Illustrated bible (17 Ergebnisse)

Zustand: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. Profusely Illustrated (illustrator).

Hardbound. Zustand: Very Good. First Edition. Quarto in dust jacket, 32 pp., illustrated throughout in color.

Soft cover. Zustand: Good. 1st Edition. Tightly bound, clean, with no writing inside. Some handling wear to covers associated with spine hinge. Landscape edition (measuring eleven and three quarter inches). Illustrated with numerous bible study exercises (illustrator).

Paperback. Zustand: fine. First edition. 24mo, 47 pages, stiff brown wrappers, untrmmed, unopened, inked name from 1934 on front blank. [Gill, ERIC GILL BIBLIOGRAPHY, 371]. Illustrated with one wood-engraving: "The Last Judgement" ( P107 ). Issued as Welfare Handbook No. 4.

Hardcover. Zustand: Good. 1856 edition - nm.DCCC.LVL - on black scrolled outer boards raised bars to spine cover with gilt lettering inscriptions inside end paper some mild intermittent spotting otherwsie excerllent condition with tight binding.

Zustand: sehr gut - gebraucht. Gebundene Ausgabe, Zustand: 2, sehr gut - gebraucht, Gebundene Ausgabe, The World Publishing Company, Cleveland, , , Self-Pronouncing Edition. The Holy Bible. Containing the new and old testament, King James Version. The Holy Bible Illustrated.

A delightfully illustrated family Bible, with colour plates and maps, containing both the Old and New Testament. Large 4to (32.5 x 25.5 cm); additional illuminated title, family register filled-in in pen, numerous colour plates and maps, spotting to endpapers and prelims, text-block toned; black morocco, fielded relief in gilt to upper panel, spine lettered in gilt, embossed brass corner-pieces and clasps, all edges gilt, joints slightly rubbed, very good.…

A very-well preserved example of this popular illustrated Victorian family Bible, with many colour and black & white plates depicting scenes from the Old and New Testaments. The family register at the beginning is unused, and the original metal clasps are in full working order. Large 4to (33.5 x 26 cm); additional illuminated title, unused family register, numerous colour and black & white plates, occasional minor spotting; black morocco, fielded relief in gilt to upper panel, spine lettered in gilt, embossed brass corner-pieces and clasps, all edges gilt, a few marks, otherwise near fine.…

Hardcover. Zustand: Very good-. Four volumes, small quarto (19.7 by 14.8 cm.). Captions in Latin (biblical book and chapter) and German (biblical book, chapter, and verse(s) with quote). Copperplate engravings throughout: [1, title], [175, plates]; [1, title], [225, plates]; [1, title], [288, plates]; [148, plates]. Total = 836 unnumbered plates, 3 engraved title pages. Uniformly bound in contemporary sheep with ruled borders; spines with raised bands, blindstamped ornaments, and letterpress titles on heavy paper labels. Lacks fourth volume title page. Covers rubbed/lightly worn at extremities; slight loss to labels; light, almost exclusively marginal, foxing throughout all volumes; dampstains in first volume (affecting first seven plates, and top margin through first third of the volume), else a very good copy, with clean plates. Second printing of this pictorial Bible (Bilderbibel), published by the engraver and art dealer, Christoph Weigel (1654-1725). The grand biblical story, from the Seven Days of Creation to the Vision of a New Jerusalem, here unfolds in 836 beautifully engraved plates. The designs were chiefly drawn by Johann Jacob von Sandrart (1655-1698) and Georg Christoph Eimmart the Younger (1638-1705). The engravings were made by Elias Christian Heiss, J. U. Kraus, L. Heckenauer and Weigel, himself, among others. Weigel had earlier collaborated with J. J. von Sandrart on the Passio Domini Nostri Iesu Christi, Neo-coelatis Iconibus Expressa (Augsburg, 1693), a pictorial Gospel harmony depicted in 100 engraved plates. Christoph Weigel first trained as a goldsmith, and later apprenticed to his cousin Erhart Weigel, a famous instrument maker in Jena. He journeyed to Augsburg in 1693, where he learned the art of engraving from Andreas Wolfgang and later from Matthäus Küsel. His published works tended to serve didactic and edification purposes, including illustrated chronicles, and a compendium of notable political events of the early eighteenth century. Among his notable cartographic works is the Descriptio orbis antiqui in XLIV tabulis exhibita (A Description of the Ancient World in 44 Maps - Nürnberg, 1720). The Biblia Ectypa was first published in a large folio format at Augsburg in 1695, with four engraved plates appearing on each leaf. In 1697, the plates were re-issued at Regensburg in two formats: a smaller oblong folio with two plates per leaf, and a quarto with a single plate per leaf. Wildly successful, the Biblia Ectypa enabled Weigel to establish his own print publishing company in Nürnberg where he was soon joined by his younger brother Johann Christoph Weigel and worked closely with the prominent map publisher, Johann Baptist Homann. Annotations: Plates numbered by hand in black ink at top corner (though sometimes slightly out of order, with occasional corrrections, in the first two volumes). An old German hand has noted a correct count for each volume at the rear endleaf (e.g., Enthält 288 Küpfern). A notably complete set of this uncommon edition, lacking only the fourth title page. The total count of 836 engraved illustrations is confirmed via the online catalogue Das Verzeichnis der im deutschen Sprachraum erschienenen Drucke des 17. Jahrhunderts (VD17). References: Paul Johannes Rée, "Weigel, Christoph" [in:] Allgemeine Deutsche Biographie 41 (1896), pp. 464-465 [Online-Version]; Thieme-Becker XXV, 227-228; VD17 23:659088P (vol. 1); 23:659089W (vol. 2); 23:659091S (vol. 3); 23:659092Z (vol. 4). …

Hardcover. Zustand: Very good. First edition, thus. Two tomes (each in two parts), bound in one volume, folio: [6], lxxix, [1, blank], 544; [1, title], [1, blank], [545]-957, [1, blank], xx (Cantique des cantiques), 96 (La sagesse; Ecclesiastique de Jesus fils de Sirach); [1, title], [1, blank], 468; [1, title], [1, blank], 430, 16 (Oratio Manassae; Liber Esdrae - tertius et quartus) pp. Main titles for each tome in red and black; secondary titles in black only (all four titles with engraved printer's device; each dated 1701). Text in two columns (Latin and French). Illustrated with 6 engraved plates: frontispiece (Johann Friederich Karg von Bebenburg); folding plate with 16 vignettes (4x4) depicting well-known biblical scenes; 4 folding maps (The Holy Land; The Promised Land Apportioned by Tribe; Jerusalem in the Second Temple Era - after Lamy; The World Known to the Evangelists). Quarter-page engraved vignettes at the head of each of the 30 biblical books; historiated initials; printed marginalia. Exquisitely bound in the 19th century in levant morocco extra over wooden boards, with mosaic compartments in crimson, ochre; and dark brown bordered in fine gilt line; spine with raised bands (lightly rubbed); pair of brass mounts, finished in black, with steel rivets at both covers (clasps and catched perished). All edges gilt and elaborately gauffered in textured floral motif; gilt inner dentelles; decorative endleaves (renewed) in orange and black; crimson silk ribbon marker. The work of a master binder. Expertly repaired at spine caps. Occasional faint embrowning; marginal dampstains beginning in second half (mostly at outer corners; expanding to fore-edge and darkening considerably in final 20 leaves). Overall a very good copy, with crisp text throughout, though incomplete: lacks Antoine Arnould's "Concorde des quatre Evangélistes," along with its accompanying Latin version and the concluding index. Amply margined copy of this sumptuous edition of the Bible, comprising the Latin Sixto-clementine Vulgate and the Port-Royal French translation printed in parallel columns. Isaac-Louis Lemaistre de Sacy (1613-1684) was the principal translator of the French version, which was edited and completed after his death by Pierre Thomas du Fossé (1634-1698) and Henri-Charles de Beaubrun (1655-1723), who also provide annotations throughout. According to Barbier, the French controversialist Thierry de Viaixnes (1659-1735), who found himself often at odds with his superiors, was the principal editor of the work; at the time of its preparation he was serving as director of an academy at Hautvilliers in the diocese of Rheims (McClintock & Strong). Dedicated to Johann Friederich Karg von Bebenburg (1648-1719), whose signed portrait was drawn and engraved by C. Gustav of Amling. An advocate of maximal papal power, Karg served as Privy Councilor of the Prince-Bishop of Bamberg and Würzburg, Peter Philipp von Dernbach, then of Elector Max Emanuel of Bavaria. He served as Dean of Our Lady in Munich, and was entrusted by Emperor Leopold I with a legation to Pope Innocence XI. By these efforts he secured in 1688 the election of Prince Joseph Clemens of Bavaria as Archbishop of Cologne, as a result of which he was made Chancellor and Minister of State (here noted on the frontispiece). Provenance and annotations: Bookplate of Herman Blum (Blumhaven Library & Gallery), with his ticket below; two gilt-stamped ex-libris morocco labels: Henry W. Poor (oval); Adolph Lewisohn (octogonal). References: Darlow & Moule 3779; Deleveau & Hillard, Bibles imprimées du XVe au XVIIe siècles conservées è Paris, 605; ADB 15 (1882), "Karg: Johann Friedrich;". …

Two parts in one volume, 16mo in 8s. 199, [1, blank]; 136, [16, index]ff. "Novvm testamentum" in cartouche vignette at title-page, along with Gryphius' griffin device (Renouard 413); 90 three-quarter page (including repeats), and 15 smaller woodcut illustrations (including repeats); 21 historiated initials and woodcut lettrines; cartouche vignettes with book titles; printed marginalia; half-title for the second part (Epistles and the Book of Revelation). Text not divided into verses; occasional quotations in Greek. Later vellum over boards; manuscript title at the spine (faded); speckled paper endleaves; edges stained red. Light dampstain at bottom margins, extending up into text and gutter at the later leaves; small puncture at leaf 140 resulting in slight loss of text. A good, complete copy of a very scarce illustrated New Testament, with clean woodcut illustrations throughout. Collation: a-z8, &8, Aa8, A-T7 (blank leaf [200]; lacks final blank T8). Third Gryphius New Testament in 16mo format. Arranged in two parts, with the Epistles and the Book of Revelation presented separately, it reproduces the Vulgate text edited by Robert I Estienne for his Latin Bible edition of 1532. While some of the woodcuts appear in Gryphius' complete octavo Bible of 1541, this separate Testament is even more lavishly illustrated. Based upon Mortimer's description of the 1541 Bible, we can ascertain that at least some of the Apocalypse woodcuts in the present volume are based on Holbein, while most of the other illustrations, whose blocks had been completed by 1539, "are relatively independent of earlier sets" (Mortimer). An important shift in Bible illustration occured in the Netherlands in the late 1520s as printers began to focus on copiously illustrated small format editions of the New Testament to better explain the text and assist private devotion. The subtitle in our volume, "cum ad ueritatem historiae, tum ad uenustatem, singulari artificio expressis" (with the truth of history, as well as beauty, expressed by a singular artifice), is clearly suggestive of this shift. Adopting this new format, François Gryphius became the "first Paris printer to illustrate a Bible in the Renaissance style," (Johnson, quoted in Mortimer). These illustrations first appeared in the Acts of the Apostles and the Book of Revelation in Gryphius' pocket New Testament edition of 1537, Novum Testamentum, additis picturis in Acta Apost. [et] Apocalipsin, quibus miracula et visiones exprimuntur (The New Testament, with added illustrations in the Acts of the Apostles and the Book of Revelation depicting miracles and visions). Subsequent editions would include an expanding suite of woodcuts, and were published at Paris by Gryphius under the present title in 1539, 1540, 1541, and 1542; Antwerp editions appeared in 1542 and 1545. The suite of illustrations in the present work is identical in placement and inventory with the data cited by Mortimer for the 1541 edition (90 cuts by repetition of 58 blocks from the larger set and 15 cuts by repetition of 6 small blocks), and confirmed by inspection of the digitized version of the 1541 edition at the Bibliothèque de la Ville de Lyon. The only notable differences in graphic materials between the two editions appears occasionally in the selection of woodcut initials; the later edition also has several more unset initials (indicated by guide letters) than appear in our 1540 edition. All editions are quite scarce, with only a handful of copies of each surviving. Provenance and annotations: Old entries at paste-down and front endleaf of George Woodhouse (with his note about prior provenance) dated May 1875; E. Holwell, noting "This curious edition published in A.D. 1540" References: Cf. Deleveau & Hillard, Bibles imprimées (Paris 1539 and 1542; Antwerp 1542); Le Long/Masch 2.3 (1783), p.279 (Paris ed. 1542); R. Mortimer, French 16th Century Books, no.70 (ed. 1541, illustrating woodcuts on a3 recto and P3 recto, as per our copy).…

Folio (32 x 23 cm). pp.520. Contemporary French binding of red morocco backed marbled boards, spine richly gilt in compartments. 100 full-page wood-engraved plates after Doré. An excellent copy.

Deluxe Edition. Two volumes, folio (450 x 330 mm), published between 1862 and 1863. [16], 1344pp., 57 unnumbered leaves of albumin prints (230 x 160mm), mounted on card stock. Crimson morocco over wooden boards, elaborately tooled in gilt and blind; edges mounted in brass, double brass clasps with thistle motif; covers with a broad, blind-stamped border around a recessed central panel with the crowned cipher of Queen Victoria in gilt; gilt tooled spine with 5 raised bands; a.e.g., marbled endleaves with gilt dentelles. Covers with some mild traces of use; single crease in each marbled endleaf (partially detached in second volume); occasional light to moderate foxing, mostly confined to the plate mounts; albumin prints in fine condition (often with foxing extending about 5mm from the edges into the mount). Overall a very good set, with a fine series of photographs, notable for their technical achievment. Deluxe edition, one of 170 copies, complete with all 57 albumen prints. Produced for the 1862 International Exhibition, and dedicated to Queen Victoria, then recently in mourning for the death of Prince Albert, this work appeared at a time when photography, though still a laborious and expensive process, was just beginning to become a popular activity. Victoria, herself, was an amateur photographer, and "[t]he royal couple had been enthusiastic supporters of photography in England from the beginning; in 1853, they became founding patrons of the Photographic Society Club" (K. Fiedorek). Francis Frith (1822-1898), the devout Quaker whose photographic images grace the present work, was one of the best-known photographers to work in the Near East, and the most commercially successful photographer of the nineteenth century. Finding his elementary studies tedious, Frith left school at the age of ten, apprenticed with a grocer, and eventually started his own business. He later went into printing, sold the grocery business to a competitor at a substantial profit, and went on to devote himself to photography. "The growing Victorian interest in the East and its exotic and historic attractions caught the attention of this astute businessman" (Perez). Between 1856 and 1860, Frith made three photographic expeditions to Egypt, Ethiopia, Sinai, and the Levant, accompanied by the engineer Francis Herbert Wenham who provided technical assistance in mechanics and optics. While Perez notes that Frith's "approach was always a strictly commercial one, and his concern was to make truthful and accurate views of the area" he readily concedes that "[t]he technical quality of Frith's photographs is superior." Frith employed the new wet collodion process in which glass plate negatives were sensitized, exposed, and developed while still wet. While technically demanding, the process yielded rich detail and broad tones. "Frith's were the first original wet-plate photographs of Jerusalem and the Holy Land to reach a wide English-speaking audience, and his pictures of the small Palestinian towns were most likely the first published anywhere" (Nir, p.66). Perhaps the most novel aspect of this celebrated edition of the Bible, and certainly a harbinger of things to come, was the way in which the photographer "presented the radical possibility of seeing photographs of the biblical sites alongside related verses of scripture. he sought to defend and promote his faith by conscripting the veracity of science and materialism to his cause and considered photography to be the most effective medium for his campaign" (Foster et al.). This vision is manifest even in such details as the re-captioning of prints previously offered for sale, so that the new descriptions would more clearly reference the King James text. It should be noted that while the printing was still done by hand, this was one of the earliest books for which machinery was used for composing. Original publisher's price = 50 guineas. Another version of this work was published at London in 1860-1862 by Eyre & Spottiswoode.…

Hardcover. Zustand: g+ to vg. First edition. Two volumes, quarto (published between 1840 and 1848). [1242]pp. (207 x 6). Comtemporary full calf with gold-stamped borders on covers and gold lettering and gilt lettering pieces on spines. Additional steel-engraved title page in each title-page. This striking collection of Bible stories is divided into 2 volumes (Old and New Testaments), and is profusely illustrated with a total of 312 in-text steel engravings. Minor edge wear on bindings with moderate rubbing along joints and on corners. Sporadic foxing throughout. Text in Dutch. Bindings and interior in overall good+ to very good condition.…

Hardcover. Zustand: Very good+. Later edition. Three parts, folio (17 3/4 x 12"). [4: engraved title; main title], [12: Preface to the 1736 Second Edition], [2: Note to the Christian Reader on this New 1768 Edition], [16: Preface to the 1640 (i.e., 1641] Edition], [2: List of Saxony's Electors] pages, 11 (full-page engraved portraits of the Electors), [1: full-page portrait of Martin Luther] leaves, [8: Short Introduction and Instruction Regarding the Holy Scriptures], [2: Calendar], [13: General Index], [26: Name Index], [11: Chronology], [1: Personalities in the Maccabean and Herodian Eras], [7: Explanations on the Old Testament], [5: Charts of calandars, weights, money, measures, and distance in biblical times], [4: Chronological Order of the Books of the Bible], [7: Register/Table of the Old Testament], [3: Martin Luther's Preface to the Old Testament]; 740 (Pentateuch; Former Prophets; Writings); 512 (Latter Prophets and Apocrypha); 472 (New Testament), 473-480 (Gospel Harmony), [14: Creeds and Augsburg Confession] pages. Text in German, Gothic script; text within ruled borders, marginal column for printed side notes; woodcut initials and ornaments; elaborate woodcut half titles in imitation of calligraphy at verso of initial text leaves for the second and third parts (Prophets and New Testament). Complete with 48 copperplate engravings: 12 full-page portraits in the preleminaries (Electors and Martin Luther); a full-page depiction of the construction of Noah's Ark; 27 full-page sectional illustrations (20 vignette compositions; 9 portraits of Prophets and Evangelists); 8 double-suite plates (biblical lands from Egypt to Babylonia; Egypt and Canaan, noting tribal allotments; Canaan in the New Testament era; Greece and Asia Minor, with vignettes of the Temple; encampment of the Israelite tribes in the wilderness; bird's eye view of Jerusalem after Adrichem; view of Jerusalem in the New Testament era; Diet of Augsburg, with legend). Contemporary calf (lightly rubbed at extremities, with some light scratching at rear board), elaborately tooled in gilt, depicting a neo-classical sanctuary on both boards,Tetragrammaton in pediment on the front, a cross in pediment on the rear; exquisite gauffered fore-edges ornamented in gilt against forest green wash depict a sunburst with architectural motifs; gilt turn-ins. Rebacked, retaining original spine; endpapers renewed. 15 cm clean tear through text at leaf C4 in the New Testament (reparable); final text leaf chipped at bottom edge (not affecting text); tears at Diet of Augsburg plate and final text leaf expertly repaired at versos. Overall pages crisp and fresh, with mild intermittent toning, very occasional light stains and smudges, and just a touch of damptstain at fore-edge in later leaves of the New Testament. A very good copy, with clean plates, in a beautiful magnificent binding, complete with the folding plate of the Diet of Augsburg (often lacking). Housed and protected in a modern custom red cloth slipcase. Final edition of the sumptuously illustrated Kurfürstenbibel (Electors' Bible), with a full apparatus of introductory and historical materials. Also known as the Weimar Bible, it was compiled under the auspices of Ernst I, Duke of Saxe-Gotha and Altenburg. Beginning in 1641, all editions were published by the prominent German printing dynasty of Endter. The maps, views, and illustrated divisional titles by Jacob van Sandrart and others made their first appearance in the edition of 1686. In this latest version, the illustrated sectional titles are signed by Johann Chrisopher Claussner, and most of the other views lack the signatures found in the 1686 edition. The earlier forewords by Salomon Glass (ed. 1641) and Ernst Solomon Cyprian (ed. 1736) are reprinted in the present edition. The preliminaries feature eleven full page engravings of Saxony's Electors, from Friedrich III to Bernhard der Große, followed by an engraved portrait of Martin Luther. Often lacking, the final fold-out engraving depicts the Holy Roman Emp. …

555 x 345 mm. (21 7/8 x 13 3/4"). 2 p.l., 62 folding plates. Attractive late 19th or early 20th century retrospective polished brown calf by L. Guétant (stamp-signed in gilt on tail of spine), double gilt-ruled border, floral cornerpieces, raised bands, spine panels with scrolling floral borders and central flower ornament, gilt titling. With title vignette and 62 ENGRAVED FOLDING PLATES, ALL WITH BEAUTIFUL HAND COLORING AND HIGHLIGHTED WITH GOLD, depicting Bible scenes from the Old and New Testament, 61 of which are by Jan Luyken. A Large Paper Copy. For earlier editions: Graesse IV, p. 308; Brunet III, 1245-46; Klaversma & Hannema 159-164. Light rubbing to joints and edges, boards just a little marked, trivial foxing and faint spots here and there, but A REMARKABLY FINE COPY, the binding lustrous and showing little wear, the paper extremely bright and fresh, the margins immense, and the paint and gold unusually vibrant. The marvelous illustrations of Dutch engraver and poet Jan Luyken comprise this collection of "remarkable stories" from the Bible, each depicted with panoramic grandeur and enhanced with a wide range of finely applied colors and gold. Luyken (1649-1712) had written and illustrated erotic poetry as a young man, but later became a devout Pietist after reading the works of German mystic Jakob Böhme. He became a member of the Baptist Church in 1673, and thereafter devoted his talents to producing religious works. The vast scenes here are notable in their scale, detail, and animation. There are a number of battle scenes from the Old Testament, as well as dramatic depictions of the plagues, and a fascinating episode from the histories of Josephus, depicting Herod's soldiers being lowered down the side of a cliff in large boxes suspended from chains, in order to attack the thieves hiding in caverns on the cliffside. There is a majestic portrayal of the Queen of Sheba arriving at the court of Solomon, a peaceful scene of Adam naming the beasts in the Garden of Eden, and a festive celebration of the Feast of Tabernacles. New Testament scenes include a terrifying final judgment, a blinding conversion of St. Paul, and scenes from that Apostle's travels. The engravings have one common trait: they are heavily populated, whether by men or beasts, and one of Luyken's special gifts is to render every person in the crowd as an individual with his own concerns and reactions to the events at hand. The engravings, while already greatly pleasing in black and white, are even more stirring and memorable when seen in the full color and gold used here. Expansive tableaus are given greater definition and clarity, and events such as Noah's flood and the destruction of Sodom and Gomorrah are rendered even more successful in expressing the awesome powers of the Almighty. The illustrations are quite definitely Protestant in point of view: there are no depictions of the Virgin Mary, not even a Nativity scene. Except for engravings of the Annunciation to the Shepherds and the Massacre of the Holy Innocents, the illustrations focus on Jesus as an adult and on the work of his Apostles spreading the gospel. There were earlier editions containing Luyken's 62 large plates, which originally appeared (without text, as here) in 1708, and they appeared again with a text in Dutch in 1729, and in French in 1732. Copies of these editions appear with some regularity in the marketplace, but are usually not colored and are often found incomplete or with other major condition issues. We can trace no record in RBH or OCLC of a copy of our 1790 edition, and we can find nothing that compares with the quality of coloring and grand height attained by the monumental margins seen here.…

Amsterdam, Chez Marten Schagen, Libraire sur le Nieuwendyk, à l'Enseigne d'Erasme, 1724, 2 parts in one volume, large in-4°, 29 x 21 cm, engraved frontispiece + title printed in red and black with engraved vignette + (6)nn pp (with dedication to Lieve Geelvinck, burgomaster of Amsterdam, with engraved vignette) + 310 pp (some pagination errors) ; engraved frontispiece + title printed in red and black with engraved vignette + (6) nn pp (preface) + 198 pp (some pagination errors 277-284 for 177-184), with index and world chronology, with 367 half-pages engraved vignettes in the text (151 after Jan Luiken , or Luyken ). Contemporary full calf, raised back with gilt compartments and red leather title label, binding with some expertly small restorations, but still a fine/good copy with a fine interior. David Martin (Revel en Languedoc 1639 - Utrecht 1721) was a French protestant who fled his country after the revocation of the ''Edict de Nantes''. He was the author of the French text of this so-called ''print bible'' which was a running commentary to the numerous illustrations. The text was translated in Dutch and used already in 1700 by the publisher Pieter Mortier for his ''Large Mortier Bible''; in 1703 he published the text, with illustrations again in a smaller format, '' the small Mortier Bible'', also called the ''Jan Luyken bible''. Our French edition is similar to this 1703 edition and contains 367 engravings. Many of these were made after designs made by Otto Elliger and 151 were designed and engraved by Luyken.…