper left corner. 2 woodcut illustrations (135 x 330 mm and 8 x 330 mm) on paper; caption under each image in letterpress; total: 310 x 375 mm; paper in good condition, except some small tears at the edges. Meyer p. 163, Boerma p. 759 (Hemeleers 55). Reference no. 63496 (CP 097) € 78,65

72


73


Centsprent: Bateau à vapeur. / Chemin de fer. 55. Popular print with a steamboat (stoomboot) and a steam train (stoomtrein), both in relatively great detail. The top image shows the steamboat with a paddle wheel on its side, masts, sails and a chimney. The bottom image depicts a train made up of a steam locomotive, a wagon carrying the coal, and behind it a carriage for passengers. Both are identified with captions in French: ‘Bateau à vapeur’ and ‘Chemin de fer’ (railroad). The blocks were probably engraved especially for Hemeleers (de Meyer p. 598). Schaarbeek, Hemeleers & Van Houter (1827 - 1894), numbered ‘55’ in the upper left corner. 2 woodcut illustrations (135 x 330 mm and 8 x 330 mm) on paper; hand coloured; a caption under each image in letterpress; total: 310 x 375 mm; paper in good condition, except some small tears at the edges. Meyer p. 163, Boerma p. 759 (Hemeleers 55). Reference no. 63608 (CP 121) € 90,75

74


75


Literature, Fiction & Allegories

76


77


Centsprent: Blaauw-Baard geeft danspar- / tijen … no. 77. Popular print with story of Bluebeard (Blauwbaard), a fairy tale by Charles Perrault from his famous ‘Histoires ou contes du temps passé, avec des moralités: Contes de ma mère l'Oye’. Bluebeard leaves his young wife with the key to a room she is not allowed to enter. When out of curiosity she does enter the room, she finds the corpses of his previous wives. As a punishment Bluebeard intends to kill her, but she is saved by her brothers. Deventer, J. de Lange (1752 - 1849); via Schalekamp, van de Grampel en Bakker, whose address is mentioned on the print: ‘Te Amsterdam, bij Schalekamp, van de Grampel en Bakker’; numbered ‘N. 77’ in upper right corner. 12 woodcut illustrations (each 75 x 47 mm) on handmade paper, hand coloured in orange and yellow; verses under each image; total: 340 x 290 mm; watermark: ‘T V D’; folded twice, bottom and top margin cut off, light water stain in middle. De Meyer p. 207, Boerma p. 778 (Lange 77). Reference no. 63247 (CP 041) € 169,40

78


Centsprent: [History of Robinson Crusoe] No 19. Popular print with the history of Robinson Crusoe, showing how Robinson survived on the island of ‘wilden’ (wild men) after his shipwreck, by building a house and making pots. He saved the wild man Vrijdag, and when an English ship arrived, he took him and his father to Europe. Hoffers cites the source for his story extensively: ‘De Geschiedenis, bij welke deze afbeeldingen behooren, ’s, zeer leeslustwekkend en leerrijk, beschreven door den beroemden kindervriend Campe. De derde druk van dezelve is, in 1815, uitgegeven te Amsterdam bij J. ten Brink Gz. en J. de Vries.’ However, he did not copy the story literally, but also added his own elements, such as Robinson Crusoe actually being called Alexander Selkirk. Selkirk was a Scottish privateer, who was a source of inspiration for Daniel Defoe's character Robinson Crusoe.Daniel’s Defoe’s story of Robinson Crusoe, originally published as The Life and strange surprising adventures of Robinson Crusoe (London 1719), was very successful with Dutch publishers. Although neither the English nor the Dutch version was intended for children, the story became a very popular topic for children’s prints in the nineteenth century (De Meyer, p. 519).Woodcuts by Christiaan Jacob Schuyling, signed ‘Schuyling’ in bottom right illustration.Rotterdam, T. C. Hoffers (1820 - 1839); ‘Te Rotterdam, ter Boekdrukkerij van T.C. Hoffers, in de Korte Pannekoekstraat bij de Nieuwe Markt, Wijk I, No. 330’; numbered ‘No 19’ in upper right corner. 12 woodcut illustrations (each ca. 55 x 75 mm) on paper, hand coloured in red and green; texts under each image in letterpress; total: 410 x 335 mm; Pro Patria watermark; folded twice; part of top and bottom margins missing, restored with white tape on verso. Meyer p. 172, Boerma p. 764 (Hoffers 19). Reference no. 63510 (CP 111) € 169,40

79


Centsprent: Tafereelen uit het leven van Robinson Crusoe, P. Children’s print of the history of Robinson Crusoe, showing how through God’s power Robinson survives his shipwreck on an island, and keeps himself alive by farming, hunting and gathering supplies. He saves a young man from cannibals, and when a ship appears, he manages to stop the mutiny and return home.The story of Robinson Crusoe was very successful with publishers of Dutch Children’s prints. Already one year after the appearance of Defoe’s The Life and strange surprising adventures of Robinson Crusoe (London 1719), a Dutch translation was made, and later Dutch versions of the story were published with a Robinson from Holland (1743), from Walcheren (1752) and The Hague (1758). Although neither the English nor the Dutch versions were intended for children, the story became a very popular topic for children’s prints in the nineteenth century (De Meyer p. 519).Inscription in ink on verso: ‘Hedzer Fokkes Fokkema / Gekregen den 15 Mei 1832 / Leert met spoed dan gaat het goed’. The print was likely a gift for a Frisian boy, as a reward and encouragement for studying.Gorinchem, Jacobus Noorduyn (1819 - 1840), lettered ‘P’ at the top right. 16 woodcut illustrations (each ca. 55 x 53 mm) on paper; hand coloured in blue and yellow; under each image a 4-line verse; total: 415 x 325 mm; Pro Patria Watermark; folded three times, some small holes on the folds, a red stain in the top margin and in the bottom margin. De Meyer p. 260, Boerma p. 800 (Noorduyn P). Reference no. 63350 (CP 053) € 169,40

80


Centsprent: Deez’ prent vertoont aan klein en groot, / Den dwazen Robinson in nood, No. 66. The history of Robinson Crusoe, showing how the ‘foolish’ Robinson survives after his shipwreck, by farming, hunting and gathering supplies. Despite his hardship, all ends well when a ship appears to take him home.The story of Robinson Crusoe was very successful with publishers of Dutch Children’s prints. Already one year after the appearance of Defoe’s The Life and strange surprising adventures of Robinson Crusoe (London 1719), a Dutch translation was made, and later Dutch versions of the story were published with a Robinson from Holland (1743), from Walcheren (1752) and The Hague (1758). Although neither the English nor the Dutch versions were intended for children, the story became a very popular topic for children’s prints in the nineteenth century (De Meyer p. 519).Inscription with pencil on verso: ´Deze prent hoort toe aan Jan Kuiper´. Den Bosch, Lutkie & Cranenburg (1848 – 1881), numbered ‘No 42.’ in the top. 16 woodcut illustrations (each ca. 55 x 50 mm); hand coloured in yellow, blue and red; under each image a 2-line verse, narrating the story; total: 405 x 305 mm; folded twice. Meyer p. 227, Boerma p. 785 (Lutkie 42). Reference no. 63478 (CP 079) € 78,65

81


Centsprent: Deez’ prent vertoont aan klein en groot, / Van dwazen Robinson den nood ... no. 27. Catchpenny print with the history of Robinson Crusoe, showing how the ‘foolish’ Robinson survives after his shipwreck, by farming, hunting and gathering supplies. Despite his hardship, all ends well when a ship appears to take him home.The story of Robinson Crusoe was very successful with publishers of Dutch Children’s prints. Already one year after the appearance of Defoe’s The Life and strange surprising adventures of Robinson Crusoe (London 1719), a Dutch translation was made, and later Dutch versions of the story were published with a Robinson from Holland (1743), from Walcheren (1752) and The Hague (1758). Although neither the English nor the Dutch versions were intended for children, the story became a very popular topic for children’s prints in the nineteenth century (De Meyer p. 519).Wijnhoven printed several fairy tales and stories that had become popular in the Netherlands at the start of the 19th century, such as Little Red Riding Hood (nr. 20).Rotterdam, T. J. Wijnhoven-Hendriksen (1819 - 1849); via D. Pouwels, Bergen op Zoom, whose address is mentioned on the print: ‘Bij D. Pouwels, Handelaar in Schoolbehoeften enz. te Bergen op Zoom’; numbered ‘No. 27.’ in upper right corner. 16 woodcut illustrations (each ca. 55 x 50 mm) on handmade paper; hand coloured in blue and orange; under each image a 2-line verse, narrating the story; total: 405 x 340 mm; folded twice; heavily restored on verso; browning at the edges. Meyer p. 343, Boerma p. 839 (Wijnhoven 27). Reference no. 63221 (CP 024) € 145,20

82


Centsprent: Deez’ prent vertoont aan klein en groot, / Van dwazen Robinson den nood ... no. 27. Catchpenny print with the story of Robinson Crusoe, showing how the ‘foolish’ Robinson survives after his shipwreck, by farming, hunting and gathering supplies. Despite his hardship, all ends well when a ship appears to take him home.The story of Robinson Crusoe was very successful with publishers of Dutch Children’s prints. Already one year after the appearance of Defoe’s The Life and strange surprising adventures of Robinson Crusoe (London 1719), a Dutch translation was made, and later Dutch versions of the story were published with a Robinson from Holland (1743), from Walcheren (1752) and The Hague (1758). Although neither the English nor the Dutch versions were intended for children, the story became a very popular topic for children’s prints in the nineteenth century (De Meyer p. 519).Wijnhoven printed several fairy tales and stories that had become popular in the Netherlands at the start of the 19th century, such as Little Red Riding Hood (nr. 20).Rotterdam, T. J. Wijnhoven-Hendriksen (1819 - 1849); via T.J. Jansen, Sluis, mentioned on the print: ‘Te Sluis in Vlaanderen, bij T.J. Jansen.’ (Jansen is not mentioned in De Meyer and Boerma); numbered ‘No. 27.’ in upper right corner. 16 woodcut illustrations (each ca. 55 x 50 mm) on mechanically produced paper; hand coloured in blue and red; under each image a 2-line verse, narrating the story; total: 400 x 330 mm; folded twice; tape ghosts at the edges from previous mounting. Meyer p. 343, Boerma p. 839 (Wijnhoven 27). Reference no. 63222 (CP 025) € 229,90

83


84


Centsprent: Neemt, kleinen, neemt vrolijk, beziet deze Prent, / Zij maakt u met Kloris en Roosje bekend … No. 4 Children’s print showing the happiness that the wedding of Kloris and Roosje brings to the couple and all their guests. The father of the bride, Thomasvaer, turns out to be too old to join in the activities, dropping the dinner plates, and falling while dancing. Afterwards, the couple live happily ever after. Amsterdam, P.C.L. van Staden (c. 1850 – c. 1870), address mentioned on the print: ‘Te Amsterdam, bij P. C. L. van Staden Czn. Heerengracht hoek Hartenstraat’; numbered ‘No. 4.’ in upper right corner. 12 woodcut illustrations (each 65 x 75 mm) on paper, hand coloured in red, blue and yellow on mechanically produced paper; 4 verses, with under each image a 4-line verse; total: 425 x 335 mm; folded once, small tear in bottom margin. De Meyer p. 294, Boerma p. 820 (Staden 4, = v). Reference no. 63236 (CP 035) € 60,50

85


Centsprent: Hoe ‘t somtijds in de wereld gaat, Vertoond u, kinderen deze plaat. No. 14. Popular print showing different events, such as a man in his study, a man lost in the woods and a mother saving her child from an eagle, with under each image a verse describing the event, or presenting a fragment of the conversation.Rotterdam, T.J. WijnhovenHendriksen (1819 - 1849); address mentioned on the print: ‘Te Rotterdam, bij T. J. Wijnhoven-Hendriksen, Boek- en Plaatdrukker op de Hoogstraat’; numbered ‘No. 14’ in upper right corner. 8 woodcut illustrations (each ca. 95 x 80 mm) on hand-made paper; hand coloured in yellow and orange; under each image a 2-line verse; total: 330 x 405 mm; Pro Patria watermark, countermark: ‘V G’; folded three times. De Meyer p. 343, Boerma p. 839 (Wijnhoven 14). Reference no. 63234 (CP 033) € 169,40

86


Centsprent: Hier ziet gij, lieve Jeugd! een overschoon Tafreel, / Van Genoveva’s deugd, en hoe God haar beloonde, / Hoe zij Onschuldig leed, en werd in haar regt hersteld. / Nadat zij Zeven jaar een Wildernis bewoonde ... No. 22. Children’s print presenting twelve moments in the life of Genoveva, married to earl Siegfried. When falsely accused of infidelity she was sent away to live in the forest. She remained virtuous and pious and was rewarded by God, who brought her husband back to her. The story of Genoveva was mostly printed in the form of books, such as ‘de Historie van Genoveva, huisvrouw van Siegfried’. The woodblocks Ulrich used for the current print were probably originally also used to illustrate books. These images have a clear popular character as is visible from the style of the figures, which are strongly reminiscent of theatre puppets.The series of Ulrich’s children’s prints was advertised in Nieuwsblad voor den Boekhandel on December 7 1836: “Een geheel nieuw soort van kinderprenten. Op schrijfpapier best gekleurd ƒ7,00; dito zwart ƒ5,00; op ordinair papier, gekleurd ƒ 3,20; dito zwart ƒ 3,00. 25 Riem gelijk nemende één tot premie. Deze Prenten laten zich door de aardige rijmpjes, benevens de goede spelling, bijzonder boven alle andere soorten van dien aard, voor de Kinderen aanbevelen, dewijl de Schoolmeesters gerust deze op hunne Scholen kunnen gebruiken.”Rotterdam, J. B. Ulrich, (1816 – 1849), numbered ‘no 22.’ in the bottom left corner. Twelve woodcut illustrations (each ca. 60 x 80 mm) on paper; hand coloured with orange and blue; under each image a 4-line verse in letterpress; total: 415 x 330 mm; Pro Patria watermark; folded twice, small restorations on the vertical fold on the verso. De Meyer p. 320, Boerma p. 833 (Ulrich 22). Reference no. 63123 (CP 002) € 242,00

87


Centsprent: Hier ziet gij, lieve Jeugd! een overschoon Tafreel, / Van Genoveva’s deugd, en hoe God haar beloonde, / Hoe zij Onschuldig leed, en werd in haar regt hersteld. / Nadat zij Zeven jaar een Wildernis bewoonde ... No. 22. Children’s print presenting twelve moments in the life of Genoveva, married to earl Siegfried. When falsely accused of infidelity she was sent away to live in the forest. She remained virtuous and pious and was rewarded by God, who brought her husband back to her. The story of Genoveva was mostly printed in the form of books, such as ‘de Historie van Genoveva, huisvrouw van Siegfried’. The woodblocks used for the current print were probably originally also used to illustrate books. These images have a clear popular character as is visible from the style of the figures, which are strongly reminiscent of theatre puppets.Rotterdam, J. B. Ulrich (1816 – 1849); via D. Lysen, Amsterdam, mentioned on the print: ‘Te Amsterdam, By D. Lysen’; numbered ‘no 22.’ in the bottom right corner.Ulrich’s series of children’s prints was advertised in Nieuwsblad voor den Boekhandel on December 7 1836: “Een geheel nieuw soort van kinderprenten. Op schrijfpapier best gekleurd ƒ7,00; dito zwart ƒ5,00; op ordinair papier, gekleurd ƒ 3,20; dito zwart ƒ 3,00. 25 Riem gelijk nemende één tot premie. Deze Prenten laten zich door de aardige rijmpjes, benevens de goede spelling, bijzonder boven alle andere soorten van dien aard, voor de Kinderen aanbevelen, dewijl de Schoolmeesters gerust deze op hunne Scholen kunnen gebruiken.” 12 woodcut illustrations (each ca. 63 x 80 mm) on paper; hand coloured in orange and brown; under each image a 4line verse; total: 445 x 335 mm; paper in good condition. De Meyer p. 320, Boerma p. 833. Reference no. 63473 (CP 074) € 229,90

88


Centsprent: Hier ziet gy Jonge Jeugd mits dezen, De Vier-getijde des Jaars geprezen. 86. Children’s print showing the four seasons and corresponding activities. The first illustration, spring, shows farmers sowing in the foreground, and pruning trees in the back, accompanied by the verse ‘De vroege Lente praald met keur van schoone Bloemen / Die elk om haar Cieraad / en heerlijkheyd mag roemen.’ Summer depicts people and a cowing resting in the field, where the trees have come into leaf, and while in the background a couple is taking a stroll. The verse below reads: ‘De Zomer schenkt vermaak aan Klaverrijke Dalen / Daar Menchen / ende Vee / een frissen adem halen.’ In autumn, men are moving baskets and barrels, and transporting them by ship, accompanied by the verse ‘De Herfst is waard geroemt / die schenkt ons Wijn / en Kooren / Met overvloed van [?] / als uyt een vollen [?]’ The illustration of winter, is an Avercamp-like winter scene on ice, with people skating and on sleds. In the right a man is drowning in a hole in the ice. ‘Des Winters heyd men snel / op schaatsen / en met slede / Maar zit men by het Vuur / men is ook welt te vreede.’Amsterdam, J. Kannewet (1723 - 1780); via Hendrik van der Putte, Amsterdam (1761-1765) whose address is mentioned on the print: ‘t’ Amsterdam / Gedrukt by de Erve Hendrik van der Putte / Papier en Boekverkopers op ‘t Water in de Lootsman’; numbered ‘86’ in upper right corner.Van der Putte brought many prints on the market for Johannes Kannewet, but printed them under their own name, like they did for this print. 4 woodcut illustrations (each ca. 11 x 16 mm) on paper; hand coloured in blue and brown; under each image a 2-line verse; total: 315 x 415 mm; some small grey stains (or later colouring by hand?); small restorations on verso. De Meyer p. 188, Boerma p. 771 (Lange 86).Provenance: collection Maurits de Meyer. Reference no. 63349 (CP 052) € 423,50

89


90


Centsprent: Jan Steen was wijd en zijd vermaard / Maar ook een schilder naar den aard. No 107. Popular print about the Dutch painter Jan Steen, giving a fictional account of his life. It projects the chaos and lustfulness of the genre paintings for which he is so well known, onto his own character and household, ‘een huishouden van Jan Steen’. This leads to an image of Jan Steen as a skilled and famous artist, whose excesses and mischief cause his wife pain, ruin his household, and bankrupt his brewery. Den Bosch, Lutkie & Cranenburg (1848 – 1881), numbered ‘No 107’ in the upper right corner. 12 woodcut illustrations (each ca. 67 x 80 mm) on paper; stencil coloured in yellow, blue and red; under each image a 2-line verse; total: 395 x 310 mm; woodblock affected by woodworm. Meyer p. 228, Boerma p. 787 (Lutkie 83). Reference no. 63483 (CP 084) € 78,65

91


Centsprent: Komt, kindertjes! komt hier, wilt doctor Steven kijken, / Met zijn knecht Spring in 't Veld, gij zaagt nooit zijns gelijken. No 119. Children’s print with the story of Doctor Steven and his assistant Spring in ‘t Veld. The first half of the story is about the boisterous quack (kwakzalver) Doctor Steven, selling his potions and performing at fairs. The second half is a parody on the unhappy marriage of Spring in ‘t Veld, who has by then become a quack himself. The couple fight and, although they make up, their quarrel badly impacts his health. In an attempt to cure him, his wife gives him one of his potions, after which he dies. A taste of his own medicine, literally!Hemeleers’ woodcuts were made by H. Numan, and are the same as those used for earlier editions by J. van Egmont (26), Hendriksen (42) and J. Noman & Zoon (109). However, Hemeleers excluded four of the originally 24 woodcut illustrations, creating a censored version. In this typically 19th century chaste edition, there is no place for images of the couple in bed with the inscription “De Bruid en Bruigom zijn te Bed. O Jeê! Wat hebben zy een pret.” Signed: H. Numan. Schaarbeek, Hemeleers & Van Houter (1827 - 1894), numbered ‘No 199’ in the upper right corner. 20 woodcut illustrations (each ca. 45 x 55 mm) on paper; stencil coloured in yellow, red and blue; 2-line verses under each image; total: 360 x 275 mm; some tears in the margins. Meyer p. 165, Boerma p. 760 (Hemeleers 119). Reference no. 63512 (CP 113) € 90,75

92


Centsprent: Jongens wil je vreugd vermeeren, Wild in deze print studeeren, Want het is van Tetjeroen, Die een yder kon voldoen, 37. Cachpenny print. A children’s print of Tetjeroen, a quack (kwakzalver), who - after studying with a doctor - swindles his patients, creates medicine out of horse dung, and performs farces on the streets. The print is intended for entertainment and encourages the young readers to paint the already framed scenes, cut them out and paste them on red paper: ‘Zo gy u meer wilt verblyen, Maakt hier van dan Schilderyen: Sneytze uyt mooy na de zwier, En plak ze dan op Root-Papier.’Amsterdam, wed. Jeronimus Ratelband en Joh. Bouwer (1768 - 1770), address mentioned on the print: ‘t’ Amsterdam, by de Wed. J. Ratelband, en J. Bouwer, op de Rooze Gragt, Zuyd-Zyde, in de Bybel-Drukkerye’; numbered ‘37’ in upper right corner. 24 woodcut illustrations in frames (each ca. 32 x 47 mm) on paper; hand coloured in orange and blue; 2line verses under each image; total: 410 x 310 mm; folded twice, small tears in the margins. De Meyer p. 270, Boerma p. 804 (Ratelband 37). Reference no. 63357 (CP 060) € 363,00

93


Centsprent: Klein duimpje en de gelaarsde kat, N. 5. Children’s print showing two fairy tales in which a small main character unexpectedly outwits the others. The first half is dedicated to the story of Hop-o'-My-Thumb (Klein Duimpje), who is abandoned by his parents, saves his brothers from being eaten by the wild man, and steals his magic seven-league boots. His great wisdom compensates for his smallness of size. The bottom half depicts the fairy tale of Puss in Boots (de gelaarsde kat), who presents the king with gifts from his master, the Marquis of Carabas, and deceives the king into thinking that the land along the road, and the castle formerly owned by a wild man belong to the Marquis. Deventer, J. de Lange (1752 - 1787), address mentioned on the print: ‘Ter Boekdrukkerij van J. de Lange, aan den Brink te Deventer’; numbered ‘N. 5.’ in the upper right corner. 12 woodcut illustrations (each ca. 67 x 80 mm) on paper; hand coloured in orange, blue and yellow; under each image a verse, in letterpress; total: 415 x 335 mm; folded three times, some small holes at the folds, light stain at the bottom right. De Meyer p. 204, Boerma p. 777 (Lange 5). Reference no. 63605 (CP 118) € 181,50

94


Centsprent: [Klein duimpje en de gelaarsde kat] N. 5. Children’s print showing two fairy tales in which a small main character unexpectedly outwits the others. The first half is dedicated to the story of Hop-o'-My-Thumb (Klein Duimpje), who is abandoned by his parents, saves his brothers from being eaten by the wild man, and steals his magic seven-league boots. His great wisdom compensates for his smallness of size. The bottom half depicts the fairy tale of Puss in Boots (de gelaarsde kat), who presents the king with gifts from his master, the Marquis of Carabas, and deceives the king into thinking that the land along the road, and the castle formerly owned by a wild man belong to the Marquis. Deventer, J. de Lange (1822 - 1849), via Mindermann & co., Amsterdam, whose address is mentioned on the print: ‘Te Amsterdam, bij Mindermann en Comp., in de Bergstraat’; numbered ‘N. 5.’ in the upper right corner. 12 woodcut illustrations (each ca. 67 x 80 mm) on paper; hand coloured in orange and yellow; under each image a verse, in letterpress; total: 407 x 335 mm; folded three times, some small hole at the centre of the paper. De Meyer p. 204, Boerma p. 777 (Lange 5). Reference no. 63348 (CP 051) € 169,40

95


96


Centsprent: Duymken uyt een kool gekomen / Word van de moeder aangenomen (...) No. 57. Popular print with a version of the story of Klein Duimpje or Petit Poucet (Thumbling). ‘Duymken’ is born as small as a thumb, and his small size often brings him in danger. When he gets eaten by a cow, he miraculously escapes. He goes out into the forest and uses his small size to his advantage to steal food from a man sleeping under a tree. Schaarbeek, Hemeleers & Van Houter (1827 - 1894), numbered ‘No 57.’ in the top. 20 woodcut illustrations (each ca. 50 x 70 mm) on paper; hand coloured in yellow, blue and red; under each image a 2 line verse in Dutch and French; total: 395 x 330 mm; frayed edges, small part missing in left margin, and 2 restorations on verso. Meyer p. 163, Boerma p. 759 (Hemeleers 57). Reference no. 63481 (CP 082) € 78,65

97


Centsprent: Geschiedenis van Klein Duimpje No. 57. Children’s print with the story of Hop-o'-My-Thumb (Klein Duimpje), praising his sharp mind and courage in saving his siblings from being eaten by the bandit. Tall people would be wise to remember the wit of those smaller than they are, like Hop-o'-MyThumb.Rotterdam, Gebr. Thompson (1825 – 1830); address mentioned on the print: ‘te Rotterdam, gedrukt by Gebroeders Thompson, Boekverkoopers op de Hoogstraat’; numbered ‘No 57.’ in upper right corner. Twelve woodcut illustrations (each ca. 60 x 80 mm) on paper, hand coloured with yellow and orange; 2 verses, and under each image a 4-line verse in letterpress; total: 415 x 335 mm; strengthened on the folds and edges on verso, slightly frayed. De Meyer p. 316, Boerma p. 830 (Thompson 57). Reference no. 63127 (CP 005) € 242,00

98


Centsprent: Zie hier het leven en bedrijf / Van Jan de Wasser en zijn wijf. / Die leere u, dat ras getrouwd / Iets is, dat lang daarna nog rouwt, N. 6. Catchpenny print showing the life of Jan de Wasser who takes over the household chores of his wife, such as cooking, cleaning and taking care of the children. His story was one of the most popular subjects depicted in children’s prints, having been printed in many forms and versions by publishers such as De Groot, Van der Putte, Noman, Brepols and Glenisson. Jan de Wasser is primarily known as the man who takes on women’s work, but he also was the typical example of a henpecked husband.The stories of Jan and Griet go back to the theme of the fight for the trousers (‘Strijd om de broek’), where the woman changes her skirt and apron for her husband’s trousers. The topic of Women’s power over men (‘Weibermacht’) has been a popular topic in visual art since the 13th century, having been depicted by artists like Israhel van Meckenem and Lucas van Leyden. Probably, seventeenth-century farces such as Cornelis de Bie’s Jan Goethals en Griet syn wyf from 1670 led to the Jan-de-Wasser story taking its definitive form. This prints has given the story a twist, presenting Jan de Wasser’s unhappy marriage as a warning for marrying too soon. Deventer, J. de Lange (1818 1845); via Mindermann & co., Amsterdam, whose address is mentioned on the print: ‘Te Amsterdam, bij Mindermann en Comp., in de Berstraat (sic)’; numbered ‘N. 6.’ in the upper right corner. 24 woodcut illustrations (each ca. 45 x 57 mm) on paper; hand coloured in orange and yellow; under each image a 2-line verse; total: 425 x 340 mm; Pro Patria watermark; folded three times, worn at the folds and restored on verso with tape. De Meyer p. 204, Boerma p. 777 (Lange 6). Reference no. 63346 (CP 049) € 242,00

99


Centsprent: Hier hebt gy het Leven en Bedryf / van Jan de Wasser met zijn Wijf. 27. Catchpenny print showing the history of Jan de Wasser, who takes over the household chores of his wife, such as cooking, cleaning and taking care of the children. He was the typical example of a henpecked husband. His story was one of the most popular subjects of children’s prints, having been printed in many forms and versions. The changed roles within the household specifically go back to the theme of the fight for the trousers (‘strijd om de broek’), where the woman turns the gender roles upside down by changing her skirt for her husband’s trousers. Amsterdam, David le Jolle (1814 - 1819); address mentioned on the print: ‘Te Amsterdam, by David le jolle, op de Rooze Gragt, in de Bybel-Drukkerye, No. 170’; numbered ‘27’ in upper right corner. 24 woodcut illustrations (each ca. 45 x 57 mm) on paper; hand coloured in orange; total: 415 x 325 mm; folded twice, restored and reinforced in several parts on verso, light foxing in the lower part. Meyer p. 269, Boerma p. 803 (Ratelband 27). Reference no. 63502 (CP 103) € 169,40

100


Centsprent: Hier ziet ge ‘t leven en bedrijf Van Jan de wassener en zijn wijf. No. 5. Catchpenny print showing the life of Jan de Wasser who takes over the household chores of his wife, such as cooking, cleaning and taking care of the children. His story was one of the most popular subjects depicted in children’s prints, having been printed in many forms and versions by publishers such as De Groot, Van der Putte, Noman, Brepols and Glenisson. Jan de Wasser is primarily known as the man who takes on women’s work, but he also was the typical example of a henpecked husband.The stories of Jan and Griet go back to the theme of the fight for the trousers (‘Strijd om de broek’), where the woman changes her skirt and apron for her husband’s trousers. It is the world depicted ‘upside down’. The topic of Women’s power over men (‘Weibermacht’) has been a popular topic in visual art since the 13th century, having been depicted by artists like Israhel van Meckenem and Lucas van Leyden. Probably 17th-century farces (kluchten) such as Cornelis de Bie’s Jan Goethals en Griet syn wyf from 1670 led to the Jan-de-Wasser story taking its definitive form. Den Bosch, Lutkie & Cranenburg (1848 – 1881), numbered ‘No. 5.’ in the top. 24 woodcut illustrations (each ca. 48 x 60 mm) on paper, hand coloured with blue, yellow and red; Under the image a 2-line verse; total: 400 x 315 mm; folded twice, tape restorations on verso and along the edges. Meyer p. 22, Boerma p. 784 (Lutkie 5). Reference no. 63485 (CP 086) € 108,90

101


Centsprent: Histoire de Jean et Marguerite / Geschiedenis van Jan en Margaretha. 83 Catchpenny print showing the history of Jan de Wasscher, who takes over the household chores of his wife, such as cooking, cleaning and taking care of the children. He was the typical example of a henpecked husband. His story was one of the most popular subjects depicted in children’s prints, having been printed in many forms and versions. The motif of the world depicted ‘upside down’ was very common at the time, and changed roles within the household specifically, goes back to the theme of the fight for the trousers (‘Strijd om de broek’), where the woman literally turns the gender roles upside down by changing her skirt for her husband’s trousers. This version presents Jan and his family as apes, giving the story not only a humoristic, but also a more satirical or moralising meaning. Even the priest was given the face of a monkey, which was later considered to be inappropriate, which is why Brepols later reissued the print changing only his face to a human’s (Boerma pp. 391-6). Schaarbeek, Hemeleers & Van Houter (1827 - 1894), numbered ‘83, in the top. 24 woodcut illustrations (each ca. 45 x 65 mm) on paper, stencil coloured in red, yellow and blue; 2-line verses under each image in Dutch and French, in letterpress; total: 385 x 302 mm; small margins, paper in good condition. Meyer p. 164, Boerma p. 760 (Hemeleers 83). Reference no. 63495 (CP 096) € 121,00

102


Centsprent: Hier kunt gij voor- en Tegenspoed, / Van twee opregte, brave Liên, / Van Hendrik en van Anna, zien ... V. Popular print telling the story of the valet Hendrik and the maid Anna who marry and have three children. Despite their poverty and debts, they take three (rich) strangers into their house, for which they are rewarded so that they can live in prosperity.The verses at the top mention that those who want to learn more about Hendrik and Anna can read the book: Hendrik en Anna, een leerzame geschiedenis, tot nut van ‘t algemeen by Pieter Hartman (1792 and 1793), published by the Maatschappij tot Nut van ’t Algemeen, founded in 1784. This book’s story was adapted for the current print, which was also published with the seal ‘Tot nut van ‘t algemeen. In the nineteenth century, the woodblocks for this print were reused to create a children’s book Prentenboek tot Vermaak en Onderwijs voor kinderen, completing the story’s lifecycle from book to print to book (De Meyer p. 518).On verso in ink: ‘Lyda johanna mijnschuller’. Amsterdam, Johannes Bouwer (1805 - 1808), address mentioned on the print: ‘Gedrukt ter Bijbel-drukkerij van Johannes Bouwer, te Amsterdam, op de Roozegragt, No. 170’; lettered ‘V’ in upper right corner. 12 woodcut illustrations (each ca. 67 x 87 mm) on paper; six verses, 2-line verses under each image; total: 405 x 335 mm; Pro Patria watermark, countermark: ‘GR’; folded twice; small hole in the centre; ink of signature on verso bled through paper in upper right corner. De Meyer p. 274, Boerma p. 806 (Ratelband V). Reference no. 63359 (CP 062) € 114,95

103


Centsprent: Ziet hier, ô Kinderen! De vier Hoofdstoffen samen / Verbeeld; Lucht, Water, Vuur en Aarde ... No. 64. Allegorical Children’s print showing medallions with the four elements air, water, fire and earth personified as individual figures and couples. Between the medallions are flowers, fruits, weapons, and musical instruments. Signed Robyn (J. or A.)Amsterdam, Erve de Wed. C. Stichter (1715 – 1813); with address mentioned on the print: ‘Te Amsterdam, by de Erfgen. van de Wed. C. Stichter, Boekverkopers op ‘t Rokkin, in de Oude Berg Calvarie’; numbered ‘No. 64.’ in upper right corner. 8 wood engravings (each ca. 255 x 235 mm) on paper; under the image a verse in two columns; total: 396 x 295 mm; mounted on cardboard, small stain at the bottom. De Meyer p. 305, Boerma p. 824 (Stichter 64). Reference no. 63197 (CP 010) € 242,00

104


Centsprent: Rood-kapje kan tot leering zijn, / Aan kind’ren zoo wel groot als klein … no. 3. Educational print showing children how Little Red Riding Hood’s disobedience gets her into trouble. Her mother tells her to hurry to her grandmother who lives in the forest, but instead she wastes time chasing butterflies. When she finally reaches her grandmother’s house, the wolf has already eaten the woman, and he will eat Little Red Riding Hood too. Amsterdam, P.C.L. van Staden (c. 1850 - c. 1870); address mentioned on print: ‘Te Amsterdam bij P. C. L. van Staden Czn, Achterburgwal bij de Molsteeg, G 63’; numbered ‘No. 3.’ in upper right corner. 15 woodcut illustrations (each 75 x 60 mm) on mechanically-produced paper, hand coloured in blue, red and yellow; 4 verses and under each image a 4-line verse; total: 300 x 370 mm; folded twice, some tears along folds and edges, and restored on verso, two small holes. De Meyer p. 294, Boerma p. 820 (Staden 3). Reference no. 63241 (CP 037) € 60,50

105


Centsprent: Rood-kapje kan tot leering zijn, / Aan kind’ren zoo wel groot als klein … no. 3. Educational print showing children how Little Red Riding Hood’s disobedience gets her into trouble. Her mother tells her to hurry to her grandmother who lives in the forest, but instead she wastes time chasing butterflies. When she finally reaches her grandmother’s house, the wolf has already eaten the woman, and he will eat Little Red Riding Hood too. Amsterdam, P.C.L. van Staden (c. 1850 - c. 1870); via wed. Aldag, Amsterdam, whose address is mentioned on the print: ‘Wed. Aldag, St. Jansstraat te Amsterdam’; numbered ‘No. 3.’ in upper right corner. 15 woodcut illustrations (each 75 x 60 mm) on mechanically-produced paper, hand coloured in green, blue, red and yellow; 4 verses and under each image a 4-line verse; total: 300 x 380 mm; folded twice, small restorations with tape on verso, a small hole. De Meyer p. 294, Boerma p. 820 (Staden 3). Reference no. 63242 (CP 038) € 60,50

106


Centsprent: [Life of Cartouche] N. 56. Catchpenny and children’s print in Dutch and French about the highwayman Louis Dominique de Cartouche, presented as an example of a villain to encourage the young readers to stay virtuous and devout. The print sums up his crimes, such as stealing, assaulting women, and hiding his identity. It ends with his execution, which took place in Paris, in 1721. Cartouche's exploits were a popular topic for ballads and popular prints. Turnhout, Brepols (1833 – 1911); via C. Neiszen, whose address is mentioned on the print: ‘in kantoorbehoeftens, Hoogstraat, Rotterdam’, numbered ‘N 56.’ in the top. 20 woodcut illustrations (each ca. 67 x 59 mm) on paper, stencil coloured in red, yellow and blue; 2-line verses under each image in Dutch and French; total: 425 x 345 mm; frayed edges. Meyer, p. 95, Boerma p. 726 (Brepols 56). Reference no. 63492 (CP 093) € 229,90

107


Centsprent: [Life of Cartouche] N. 56. Children’s print in Dutch and French about the highwayman Louis Dominique de Cartouche, presented as an example of a villain to encourage the young readers to stay virtuous and devout. The print sums up his crimes, such as stealing, assaulting women, and hiding his identity. It ends with his execution, which took place in Paris, in 1721. Cartouche's exploits were a popular topic for ballads and popular prints.Turnhout, Brepols (1833 – 1911), numbered ‘N 56.’ in the top. 20 woodcut illustrations (each ca. 67 x 59 mm) on paper, stencil coloured in red, yellow and blue; 2-line verses under each image in Dutch and French; total: 425 x 345 mm; traces of tape in the margins, frayed edges. Meyer p. 95, Boerma p. 726 (Brepols 56). Reference no. 63491 (CP 092) € 229,90

108


Centsprent: [Life of Cartouche] N. 56. Children’s print in Dutch and French about the highwayman Louis Dominique de Cartouche, presented as an example of a villain to encourage the young readers to stay virtuous and devout. The print sums up his crimes, such as stealing, assaulting women, and hiding his identity. It ends with his execution, which took place in Paris, in 1721. Cartouche's exploits were a popular topic for ballads and popular prints.Turnhout, Brepols (1833 – 1911), via C. Neiszen, whose address is mentioned on the print: ‘in kantoorbehoeftens, Hoogstraat, Rotterdam’, numbered ‘N 56.’ in the top. 20 woodcut illustrations (each ca. 67 x 59 mm) on paper, stencil coloured in red, green, yellow and blue; 2-line verses under each image in Dutch and French; total: 425 x 345 mm; in good condition. Meyer p. 95, Boerma p. 726 (Brepols 56). Reference no. 63493 (CP 094) € 229,90

109


Centsprent: De Schoone Slaapster. Eene Vertelling van Moeder de Gans. 3. Catchpenny print with the fairy tale of Sleeping Beauty (Doornroosje) by Charles Perrault in Histoires ou contes du temps passé from 1697. After waking the princess, the prince marries her and leaves her at home while he goes to war. His mother, however, appears to be a cannibal and tries to first eat the prince’s children and then kill the princess in a tub filled with vipers. When she fails and the prince discovers her evil plan she instead kills herself in the tub. Amsterdam, Erve H. Rynders (1781 - 1845), address mentioned on the print: ‘Te Amsterdam, bij de Erve H. Rynders, in de Tweede Tuin-Dwarsstraat’. 12 woodcut illustrations (each ca. 63 x 85 mm) on paper, hand coloured in yellow and orange; descriptions under each image, text in letterpress; total: 410 x 330 mm; Pro Patria watermark, countermark: ‘GR’; folded twice; part of the margins absent. De Meyer p. 281, Boerma p. 809 (Rynders 3). Reference no. 63462 (CP 063) € 90,75

110


Centsprent: De Geschiedenis van den Zwitser Willem Tell, No. 21. Popular print of the legend of Wilhelm (William) Tell. The hero from Switzerland (Zwitserland) became famous throughout Europe through the theatre play of the same name by Friedrich Schiller from 1804. However, for the current print, the publisher Hoffers did not directly copy the story from Schiller, but instead extensively cites three other sources: ‘De Geschiedenis van de Zwitser Willem Tell, beschreven door Arrenberg: Historiën en zonderlinge gevallen, Deel 3, bl. 25-29, en door F.L. Graaf, van Stolberg: Reis door Duitschland, Zwitserland, enz., Deel 1, blz 168 – 170*, door Schröck, Kort begrip der Algemeene Geschiedenis, Deel 3, bl 521 - 522.’ Indeed, Hoffers borrowed different narrative elements from each of these three books, and combined them into one coherent story. When Tell did not bow before the hat on the pole that Habsburg bailiff Gessler erected, he was punished by having to shoot an apple off the head of his son. When Gessler asked Tell why he carried a second bolt, he replied that had he killed his son, he would have killed Gessler with that second bolt. Furiously, Gessler took him on a ship to the dungeons of his castle in Cusnach (Küssnacht), but Tell escaped, killed Gessler, and all ended well when Walter Fürst, Arnold von Melchtal and Werner Stauffacher vowed to continue fighting for Swiss freedom from Habsburg rule.The woodcuts were especially made for Hoffers by the block cutter Christiaan Jacob Schuyling. Signed ‘Schuyling.’ in bottom right illustration.Rotterdam, T. C. Hoffers (1820 - 1839); numbered ‘No 21’ in upper right corner. *Stolberg’s travels have been made available online by the Koninklijke Bibliotheek: http://resolver.kb.nl/resolve?urn=dpo:1650:mpeg21:0575. 8 woodcut illustrations (each ca. 105 x 70 mm) on paper, stencil coloured in yellow and orange; 2-line caption, and under each image text in letterpress; total: 340 x 400 mm; Pro Patria watermark, with countermark “A B”, probably for Albert Blekker, paper maker in the mill of De Kok (H. Voorn, De papiermolens in de provincie Noord-Holland, p. 136, nr. 131); folded once, small tear, backed on verso, slightly frayed edges. Meyer p. 172, Boerma p. 763 (Hoffers 21). Reference no. 63507 (CP 108) € 242,00

111


112


Centsprent: De Verkeerde Nieuwe Weereld. N. 41. A popular print of ‘de verkeerde wereld’ (the absurd world, or the world upside-down), a satirical type of images reversing established roles, such as the hare hunting the hunter. The top illustration in this print reverses the roles of a man and woman, seated in a gig cart; he holds the whip, while she holds the reins and drives the carriage. The inscription reads: ‘De Wereld, (zegt men,) is verkeerd: / Gelyk ook de ondervinding leerd. / Want Sulles is geheeld verblyd, / Wanneer hy met zyn Liefje ryd. / Dat zy de lyst houd, hy de zweep. / Wel Jongens, zeeper, dat is leep. / Maar, als men ‘t wel te regt beziet. / Het is verkeerdheid, anders niet.’The bottom image also shows a ‘verkeerde wereld’ of people driving their carriage too fast, with a warning to drive slowly and carefully: ‘Koets-Wagens ryden zagt en zoet, / Wanneer men ‘t verstandig doet. / En niet en jaagt dat ieder zeid, / Fendorie, dat lykt dolligheid. / Want ééns om ver, kost zomtyds ‘t lyf. / Zo van de Voêrman als het Wyf / De kinderen en het Naaste Bloed. / Ry liever als deez’ Voer-man doed’. Deventer, Jan Hendrik de Lange (1787 - 1822), address mentioned on the print: ‘Te Deventer, gedrukt by J. H. de Lange, Boekdrukker en Verkooper aan den Brink; numbered ‘No. 41.’ in the upper right corner. 2 woodcut illustrations (each ca. 140 x 255mm) on paper; 4line verses under each image; total: 410 x 325 mm; folded twice; reinforced at the top and along the edges on verso; top part missing, affecting the image; the word ‘Weereld’ in the title has been added in pencil, some lines in the image have been redrawn. Meyer p. 205, Boerma p. 778 (Lange 41). Reference no. 63490 (CP 091) € 356,95

113


Centsprent: De wisseling der jaargetijden, Doet ieder jeugdig hart verblijden. N. 16. Children´s print of the four seasons, depicting people engaged in corresponding activities. Each season is related to a stage in man´s life: spring corresponds to childhood, summer to youth, autumn to adulthood, and winter to old age. The image of spring shows farmers sowing, with the inscription: ´De Lente is ´t beeld der blijde jeugd, Men zaait dan steeds het zaad der deugd´. In summer, men and woman are seen reaping grain. The inscription reads: ´De middelbare levenstijd Zij aan arbeidzaamheid gewijd´. The image of autumn shows people picking fruit in an orchard, accompanied by the text: ‘Dan mag belooning ons verrukken, Wanneer wij rijpe vruchten plukken’. The final inscription reads: ‘Denk aan den winter van het leven, Aan d´ouderdom, uwe hulp te geven´, and is illustrated with a winter landscape, with a woman and child carrying branches on their back, and children playing on the ice.Inscriptions in ink on verso: ´G. S. Posthuma. Mei 1859.´ and ´Goffe sjoerds postuhma´. Den Bosch, Lutkie & Cranenburg (1848 – 1881), numbered ‘no 16.’ at the top. 4 woodcut illustrations (each ca. 120 x 170 mm) on paper; hand coloured in red, blue and yellow; under each image a 2-line verse; total: 330 x 400 mm; folded twice, fragile along the folds. De Meyer p. 226, Boerma p. 784 (Lutkie 16). Reference no. 63474 (CP 075) € 151,25

114


Centsprent: Eentoonigheid verveelt / verwisling streelt het oog / Dat dus deez’ nieuwe Prent / U/ Jeugd! Vermaken moog’! Children’s print with various allegorical images of the Dutch lion, sympathy, marriage, art, virtue, gratefulness, love for one’s parents and the transience of life. The allegory of art depicts poetry in the form of books with on their covers the names Vondel, Loots and Klein. Painting is represented by a painting of a bust, and a book by De Lairesse. The allegory of the transience of life is a Vanitas scene with a youth blowing bubbles, and a skeleton holding a winged hourglass. Amsterdam, Erve H. Rynders (1781 - 1845), address mentioned on the print: ‘Te Amsterdam, by d’Erve H. Rynders, in de Tweede Tuindwarsstraat.’ 8 woodcut illustrations (each ca. 110 x 70 mm) on paper; hand coloured; 4-line verses under each image in letterpress; total: 325 x 410 mm; watermark of D. & C. Blauw, (Voorn 1960, nr. 116, pp. 135, 179); restorations on verso, slightly creased. De Meyer p. 282, Boerma p. 812 (Rynders -). Reference no. 63468 (CP 069) € 302,50

115


Centsprent: Hier ziet gij Steven van der Klok, / En al zijn hooggeroemde daden, / Waar hij zoo veel opzien trok, / En zich met eer zag overladen, N. 25. The history of Steven van der Klok, the diligent worker who sounds the bells, mows the grass, and catches fish. One day, however, he climbs a tree to fetch a bird’s nest and he falls to his death. Deventer, J. de Lange (1752 - 1849); via Schalekamp en van de Grampel, Amsterdam, whose address is mentioned on the print: ‘Te Amsterdam, bij Schalekamp en van de Grampel, op de N.Z. Voorburgwal over de N. Kerk.’ numbered ‘No. 25 in upper right corner. 24 woodcut illustrations (each 45 x 57 mm) on handmade paper, hand coloured in red, blue and yellow; 2-line verses under each image; total: 415 x 335 mm; Pro Patria watermark, countermark: ‘A van Houtum & Zoon’; folded twice, several holes and parts missing from the margins. De Meyer p. 205, Boerma p. 777 (Lange 25). Reference no. 63248 (CP 042) € 211,75

116


Centsprent: Hier ziet gij Kloris met zijn Roosje, / Dat lief en lekker suikerdoosje! / Zij houden bruiloft met elkaar; Geluk en zegen aan dit paar. 53. Catchpenny. Popular print showing the wedding of Kloris and Roosje: the dancing, eating and the presents at the end. As a comedic device, Thomasvaar, the bride’s father, tries to join in in the festivities, but clumsily falls while dancing and drops the plates during dinner.The story goes back to the play ‘Vryadje van Cloris en Roosje’ from 1688, with music composed by Servaas de Koning, and the text most likely by D Buysero. The actor Th. Van Malsem changed the story slightly, adding the role of the clumsy Thomasvaer, and published it in 1707. This is the version that returns in 19th century children’s prints. In the 18th and 19th century the play was commonly performed in Amsterdam on New Year’s Day, after Vondel’s Gysbreght van Aemstel, as a New Year’s wish (De Meyer p. 500)Rotterdam, Wijnhoven-Hendriksen (1819 - 1849); via J. C. Post, Leeuwarden, who is mentioned on the print: ‘Te Leeuwarden, bij J. C. Post’; number in upper right corner missing, normally printed with: ‘No 53.’ Eight woodcut illustrations (each ca. 68 x 130 mm) on paper; hand coloured in orange and blue; 4 verses, and under each image a 2-line verse; total: 375 x 301 mm; folded three times, restoration with tape on horizontal fold on verso; part missing at the top right. De Meyer p. 344, Boerma p. 840 (Whijnhoven 53). Reference no. 63354 (CP 057) € 121,00

117


Centsprent: Hier ziet gij Kloris met zijn Roosje, / Dat lief en lekker suikerdoosje! / Zij houden bruiloft met elkaar; Geluk en zegen aan dit paar. No. 36. Popular print showing the story of the wedding of Kloris and Roosje: the dancing, eating and the presents at the end. As a comedic device, Thomasvaar, the bride’s father, tries to join in in the festivities, but clumsily falls while dancing and drops the plates during dinner.The story goes back to the play ‘Vryadje van Cloris en Roosje’ from 1688, with music composed by Servaas de Koning, and the text most likely by D Buysero. The actor Th. Van Malsem changed the story slightly, adding the role of the clumsy Thomasvaer, and published it in 1707. This is the version that returns in 19th century children’s prints. In the 18th and 19th century the play was commonly performed in Amsterdam on New Year’s Day, after Vondel’s Gysbreght van Aemstel, as a New Year’s wish (De Meyer p. 500). Den Bosch, Lutkie & Cranenburg (1848 – 1881), numbered ‘No 36.’ at the top. 8 woodcut illustrations (each ca. 70 x 130 mm) on paper; hand coloured in red, yellow and blue, later additions in red pencil; 4 verses, and under each image a 2-line verse; total: 400 x 315 mm; folded three times, slightly damaged and torn along the folds. De Meyer p. 227, Boerma p. 840 (Lutkie 36). Reference no. 63475 (CP 076) € 90,75

118


119


Soldiers

120


121


Centsprent: ‘Oostenrijksche Troepen’ and ‘Fransche Troepen’. No. 13 & No. 14. Two popular prints with soldiers in the Austrian and French army.The print of the Austrian army shows at the top three members of the cavalry, and at the bottom 7 nearly identical members of the infantry with a commander. The verses in the centre highlight their courage and patriotism: “Vooruit dan, legerschaar van dapp’ren, Ten strijd voor Vorst en Vaderland, Daar Waar Radetzky’s vaandewappren Waar windischgratz zijn aad’laar pland.” The print of the French army is also divided into two rows. At the top are 4 members of the cavalry, of which two are mounting their horse, one is blowing a trumpet, and the fourth spurs on his prancing horse. Again the bottom row is made up of 7 identical members of the infantry and one commander. Den Bosch, Lutkie & Cranenburg (1848 1881), numbered ‘No. 13’ and ‘No. 14’. Nr. 13: 2 woodcut illustrations on paper; stencil coloured in yellow, blue and red; 4-line verses in four columns; total: 315 x 375 mm; left margin missing, small taperestored tear on the left (not affecting the image), Nr. 14: 2 woodcut illustrations on paper; stencil coloured in yellow, blue and red; total: 315 x 375 mm; small parts of margins missing. Meyer p. 226, Boerma p. 784 (Lutkie 13). Reference no. 63515 (CP 116) € 48,40

122


Centsprent: Zie hier o lieve Jeugd! een aantal oorlogs helden: Die door het oorlogsvuur, den vreden eens herstelden, No 4. Children’s print with 16 war heroes or soldiers on horseback. All men are recognisable by their attire, wearing different types of uniforms, head dress and weapons. In the accompanying verses they are identified as e.g. Artillerist, Huzaar (Hussar), Grenadier, or Mammeluk (Mamluk).Woodcuts by Christiaan Jacob Schuyling, signed ‘Schuyling’ in bottom right illustration.Rotterdam, T. C. Hoffers (1820 - 1839), ‘Te Rotterdam, ter Boekdrukkerij van T.C. Hoffers, in de Korte Pannekoekstraat bij de Nieuwe Markt, Wijk I, No. 330.’ numbered ‘No. 4’ in upper right corner, but in Hoffers’ stock numbered 3. 16 woodcut illustrations (each ca. 75 x 65 mm) on hand-made paper, hand coloured in red and blue; 2-line verses under each image; total: 400 x 335 mm; Pro Patria watermark; slightly frayed edges. Meyer p. 172, Boerma p. 764 (Hoffers 3). Reference no. 63513 (CP 114) € 211,75

123


Centsprent: Deeze, nieuw prent kan ons vermelden, / De glorie der september helden ... No. 41. Catchpenny print of 16 images of soldiers and other armed figures, mocking the Belgian September Revolution (Belgische Opstand, September Revolutie) of 1830, criticising both the Belgian rebels for treason, and the Dutch soldiers for withdrawing out of cowardice. The figures’ weakness and disloyalty are highlighted through humoristic, sarcastic comments, such as “Och, was ik thuis gebleven! / ‘k Moet van courage beven,” or “’k Ben moedig, zoo gij ziet, / Van verre vrees ik niet.” Den Bosch, Lutkie & Cranenburg (1848 1881), numbered ‘No. 41.’ in the top centre. The print was previously published by T.J. Wijnhoven-Hendriksen (ca. 1832 – 1849) under nr. 44. 16 woodcut illustrations of various sizes on paper; stencil coloured with yellow, red and blue; under each image a 2-line verse; total: ca. 320 x 390 mm; small restorations on the verso, and small tape ghosts on the outer sides of the folds. Meyer p. 227, Boerma p. 785 (Lutkie 41). Reference no. 63207 (CP 016) € 121,00

124


Centsprent: Soldaaten in het veld, no. 15. Two scenes with soldiers camping out in the field. The top image is captioned ‘Soldaaten ‘t hout hakkende om de Hutten te maaken’ and shows soldiers cutting down trees and starting a fire. The bottom is captioned ‘Soldaaten op Bywacht de Pot gereed maakende’, showing soldiers standing guard, warming their hands by the fire, cooking a meal, and resting in their hut.Inscriptions in ink on verso: ‘S.B.V’, and in pencil: ‘S.B. Verdam’.Zaltbommel, Noman (1814 - 1845), via F. Holtkamp, Sneek, who is mentioned on the print; numbered ‘No. 15’ in upper right corner. 2 woodcut illustrations (each 95 x 295 mm) on handmade paper, hand coloured in blue and brown; captions under each image; total: 330 x 400 mm; folded three times, large horizontal crease with several holes, fragile. De Meyer p. 244, Boerma p. 790 (Noman 15). Reference no. 63340 (CP 043) € 151,25

125


Centsprent: Nederlandsche heldenscharen / Die bij hun beleid en moed, / Juistheid in beweging paren, / Ziet gij in deez' heldenstoet. F. Catchpenny print showing two branches in the Dutch army, at the top the infantry (‘Nederlandsche Infanterie’) marching in columns, and at the bottom the artillery (‘Nederlandsche Artillerie’) on the road and shooting a canon.Gorinchem, Jacobus Noorduyn (1819 1840), mentioned on the print: ‘Te Gorinchem bij J. Noorduijn, Drukker en Boekverkooper’; lettered ‘F’ at the top right. 4 woodcut illustrations (each ca. 125 x 145 mm) on paper; hand coloured in blue, green, brown and yellow; under each image a caption, text in letterpress; total: 420 x 340 mm; Pro Patria Watermark, countermark: 'MVD & Zoon’; folded twice, small tear along the left fold, for the rest paper in good condition. De Meyer p. 261, Boerma p. 800 (Noorduyn T). Reference no. 63352 (CP 055) € 199,65

126


Centsprent: Den dappren krijgers die gij hier in prent aanschouwt, / Werd vrijheids edle zaak vereerend toevertrouwd ... N. 33. Children’s print of the Dutch infantry and cavalry in two rows. The top row shows an officer and seven almost identical members of the infantry with bayonets on their muskets. In the bottom row are four soldiers on horseback. Deventer, J. de Lange (1818 - 1845); via Mindermann & Co., Amsterdam, whose address is mentioned on the print: ‘Te Amterdam, bij Mindermann en Comp., in de Bergstraat’; numbered ‘No. 33.’ in the upper right corner. 2 woodcut illustrations (each ca. 125 x 330 mm) on paper, hand coloured with orange and brown; 4 verses in letterpress; total: 330 x 430 mm; Pro Patria Watermark; folded three times, damaged and torn along the folds. Meyer p. 205, Boerma p. 777 (Lange 33). Reference no. 63488 (CP 089) € 121,00

127


Centsprent: Hier ziet ge de kleedij van ‘t leger dat voor dezen, / Onder Napoleon de vijand deden vreezen. No. 43. Nine members of Napoleon’s army on horseback, all of different ranks:‘Kolonel’ (Colonel), ‘Mameluk’ (Mamluk), ‘Generaal eener Divisie’ (major general), ‘Kurassier’ (Cuirassier), ‘Cornet der Kurassier’ (Cornet), ‘Hussaar’ (Hussar), ‘Kommandant der Keizerlijke Garde’ (Commandant of the Imperial Guard), ‘Jager der Keizerlijke Garde’ (Chasseur of the Imperial Guard) and ‘Chef’ (Chief). The text identifies the men by their attributes and describes how they acquired these ranks because of their courage and loyalty. Amsterdam, P.C.L. van Staden (c. 1850 - c. 1870); address mentioned on the print: ‘Te Amsterdam, bij P.C.L. van Staden Czn. Heerengracht hoek Hartenstraat’; numbered ‘No. 43.’ in upper right corner. 9 woodcut illustrations (each 90 x 90 mm) on paper, hand coloured in blue and yellow; under each image a 4line verse, total: 430 x 330 mm; folded once, small tear in bottom margin. De Meyer p. 295, Boerma p. 820 (Staden 43). Reference no. 63240 (CP 036) € 60,50

128


Centsprent: Deze vyf zyn spaanshe heeren, Zoo als men zien kan aan hun kleeren … No. 6. 10 gentlemen and soldiers, at the top five Spanish men (Don Carlos, an envoy, a ruler, Don Juan, Spinola), and at the bottom five Dutch soldiers from the 'Hollandsche Armee' (drum major, grenadier, rifleman, cannoneer, and a resting soldier); probably intended to be cut out.Rotterdam, J. B. Ulrich, (1816 – 1849), numbered ‘No 6.’ in upper left corner; via D. Lijsen, mentioned on the print: ‘te Amsterdam, bij D. Lijsen.’. 10 woodcuts (each ca. 135 x 60 mm) on paper, hand coloured with blue and brown; captions in letterpress above each row, and 2-line verses below each figure; total: 440 x 430 mm; backed in two areas, portion lacking in the bottom right corner, some foxing, water stain in the middle right. De Meyer p. 319, Boerma p. 832 (Ulrich 6). Reference no. 63125 (CP 003) € 90,75

129


Centsprent: [Militaire Ruiterij]. No. 50. Popular print with images of horsemen, probably members of the cavalry in the Napoleonic Era, with distinctive headdress and costume. All are praised as heroes for their bravery and loyalty to their country.With inscription in ink: ‘G.J. Jensma’ and on verso ‘Goffe Sjoerds Posthuma, 1860’ and ‘Goffe sjoert postuhma (sic)’. Other prints owned by Posthuma are in the collection. Deventer, J. de Lange (1818 - 1845); via Mindermann & Co., Amsterdam, whose address is mentioned on the print: ‘Te Amterdam, bij Mindermann en Comp., in de Bergstraat’; numbered ‘No. 50.’ in the upper right corner. 16 woodcut illustrations (each ca. 55 x 75 mm) on paper, hand coloured in red; under each image a 2-line verse; total: 410 x 325 mm; Pro Patria Watermark, countermark: H D Goey; folded twice. Meyer p. 206, Boerma p. 778 (Lange 50). Reference no. 63487 (CP 088) € 151,25

130


131


Biblical events, parables and miracles

132


133


Centsprent: Bevlytig u, o Christen Jeugd! / By ’t inzien deezer Prent-Tafreelen ... No. 63. Large devotional children’s print of 7 medallions connected with ribbons and flower branches, showing scenes from the life of Christ: the Temptation, the Agony in the Garden of Gethsemane, Judas’ Betrayal of Christ, Christ before Pilate, Crucifixion, Descent from the Cross, and the Entombment. Signed Robyn, (A. or J.). The verses below the medallions encourage children to follow Christ in fasting and prayer and to remain steadfast in their faith. Amsterdam, Erve de Wed. C. Stichter (1715 – 1813); address mentioned on the print: ‘Te Amst. by de Erfgen. van de Wed. C. Stichter, Boekverkop. in de Warmoesstraat, schuin over de Oude kerksteeg, in de Oude Berg Calvarie, in N. 159’; numbered 'No 63.' in upper right corner. Large woodcut illustration (278 x 255 mm) on paper; hand coloured in yellow, blue and brown; 12 verses in letterpress; total: 415 x 325 mm; tear in upper right margin, slightly creased, frayed and foxed; De Meyer p. 305, Boerma p. 824 (Stichter 63). Reference no. 63120 (CP 001) € 272,25

134


Centsprent: Deez’ Prent vertoond Gods Zoon, in Smart en Heerlijkheid, / Uw Hart zy vroeg en laat aan zynen dienst gewyd. No. 30. Popular print with various instances in the life of Christ (Christus), reminding the reader of Christ’s sorrows as saviour. Zacharias visited by the angel, the visitation of Mary, Jesus´s birth, His baptism, Nicodemus, Jesus teaching on the Lake of Gennesaret, the Prodigal Son, The Parable of the Tenants, Jesus´s triumphal entry into Jerusalem, the Last Supper, the Betrayal of Jesus, the Flagellation of Jesus, and the Resurrection. Amsterdam, J. Wendel en Zoon (1795 – 1842), via de Erve H. Rynders, Amsterdam, whose address is mentioned on the print: ‘by de Erve H. Rynders, in de Tweede Tuin Dwarsstraat te Amsterdam,’ numbered ‘No. 30’ in top right corner. 16 woodcut illustrations (each ca. 45 x 60 mm) on paper; hand coloured in orange and brown; 2-line verses under each image, with citations of the corresponding bible verses, in letterpress; total: 330 x 415 mm; Pro Patria watermark, countermark: ‘GR’, with crown, encircled with branches, (Voorn 1960, nr. 140, pp. 136, 192); folded twice, slightly creased. De Meyer p. 338, Boerma p. 838 (Wendel 30). Reference no. 63472 (CP 073) € 302,50

135


Centsprent: Deez’ Prent vertoond Gods Zoon, in Smart en Heerlijkheid, / Uw Hart zy vroeg en laat aan zynen dienst gewyd. No. 30. Popular print with various instances in the life of Christ (Christus), reminding the reader of Christ’s sorrows as saviour. Zacharias visited by the angel, the visitation of Mary, Jesus´s birth, His baptism, Nicodemus, Jesus teaching on the Lake of Gennesaret, the Prodigal Son, The Parable of the Tenants, Jesus´s triumphal entry into Jerusalem, the Last Supper, the Betrayal of Jesus, the Flagellation of Jesus, and the Resurrection. Amsterdam, Wed. C. Kok-van Kolm (1845-1863), address mentioned on the print: ‘Te Amsterdam, bij de Wed. C. Kok, Geb. Van Kolm, Tuinstraat, No. 403’; numbered ‘No. 30.’ in top right corner. 18451863. 16 woodcut illustrations (each ca. 45 x 60 mm) in borders on mechanically-produced paper; hand coloured in orange and blue; 2-line verses under each image, with citations of the corresponding bible verses, in letterpress; total: 327 x 395 mm; worn place with some worm holes in the bottom woodcuts; folded twice, small tears along the folds, reinforced on verso. De Meyer p. 338, Boerma p. 838 (Wendel 30). Reference no. 63612 (CP 125) € 302,50

136


Centsprent: Bijbelsche figuren van het Nieuwe Testament. 83. Popular print with biblical figures and scenes, such as the return of the prodigal son, Zacchaeus in the tree, Jesus entering Jerusalem, and Jesus expelling the merchants and money changers from the Temple. Amsterdam, Erven Wed. J. Ratelband and J. Bouwer (1782 1793), ‘t’ Amsterdam, by de Erven de Wed. J. Ratelband, en J. Bouwer, op de Rooze Gragt, Zuyd-Zyde, in de Bybel-Drukkerye.’ Numbered ‘83’ in upper right corner. 16 woodcut illustrations in frames (each ca. 50 x 70 mm) on paper; hand coloured in orange, yellow and blue; 2-line verses under each image, in letterpress; total: 315 x 410 mm; folded twice, light stain in the right margin, small restoration on verso. De Meyer p. 272, Boerma p. 805 (Ratelband 83). Reference no. 63358 (CP 061) € 332,75

137


Centsprent: Bijbelsche Zinnebeelden des Nieuwe Testament, no. 29. Moralising print of various New Testament parables and miracles, such as the rich man and Lazarus, Christ healing the blind man, and Zaccheus and the sycamore tree.Zaltbommel, Noman (1814 - 1830), mentioned on the print: ‘te Z. Boemel By J. Noman, Boekdrukker’; numbered ‘No. 40’ in upper right corner. 9 woodcut illustrations (each ca. 50 x 75 mm) on handmade paper; hand coloured in orange and yellow; 4-line verses under each image, in letterpress; total: 408 x 307 mm; Pro Patria watermark; stains at the right edge; right margin cut off, traces of previous mounting on verso. De Meyer p. 246, Boerma p. 791 (Noman 40). Reference no. 63343 (CP 046) € 242,00

138


Centsprent: Bijbelsche Zinnebeelden voor de Jeugd, No. 29. Children’s print teaching the readers the moral lessons of Biblical events: the creation of Eve; the forbidden fruit (here left), the Great Flood, Jacob’s Ladder, the reunion of Esau and Jacob, the Pharaoh’s army drowning in the Red Sea, the Ark of the Covenant, Canaan, The Punishment of Korah, Dathan and Abiram, the bronze serpent, Gideon’s army, the ravens feeding Elijah (Elias, Elia), Mordecai’s triumph, the three men in the furnace, Jonah and the plant, and the Last Judgement. Zaltbommel, Noman (1814-1830), mentioned on the print: ‘By J. Noman, Boekdrukker te Z. Boemel; numbered ‘No. 29’ in upper right corner.’ 16 woodcut illustrations (each ca. 50 x 75 mm) on handmade paper; woodblocks from the 17th or 18th century; hand coloured in orange and yellow; 4-line verses under each image; total: 410 x 325 mm; watermark: ‘J Pannekoek’; frayed edges, left margin cut off. De Meyer p. 244, Boerma p. 791 (Noman 43). Reference no. 63342 (CP 045) € 302,50

139


Centsprenten: Deez' bybel-prent kan u, o jeugd! al spelend toonen, / Hoe God in 't oude Verbond reeds by zyn volk blyft wonen ... No. 17. Children’s prent showing various biblical events such as David defeating Goliath, David and Bathsheba, Esther and the king, and Samson and Delilah. Amsterdam, Erve H. Rynders (1781 - 1845), address mentioned on the print: ‘Te Amsterdam, by d’Erve H. Rynders, in de Tweede Tuindwarsstraat’; numbered ‘No. 17.’ in upper right corner. 24 woodcut illustrations (each ca. 40 x 60 mm) on paper; hand coloured in orange, blue an brown; 2-line verses under each image; total: 410 x 330 mm; Pro Patria watermark, countermark: ‘GR’, with crown, encircled with branches, (Voorn 1960, nr. 140, pp. 136, 192); folded twice, some small stains. Boerma p. 810 (Rynders 17). Reference no. 63466 (CP 067) € 332,75

140


Centsprent: Les 3 chemins de l’Eternité. Popular print showing an allegorical map based on Matthew 7:13-14: ‘Enter through the narrow gate. For wide is the gate and broad is the road that leads to destruction, and many enter through it. But small is the gate and narrow the road that leads to life, and only a few find it’ (NIV).In this print’s version, there are not two, but three gates. The narrow gate and thorny path to the holy trinity in the heavenly Jerusalem is walked by pilgrims carrying the cross of Christ and the torch of faith. Through the wide gate go the unbelievers playing music and dancing, but they are led to the burning fire of hell. The third road is parallel to that of the true believers, but they failed on the way and are in the end still led to hell, because ‘death is unforgiving’. This is further explained in the inscription at the bottom: ‘Voyez, voici la Porte large, sans cesse ouverte à tout venant; chacun y entre sans obstacle. Qui veut gagner argent et biens, doit y porter ses pas en hâte. Des milliers ont déjà passé, jaloux d’honneur et de fortune: pour la volupté, l’ambition, il n’est pas un autre chemin; les chants, la danse et la musique forment des passagers l’escorte; petits et grands, pauvres et riches, tous croient en suivant cette route aller dans le sein d’Abraham.’Inscribed ‘F. G.’ (Francois Georgin) at the bottom right.Epinal, Jean-Charles Pellerin (1825). Woodcut illustration (370 x 580 mm) on paper; stencil coloured in blue, green, red, brown and yellow; 16 captions clarifying elements in the illustrations; total: 425 x 645 mm; folded three times, some small tears along the folds; traces of previous mounting on verso.Gernier-Pelle p. 564, Dumont 1965 p. 37, Aynoud 1957 p. 358. Reference no. 63353 (CP 056) € 242,00

141


142


Centsprent: Zie hier, ô jonge jeugd! Des Waerelds eerste stand; Waarin de boosheid reeds vertoond de overhand. No. 26. Children’s print showing several events from the book of Genesis, such as the creation of man, the Tree of the Knowledge of Good and Evil, The Expulsion from the Garden of Eden, Noah’s Ark, the Tower of Babel, Abraham’s family moving to Canaan, Melchizedek blessing Abraham, Abraham and the three angels, the destruction of Sodom and Gomorrah, Loth and his daughters, and Abimelech and Sarah. Amsterdam, Wendel (1803 - 1845); via Erve H. Rynders, Amsterdam, whose address is mentioned on the print: ‘Te Amsterdam, by d’Erve H. Rynders, in de Tweede Tuindwarsstraat’ numbered ‘No. 26.’ in upper right corner. Later republished under the same number by Rynders under the title ‘Zie hier o jonge jeugd! Een Lusthof voor ‘t gemoed, Hoe zondig ‘t Aardryk is, God schiep ‘t alles goed.’ (De Meyer p. 281, Boerma p. 810). 16 woodcut illustrations (each ca. 55 x 70 mm) on paper; hand coloured in orange and yellow; 2-line verses under each image with citations of the corresponding verses from Genesis; total: 330 x 420 mm; Pro Patria watermark, countermark: ‘GR’, with crown, encircled with branches, (Voorn 1960, nr. 140, pp. 136, 192); restorations on verso, slightly creased. De Meyer p. 338, Boerma p. 838 (Wendel 26). Reference no. 63467 (CP 068) € 302,50

143


Centsprent: Ziet eens leesgierige jeugd / Wat men u weer op komt dissen ... 43. Children’s print with several figures and scenes from the New Testament. The four evangelists Matthew (Mattheüs), Mark (Marcus), Luke (Lucas), and John (Johannes); Christ healing the sick (Mt 4:24); Christ’s disciples plucking grain on the Sabbath (Mt 1:12); part of the parable of the wedding banquet (Mt 22:12/13, mistakenly cited as Mt 21:12/13); the Pharisees asking whether one should pay the imperial tax to Caesar (Mt 22: 17-21); the parable of the bags of gold (Mt 25: 15 – 30), the denial of Peter (Mt 26:70-74), Peter recalling Jesus’ prediction of his denial (Mt 26:75) and Philip and the Ethiopian (Acts 8:30 - 39). Amsterdam, Wed. H. van der Putte (1766 – 1767), address mentioned on the print: ‘Amsterdam / Gedrukt by de wed: Hendrik van der Putte / Papier en Boekverkoopster op ‘t Water in de Loots-man.’ Numbered ‘43’ at the top of the leaf. 12 woodcut illustrations (each ca. 50 x 75 mm) on paper; hand coloured in orange, yellow and blue; 6 verses, 4-line verses under each image with a citation of the corresponding bible verse; total: 370 x 315 mm; in good condition, except light stains in upper margin. De Meyer p. 219, Boerma p. 782 (Putte 43). Reference no. 63356 (CP 059) € 423,50

144


Centsprent: Let, schrandre Jeugd! Op 't nut dat u deez' prent-tafreelen / Van veel Historiën des Bybels mededelen, no. 88. Children’s print telling the biblical events of Joseph (Josef) and Moses (Mozes) in Egypt. The first half, focusing on Joseph, narrates his imprisonment after Potiphar’s wife tries to seduce him, how he wins the king’s favour by explaining his dream, and how he is later reunited with his brothers and father. The second half lays out Moses’ birth, God’s calling of Moses from the burning bush, the ten plagues, and how Moses led the Israelites out of Egypt. Signed Robyn. Amsterdam, Erve de Wed. C. Stichter (1715 – 1813); address mentioned on the print: ‘Te Amsterdam, by de Erfgen van de Wed. C. Stichter, Boekverkopers op ‘t Rokkin, in de oude berg Calvarie’; numbered ‘No. 88.’ in upper right corner. 12 woodcut illustrations (each ca. 50 x 70 mm) on handmade paper; 4 verses, under each image a 4-line verse; total: 375 x 310 mm; nice print, relatively rare; fragile, and partially torn along one of the two folds. Meyer p. 306, Boerma p. 824 (Stichter 88). Reference no. 63226 (CP 028) € 151,25

145


Centsprent: Mirakuleus beeld van O.-L.-V. te Scherpenheuvel / Image miraculeuse de N.-D., à Montaigu / Den Godzaligen Huyszegen / La bénédiction du Ménage. Popular religious print with two images. The left showing Our Lady of Scherpenheuvel up in a tree, with bellow her pilgrims praying. Below the image is a prayer to the Holy Mother of God. After a miraculous image of Mary appeared in an Oak tree there in the late Middle Ages, Scherpenheuvel became one of the first pilgrimage destinations in Belgium. On the right a crucified Christ, with Mary mourning at the foot of the cross. The image is surrounded by a prayer for the blessing of a new home. Schaarbeek, Hemeleers & Van Houter (1827 - 1894).Collector's mark on verso: ‘Edw. Ipers / Oever 27, / Antwerpen’. Two woodcut illustrations (205 x 135 mm and 200 x 105 mm) on paper, stencil coloured in red, yellow and blue; total: 340 x 390 mm; paper in good condition, except small reinforcements on verso. Meyer p. 162, Boerma p. 758 (Hemeleers -). Reference no. 63505 (CP 106) € 78,65

146


Centsprent: Paasch-Prys No. 32. Religious print of Christ (Christus) with his disciples seated around a table during the Last Supper (Laatste Avondmaal), in a room with two large windows; signed J. v. Lieshout, 1793 (Johannes Egbertus).Rotterdam, Jacobus Thompson (1786 – 1810),’Te Rotterdam, gedrukt by Jacobus Thompson, Boekverkooper op de Hoogstraat, by de Nauwemarktsteeg.’ numbered ‘No 32’ in upper right corner. Large woodcut illustration (305 x 305 mm) on paper, total: 390 x 325 mm; small stains in the centre of the image, small hole in the bottom margin. De Meyer p. 315, Boerma p. 830 (Thompson 32). Reference no. 63126 (CP 004) € 393,25

147


Centsprent: Zie hier drie vaderen van de eerste wereld, met / De drie aartsvaderen van Isrel, vóór de wet ... No. 112. Religious print showing a set of stairs, with on each of the thirteen steps a figure of the old-testament patriarchs, kings and prophets: Mozes, Adam, Methusalem, Noah, Abraham, Isaak, Iacob, Moses, Aron, Josua, David, Saolom, Esaya, Jeremia. In the arch under the stairs is a scene with the temptation of Adam and Eve by the serpent at the tree of knowledge of good and evil. Inspired by a copper engraving by Ottens (Boerma p. 492). The print is part of a series of stairs Stichter published with senses, planets, virtues, and biblical figures (Boerma p. 825, Stichter 99 – 101, 110-113). Amsterdam, Erve de Wed. C. Stichter (1715 – 1813); address mentioned on the print: ‘Te Amsterdam, by de Erfgen van de Wed. C. Stichter, Boekverkopers op ‘t Rokkin, in de Oude Berg Calvarie’; numbered ‘No 112.’ in upper right corner. Large woodcut illustration (245 x 255 mm) on paper, with a verse in two columns; total: 410 x 320 mm; Pro Patria watermark; lightly frayed edges; mounted on yellow cardboard. De Meyer p. 307, Boerma p. 825 (Stichter 112). Reference no. 63130 (CP 006) € 332,75

148


Centsprent: De twaalf Aartsvaderen, de Zonen Jacobs ziet / Men hier ten Trappenrei gesteld ... No. 113. Religious print showing a set of stairs with on thirteen steps Jacob and his sons, the patriarchs (aartsvaders): Benjamin, Joseph, Naphtali, Asser, Gad, Dan, Isachar, Zabulon, Juda, Levi, Simion, and Ruben. In the arch under the stairs Jacob’s dream, with angels ascending and descending the ladder (Gen. 28:10-19). Inspired by a copper engraving by Ottens (Boerma p. 492). The print is part of a series of stairs Stichter published with senses, planets, virtues, and biblical figures (Boerma p. 825, Stichter 99 – 101, 110-113). Amsterdam, Erve de Wed. C. Stichter (1715 – 1813); address mentioned on the print: ‘Te Amsterd by de Erfgen. Van de Wed. C. Stichter, Boekverkopers in de Warmoesstraat, schuin over de Oude kerksteeg, in de Oude Berg Calvarie, in N. 159’ numbered ‘No 113.’ in upper right corner. Large woodcut illustration (230 x 255 mm) on paper, hand coloured with red; under the image a verse in two columns; total: 395 x 320 mm; probably used as a cartoon, judging from the pinpricks along the outlines; small restorations on verso. De Meyer p. 307, Boerma p. 825 (Stichter 113). Reference no. 63131 (CP 007) € 272,25

149


150


Centsprent: De twaalf Aartsvaderen, de Zonen Jacobs ziet / Men hier ten Trappenrei gesteld ... No. 185. Religious print showing a set of stairs with on thirteen steps Jacob and his sons, the patriarchs (aartsvaders): Benjamin, Joseph, Naphtali, Asser, Gad, Dan, Isachar, Zabulon, Juda, Levi, Simion, and Ruben. In the arch under the stairs Jacob’s dream, with angels ascending and descending the ladder (Gen. 28:10-19). Inspired by a copper engraving by Ottens (Boerma p. 492). Turnhout, Glenisson en zonen (1856 - 1900); numbered ‘No 185.’ in bottom right corner. The print is published without an address, but the publishing house of Glenisson can be identified by the ‘G’ at the bottom, the sign that was used after his company with Van Genechten had been disbanded in 1856. Large woodcut illustration (235 x 246 mm) on mechanically produced paper, hand coloured with red; under the image a verse in two columns; total: 395 x 320 mm; folded twice, and folds heavily restored with tape on verso, and slightly torn edges. De Meyer p. 144, Boerma p. 750 (Glenisson 185). Reference no. 63609 (CP 122) € 181,50

151


Animals

152


153


Centsprent: Various animals, N. 73. Children’s print of various animals: a deer, porcupine, donkey, cow, harrier, parrot, monkey, squirrel, eagle, pheasant, owl, guinea fowl, bear, turkey, swan and a wild boar. Deventer, J. de Lange (1818 - 1845), via Mindermann & co., Amsterdam, whose address is mentioned on the print: ‘Te Amsterdam, bij Mindermann en Comp., In de Bergstraat’; numbered ‘N. 73.’ in the upper right corner. 16 woodcut illustrations (each ca. 60 x 50 mm) on paper; hand coloured in orange and blue, with brownish colouring added later; under each image a caption with the animal’s name; total: 415 x 340 mm; folded three times, worn at the folds and restored on verso with tape. De Meyer p. 207, Boerma p. 778 (Lange 73). Reference no. 63347 (CP 050) € 108,90

154


Centsprent: De Bekranste Os, No. 18 Large woodcut illustration of a ‘kermis os’ in a frame with floral decorations and chalices. A bull like this was decorated for a procession through the city on fairs and feast days such as Carnival, Easter or Pentecost, and slaughtered afterwards, as mentioned in the inscription: ‘Dit beest is fraai versierd, maar ’t geld al ras zijn leven, / Dan zal zijn lekker vleesch ons nuttig voedsel geven’.Rotterdam, T.J. Wijnhoven-Hendriksen (1819 - 1849), via Erve Wijsmuller, mentioned on the print: ‘Te Amsterdam bij de Erve Wijsmuller’; numbered ‘no. 18.’ in the upper right corner. Large woodcut illustration on mechanically produced paper, hand coloured with blue, yellow and orange; under the image a 2-line verse; total: 335 x 440 mm; folded twice, small tears at the folds; frayed edges; two tape ghosts from former repair. Meyer p. 343, Boerma p. 839 (Wijnhoven 18). Reference no. 63210 (CP 019) € 169,40

155


Centsprent: De Bekranste Os. No. 55. Large woodcut illustration of a ‘kermis os’ in a frame with floral decorations and chalices. A bull like this was decorated for processions through the city on fairs and feast days such as Carnival, Easter or Pentecost, and slaughtered afterwards, as mentioned in the inscription: ‘Dit beest is fraai versierd,maar ’t geld al ras zijn leven, / Dan zal zijn lekker vleesch ons nuttig voedsel geven’. Den Bosch, Lutkie & Cranenburg (1879 – 1881), numbered ‘No. 55.’ in the upper left corner. A reprint of the woodblock printed by T.J. WijnhovenHendriksen, Rotterdam (1819 - 1849), No 18. Large woodcut illustration (215 x 340 mm) on paper, hand coloured with blue, yellow and red; under the image a 2-line verse; total: 335 x 430 mm; folded twice, tape restorations on verso. Meyer p. 227, Boerma p. 786 (Lutkie 55). Reference no. 63484 (CP 085) € 302,50

156


Centsprent: Een Grundel, Karper, Baars, een Scholletje of een Voren, / ’t Is alles goede kost; maar wie at ooit een Horen, No. 16. Catchpenny print with illustrations of 5 fish (goby, carp, perch, plaice, and roach) and a shell; under each image a caption with the name of the fish; Rotterdam, T.J. WijnhovenHendriksen (1819 - 1849), numbered ‘No. 16.’ in the upper right corner; via J. Proost te Leeuwarden (mentioned on the print). Six woodcut illustrations on paper; hand coloured with red; under each image a caption; total: 320 x 390 mm; Pro Patria Watermark, folded three times, various small holes and tears along the folds and edges, water stains, scribbles in pencil on the verso. Meyer p. 343, Boerma p. 839 (Wijnhoven 16). Reference no. 63208 (CP 017) € 90,75

157


Centsprent: Eene Eend met hare Kiekens ... No. 1. Children’s print of various images without much coherence, showing animals like a duck, an elephant, a lady on horseback and a statue for Peter I the Great (Peter de Grote). The first print in the Erve Wijsmuller’s second series of 28 children’s prints, created with reused wood engravings of animals, people, buildings, professions, and means of transportation. The various images show little coherence. The captions are sometimes funny, but often little inventive. Despite that, prints from this series were widely distributed and they are in many public collections (Boerma pp. 304 – 306). Amsterdam, Erve Wijsmuller (1828 – 1851), mentioned on the print; numbered ‘No. 1.’ in upper right corner. 11 wood engravings of various sizes; hand coloured with yellow, red and blue; under each image a short caption; total: 340 x 425 mm; folded twice, a small hole where the two folds meet. Boerma p. 841 (Wijsmuller 1). Reference no. 63203 (CP 015) € 54,45

158


Centsprent: Geliefde jeugd in ieder dier, / Blinkt gods weldadig Albestier, No. 153. Children’s print with various animals: tiger, wolf, horse, cow, rabbit, lamb, owl, cuckoo. Under each image a verse describing the animal’s character, natural activities, and its use to people, e.g. ‘De koe, op ’t veld een schoon sieraad, Wanneer ze daar zoo grazend staat’. Schaarbeek, Hemeleers & Van Houter (1827 - 1894); numbered ‘No. 153.’ in upper right corner. The woodblock was part of the collection that Hemeleers bought from Van Staden in 1870. Van Staden published the print under number 86. 8 woodcut illustrations (each ca. 90 x 75 mm) on mechanically produced paper, hand coloured with yellow, red, blue and green; total: 305 x 385 mm; folded once, pasted on cardboard. De Meyer p. 166, Boerma p. 761 (Hemeleers 153). Reference no. 63610 (CP 123) € 48,40

159


Centsprent: Geliefde jeugd in ieder dier, / Blinkt gods weldadig Albestier, No. 86. Children’s print with various animals: tiger, wolf, horse, cow, rabbit, lamb, owl, cuckoo. Under each image a verse describing the animal’s character, natural activities, and its use to people, e.g. ‘De koe, op ’t veld een schoon sieraad, Wanneer ze daar zoo grazend staat’. Amsterdam, Van Staden (1812 - 1870), numbered ‘No. 86.’ in upper right corner. 8 woodcut illustrations (each ca. 90 x 75 mm) on paper, hand coloured with yellow, red, blue and green; Under each image a 4-line verse; total: 275 x 360 mm; folded twice, three small stains in one of the images. De Meyer p. 298, Boerma p. 822 (Staden 86). Reference no. 63134 (CP 009) € 48,40

160


Centsprent: Zes Fab’len, lieve jeugd, word’u hier voorgesteld ... No. 45. Children’s print with 6 moralising and pedagogical fables, teaching children lessons in gratitude, prudence, and understanding that unfortunate events can be a blessing in disguise. Amsterdam, P.C.L. van Staden (c. 1850 – c. 1870); numbered ‘No. 45.’ in upper right corner. 6 woodcut illustrations (each ca. 85 x 105 mm) on paper; hand coloured with yellow, red and blue; under each image a 4-line verse; total: 375 x 295 mm; folded twice. De Meyer p. 296, Boerma p. 821 (Staden 45). Reference no. 63202 (CP 014) € 54,45

161


162


Literature Nico Boerma, Aernout Borms, Alfons Thijs, and Jo Thijssen. Kinderprenten, volksprenten, centsprenten, schoolprenten: populaire grafiek in de Nederlanden 1650-1950. Nijmegen: Vantilt, 2014. Aernout Borms. Centsprenten: massaproduct tussen heiligenprent en stripverhaal. Zwolle: d'jonge Hond, 2010. Marieke van Delft and Clemens de Wolf. Bibliopolis, geschiedenis van het gedrukte boek in Nederland. Zwolle: Waanders, 2003. Jean-Marie Dumont. Les maîtres graveurs populaires 1800-1850. Epinal: L'Imagerie Pellerin, 1965. Nicole Garnier-Pelle and Maxime Préaud. L’Imagerie populaire francaise II. Paris: Bibliothèque nationale de France, 1996. Maurits de Meyer. Volksprenten in de Nederlanden, 1400-1900: religieuze, allegorische, satirische en verhalende prenten, speelkaarten, ganzen- en uilenborden, driekoningenbriefjes, nieuwjaarsprenten. Amsterdam: Scheltema & Holkema; Antwerpen: Standaard, 1970. Maurits de Meyer. De volks- en kinderprent in de Nederlanden van de 15e tot de 20e eeuw. Antwerpen en Amsterdam: Standaardboekhandel, 1962. Ronald Prud'Homme van Reine. Liever niet de lucht in; de omstreden zelfmoordaanslag van Jan Carel van Speijk. Amsterdam: de Arbeiderspers, 2016. Marijke Spies. ‘Amsterdamse doolhoven. Populair cultureel vermaak in de zeventiende eeuw. ’ In: Literatuur 18 (2001), pp. 70-78. Jo Thijssen. 'Leerzame prentjens voor de jeugd': schoolprenten van de Maatschappij tot Nut van ’t Algemeen. Utrecht: Matrijs, 2009. Patricia Vansummeren. Kinderprenten van Brepols. Turnhout: Brepols, 1996. C. F. van Veen. Centsprenten: Nederlandse volks- en kinderprenten = Catchpennyprints : Dutch popular- and childrenprints (transl. Particia Wardle). Amsterdam: Rijksmuseum/Rijksprentenkabinet, 1976.

163


C. F. van Veen. Drie eeuwen Noordnederlandse kinderprenten. 's-Gravenhage: Van Hoeve, 1971. Henk Voorn. De papiermolens in de provincie Noord-Holland. Haarlem: Papierwereld, 1960. François Gerard Waller. Biographisch Woordenboek van Noord Nederlandsche Graveurs. Amsterdam: B. M. IsraÍl, 1974.

164


165


166


VOF Antiquariaat van der Steur Balistraat 81B 2585 XN The Hague The Netherlands Opening hours: Saturday 14.00 - 17.00 and by appointment. Tel. . +31 (0) 70 743 90 80 IBAN: NL50ABNA0561545367 (BIC code: ABNANL2A) KvK: 63198851 BTW nr: 8551.33.75 B01 antiquariaat@vandersteur.nl www.vandersteur.nl

167

Catalogue 41 / Catchpenny Prints  

Antiquariaat van der Steur Catalogue 41 Catchpenny Prints