Utrecht – Vltraiectinvs, Episcop(atvs). With title-cartouche, 2 ships, and figurative miles indicator.

designed by the surveyor Balthasar Florisz. van Berckenrode (Delft 1591 – The Hague 1644)

in  likewise  contemporarily  colored  engraving

by Evert Simonsz. van Hamersveldt (1591 – 1653). Inscribed: Auct. Balthazaro Florentio a Berkenrode. Amstelodami, apud Henricum Hondium, Sub insigno Atlantis. A^o. 1628., otherwise as above, and as reflecting the engraver’s view of himself in separate small own cartouche at the lower margin: Evert Sijmonszoon Hamersveldt sculpsit. 38 x 49.3 cm.

Keuning 185; Koeman 165. – From the Mercator Atlas in the Hondius edition of 1630 (Koeman Me 29A) for which this map was expressly created by van Berckenrode during his Amsterdam period (1619/34) as “in graphic respect and with regard to geometrical reliability one of the

greatest  Netherlandish  cartographers  of  the  17^th  century”

(Koeman). Replacing Mercator’s map of Utrecht still contained in the 1628 edition and therefore present here

in  its  earliest  impression

bearing Henricus’ address Sub insigno Atlantis on the Dam where also brother Jodocus II pursued his map trade. The historical-geographical text at the back in Latin. – De Leck (Neder Rijn) from below of Rhenen, thus not with Emmerich anymore as according to Verbeek, Die Niederrheinansichten Jan de Beyers, 1957, p. 41) once belonging to the diocese. In the north adjoining to Haerlemmer Meer + Zuyder Zee. – Especially in the wide white margin foxed, otherwise fine copy

where during the Golden Age, returning from Italy, the Caravaggists with Honthorst and Ter-Brugghen at the top ignited Caravaggio’s revolution of light, but also spread his naturalism, and by this furnished the then Utrecht school of Abraham Bloemaert (“When Rubens came to Utrecht [in 1627] he did not miss to visit B., and also Elisabeth, the queen of Bohemia, honored him with her visit”, Thieme-Becker) with a raised dimension, influencing the non-Italianate Bloemaert himself as a Vermeer van Delft just as the genre painting of Frans Hals and the German Joachim von Sandrart, while “The influence … on the young Rembrandt … certainly (is) the most important chapter within the reception of the Caravaggesque art by the Dutch” (Arthur von Schneider, Caravaggio und die Niederländer, 1933, in not updated second edition of 1967, the latter here p. 67). Created into this environment then

Offer no. 15,051 / EUR  570. / export price EUR  542. (c. US$ 701.) + shipping

„ vielen herzlichen Dank für die Faxübermittlung Ihres Schriftverkehrs mit … Hochinteressant und das Thema (des jagdlichen) ‚Wurstwagen‘ wunderbar anschaulich darstellend! Nochmals vielen Dank! “

(Museum S. B., 23. Februar 2004)