Natalis hieronymus (6 Ergebnisse)

Hardcover. Zustand: Very Good. Folio. Text engraved in italics. Frontispiece plus 153 numbered engraved plates, in excellent impression, of scenes from the Evangelists, drawn by B. Passer and Martin de Vos, engraved by Anton, Johann and Hieronymus Wierx, C. de Mallerij and Johann Collaert. Engravings centred on each leaf, with title and label, 1 blank between pl. 6 and 7, and 3 final blanks. Autograph of 'Robert Browne' 1707 and 'Mary Brown' to recto of ffep, early manuscript index to recto of first blank and ms. ex dono 1744 to verso, from Miss Browne of Barnet to Reverend Joseph Paire. Light age yellowing, a few marginal stains and a bit of darkening at edges. A crisp, well-margined copy in contemporary natural morocco, richly stamped and gilt foliate border, neatly rebacked, original spine remounted, boards a little scuffed, repair to a couple of corners, a.e.g. A beautiful and pioneering series of large, detailed engravings, amalgamated by the Jesuit Jerome Natalis, faithfully representing the life, death and resurrection of Christ as narrated in the gospels. A close follower of Ignatius of Loyola, he considered imagination to be a central part of meditative prayer and believed that images could serve as a stimulus for deeper religious contemplation. The engravings are by some of the most talented Flemish engravers, such as the Wierix family at Antwerp, reputed for their talents in printmaking, specialising in religious subject matter, Karel van Mallery (1571-1635?), a well-known engraver of religious subjects and portraits, and Jan Collaert the Elder (c.1525-1580), who helped to establish Antwerp as a leading centre of printmaking in the late 16th and early 17th centuries. They follow the drawings of Italian painter Bernardo Passari, whose work survives only as drawings used to illustrate books at Antwerp and Rome, and some by Maarten de Vos, best known for his history and allegorical paintings, as well as portraiture. The engravings are arranged according to their order in de Loyola's 'Exercitia Spiritualis' and were likely intended to be used with it as part of the devotional exercise. Nevertheless they demonstrate typical Renaissance artistic interest in perspective, anatomy, and humanism. The artists skilfully manipulate light and dark to highlight the key moment in the narrative, allowing for complex yet legible compositions. Multiple scenes unfold within a single frame, but are separated by elements of landscape or architecture, allowing for entire chapters of the Gospels to be captured in one image. Alphabetical labels are also present and correspond to a legend of short Latin captions. These help to guide the viewer through the continuous narrative composition. At the top of each engraving is a title identifying the main action of the scene, any corresponding passages from the Gospels and the date ascribed to the event by the Church. The index at the front summarises the corresponding scripture in table form. …

Couverture rigide. Zustand: Très bon. Edition originale. Fort vol. gr. in-folio (22x33). Anvers, Martin Nut, 1593; de [5] ff., 153 ff et, à la suite, Ibid., id., 1594; [3] ff., 636 pp., [3] ff. Première édition, la seule mentionnant en pied de chaque gravure le nom du dessinateur (cf. « B. Pass » pour Passari), d'où le très bel état des 153 gravures au burin. Reliure au décor caractéristique des belles réalisations flamandes de la seconde moitié du XVIe siècle : grand fer central et fers d'angles azurés, les plats au grand semé de fleurettes. Beau papier mettant particulièrement en valeur ce premier état des gravures. /// Ex-libris manuscrit en pied de page de titre et signature répétée 3p plus loin : Antoine de Balinghem (1571, Saint-Omer 1630, Lille), prêtre jésuite auteur d'une quarantaine d'ouvrages de théologie et d'ascétique, il traduira de nombreux livres de l'italien et de l'espagnol. /// Belle restauration récente de la reliure, succédant à une précédente intervention au 19ème siècle de Léon Lemardeley (son cachet en garde). Restauration en marge inférieure du titre, quelques traces d'humidité en marge basse qui n'atteignent pas la gravure, très rares rousseurs. /// Peu de temps avant sa mort, Ignace de Loyola, fondateur en 1540 de la Compagnie de Jésus, commanda à son très proche collaborateur Natalis, prêtre jésuite espagnol, un guide illustré pour accompagner les novices jésuites dans leur méditation. Natalis rédige les textes en 1573 et 74 ; il meurt 6 ans plus tard laissant cette commande inachevée. Finalement, à Rome, Bernardino Passeri, Giovanni Battista de Benedetto Fiammeri réalisent les dessins originaux ; il y en aura également neuf de Martin de Vos et un de Hieronymus Wierix : ils sont notés au pied des gravures comme «inventeurs». En 1586 Christophe Plantin, imprimeur à Anvers, cherche des graveurs. Se chargeront de cette tâche : Anton II Wierix (58 gravures), Hieronymus Wierix (57), Johannes Wierix (17), Adriaen Collaert (11), Karel van Mallery (9), Nicolaes de Bruyn (1), Martin Nuytset (1) Jan Collaert (1). L'ouvrage ne fut ainsi publié de façon posthume que plus de 10 ans plus tard, en 1593, grâce au travail éditorial du père Diego Jiménez. L'éditeur, Martinus Nutius, reçut le privilège du pape Clément III, qui finança le projet, en 1593 soit 37 ans après la mort du fondateur de la Compagnie /// Le recueil, éminemment directif, suit l'ordre des Contemplations du livret des Exercices spirituels d'Ignace qui explique comment pratiquer quotidiennement l'oraison et la contemplation. Les légendes contiennent le titre de la scène évangélique, mais également une série d'annotations qui expliquent, par des renvois de lettres insérés dans l'image, telle ou telle partie de la scène représentée, ou plus exactement du lieu où elle se déroule, ce qu'Ignace appelle la «composition de lieu» dans les Exercices spirituels. /// Plus ancien recueil de ce type qui nous soit parvenu, cette entreprise gigantesque est considérée comme le chef-d oeuvre de la gravure flamande du XVIème siècle. Chef-d'uvre révolutionnaire puisque, pour la première fois en gravure, on introduit la perspective comme c'est l'usage dans les fresques des églises jésuites. /// Sommervogel, V, 1518 Funck, 367 Chatelain, n° 77 « Le plus beau livre flamand de la fin du XVIe ». Selon Pierre Berès « cet ouvrage est exceptionnel. Les effets de foule, les profondeurs des champs, la profusion des détails, significatifs sans nuire à l'ensemble, l'éclairage enfin, tout concourt à faire de ces gravures de véritables chefs-d'uvre ». (Livres à figures des XVe et XVIe siècles, catalogue 77, n° 78). …

2 works in 1 volume. Natalis's famous print series for the gospels, depicting the life of Christ in an extensive series of 153 numbered large and detailed gospel illustrations , here bound together with his additional commentary to this work, here both in their first editions. The engravings, showing the life, death and resurrection of Christ, were made by some of the best Flemish engravers, including the Wierix brothers at Antwerp, Jan II and Adriaen Collaert, Charles de Mallery, after drawings by the Italian painter Bernardo Passari and a few after Maarten de Vos.The present famous print series of the life of Christ soon became a highly important work for Jesuit missionaries and, moreover, a masterpiece of Flemish engraving at the end of the 16th century, engraved by some of the best Flemish engravers of its time in exceptional quality. The present copy is outstanding because both title-pages are highlighted with gold, which is rarely seen.With an inscription in brown ink ("Bibliotheca") on the title-page of ad 2. Ad 2 lacks two preliminary leaves (2 and 3), but these seem likely to have been intentionally omitted when the two works were published or bound together, because they contain the same text, reset and reprinted almost line for line, of the corresponding preliminary leaves in ad 1. Binding slightly worn around the spine, especially at the head and foot, some margins of the plates slightly stained or foxed (not affecting the engraved images) and only a few plates with some minor stains (plates 67, 68, 72, 107 and 123), some leaves of ad 2 browned or slightly foxed. Overall in very good condition. Natalis's famous print series with his complementary text, here in their first editions and with their title-pages extensively decorated with gold.l Ad 1: Adams N56; Belgica typographica 8786 (cf. 2193 & 8787-8789: other variants of the 1st ed.); STCV 12922190. Ad 2: Belgica typographica 2191, 8780 & 8781 (8781 mistakenly treated as a variant issue?; cf. 2192 & 8782-8785, the 2nd ed.); STCV 7091386. Mid 19th-century light brown calf with a blind-tooled ornamental frame on both boards, a gold-tooled spine, a black morocco spine label with the title in gold, red edges and marbled endpapers. Each work with an engraved allegorical title-page, extensively highlighted in gold, and woodcut initials and headpieces. Ad 1 contains a print series showing the life of Christ in 153 full-page engravings by the Wierix brothers, Jan II and Adriaen Collaert and Charles de Malery after Bernardo Passari and Maarten de Vos. It also has an engraved allegorical and ornamental headpiece on A2, reading "IHS In nomine Jesu". Pages: [5] ll. plus 153 engraved prints; [1], [3 blank], 595 [= 593], [5] pp. With: (2) NATALIS, Hieronymus (Jerónimo NADAL). Adnotationes et meditationes in evangelia quae in sacrosancto missae sacrificio toto anno leguntur. Cum evangeliorum concordantial historiae integritati sufficienti. Antwerp, Martinus Nutius, 1594 (colophon dated 1595). …

folio. engraved title & 153 engraved plates. bound in at front is the colophon from the second edition of Nadal's 'Adnotationes in evangelia' (1595). late 18th century marbled calf, rebacked & recornered with most of original gilt spine mounted (occasional stains). ms. ownership entry on title, dated 1785, of the 'Monastère royal des Filles de Dieu, Ordre of Fontevrault, Paris'. Second Edition (first: 1593) of the famous and influential pictorial Life of Christ by Spanish Jesuit Jerónimo Nadal, founder of the first Jesuit College, at Messina, in 1548, and Vicar General of the order from 1554. The vivid and detailed plates, which are noted for their early use of the art of perspective, were engraved by Hieronymus, Anton, and Jan Wierix, Adrian Collaert, and Karel van Mallery, most after Bernardo Passeri, a few after Maarten De Vos. "[These] imageswere probably the first in history to be reproduced [or copied] on four continentsEurope, the Americas, India, China, Japan, Iran and Ethiopia." (Massing, 'Jerome Nadal's Evangelicae historia imagines and the Birth of Global Imagery'). The present copy is interleaved with a complete French manuscript translation of the facing Latin captions, which is noted to have been executed by a French Jesuit named 'Grasset' in 1786. "The Spiritual Exercises of Ignatius of Loyola employ as a higher form of prayer what Ignatius calls the "application of the senses" to the scenes in the Gospels. By contemplating these scenes, along with Jesus' words and actions, one is able to take on the values of Jesus in one's own life. Shortly before Ignatius' death, he asked Nadal to oversee a project of producing engravings to facilitate these "contemplations" of Jesus in the Gospels. These were meant especially to assist Jesuit novices, for a thirty-day retreat using the Spiritual Exercises was a part of every Jesuit's novitiate." (Wikipedia) Nadal died thirteen years before the work was actually completed and published. Inserted is an engraving of Adam and Eve by Charles de Mallery after Maarten de Vos, 16.3 x 11.5 cm. (platemark), on laid paper, signed in the plate, Antwerp: Theodoor Galle, [c1620]. (New Hollstein, De Vos 1224). cfAdams N-56. Mauquoy-Hendrickx, Wierix III p. 493 & nos. 1989-2141. …

Antverpiae (Antwerpen), ex Officina Plantiniana, apud Ioannem Moretum, 1607, in-folio, 34 x 23,5 cm, engraved title page + (10) nn pp + 636 pp + (8)nn pp ( index, approbatio, printer's mark). Bound before the text part of the '' Adnotationes'' is the complete suite ( engraved title + 153 plates) of the '' Evangelicae Historiae Imagines''. Bound in 17th c. French red morocco, smooth spine, all edges gilt, boards with gilt floral fillets decoration . Binding with some restoration at the extremities and the joints. All pages ( text and engravings) are ruled. Some minor stains or thumbing at some pages but overall a very fine copy with large margins. Second edition ( first Plantin edition) of the commentary of Jerome Nadal ( Natalis ) with the bible illustrations by the Wierickx brothers. The first edition of this suite of engravings , a real masterpiece of Flemish bookillustration in the 16th century, appeared anonymously in Antwerp in 1593 and without the text. It was printed by Nutius. The publishers were the Antwerp Jesuits **. An explanatory text by Natalis together with the plates was published one year after the suite . (in 1594). The engavings were commissioned by the Headquarters of the Jesuit Order in Rome. From correspondance by Christophe Plantin we know that he was involved in this project from 1587 onwards. But he never published this suite. ( It was done by the Antwerp Jesuits). In 1605 Plantin's son in law Jan Moretus aquired the plates from Carolus Scribanus - the head of the Antwerp Jesuit College. Antoon Wiericx engraved 58 plates, 57 were done by Hieronymus Wiericx, 17 by Jan Wiericx , 11 by Adriaen Collaert, 9 by Karel de Mallery, 1 by Jan Collaert and 1 by the unkown engraver I.N. The drawings were made by the Roman draughtsman B.Passaro and are preserved in the Brussels Royal Library. In 1607 Moretus published the plates together with Nadal's commentary ( our copy here is from this edition). This is a very fine copy of one of the most outstanding illustrated books of the 16th century , the ultimate Jesuit counter-reformatory answer ; published in the most northern bastion of Roman Catholic Europe, against Protestant Northern Europe. ** See Manuel Insolara. La spiritualité en images aux Pays-Bas.Leuven, 1996, pp. 135-141. Also : P.A.Fabre on the illustrations in '' Les Jésuites à l'age baroque ''. Grenoble, 1996.…

10. [1]Antverpiae (Antwerpen), no printer ( Nutius ) , 1593, in-folio, 32,7 cm, engraved title + suite of 153 engravings. (the 6 text leaves which go with this edition are to be found in [ item 2] . Bound in later boards covered with marbled paper, leather title label on smooth spine. Printed on unwatermarked paper. With some marginal small stains and foxing spots at some pages. Plates 61, 73, and 78 have a restoration at the inner margin, not affecting the engraved image. Plates 81, 98, 104 and 145 have small restorations in the upper margin, also not affecting the engraved image. [Together with] [2] Adnotationes et meditationes in evangelia., Antwerpen, Martinus Nutius, 1594, in-folio, (8) nn pp ( engraved title, pp7/8 blank) + 595 pp + (7)nn pp ( ultimate and penulitmate pp. blank) . Bound in contemporary vellum, with gilt supra libro (canon view), vellum damaged with some loss of material, interior good. (copy from the library of the Friar Minor of Maastricht ( small stamp) Both books in first edition. The plate suite [1] , a real masterpiece of Flemish bookillustration in the 16th century, appeared anonymously in Antwerp in 1593. The publishers were the Antwerp Jesuits **. An explanatory text by Natalis [our item 2] was published one year after these suite was published (in 1594). The engavings were commissioned by the Headquarters of the Jesuit Order in Rome. From correspondance by Christophe Plantin we know that he was involved in this project from 1587 onwards. But he never published this suite. This was done by the Antwerp Jesuits, the printer was Nutius. Only in 1605 did Plantin's son in law Jan Moretus aquire the plates from Carolus Scribanus - the head of the Antwerp Jesuit College. Antoon Wiericx engraved 58 plates, 57 were done by Hieronymus Wiericx, 17 by Jan Wiericx , 11 by Adriaen Collaert, 9 by Karel de Mallery, 1 by Jan Collaert and 1 by the unkown engraver I.N. The plates in our copy carry also the name of the designer, which indicates a first edition . (In the Plantin edition of 1607 -Imhof N1- most designer names were removed). The drawings were made by the Roman draughtsman B.Passaro and are preserved in the Brussels Royal Library. ** See Manuel Insolara. La spiritualité en images aux Pays-Bas.Leuven, 1996, pp. 135-141. Biblio. ref. [1] USTC 402295 Pettegree 22113 . [2] USTC 403349 - Pettegree 22114 .…