Wapenhandelinghe van roers
Wapenhandelinghe van roers, musquetten ende spiessen : achtervolgende de ordre van Syn Excellentie Maurits, Prince van Orangie, Grave van Nassau & , Gouveneur ende Capiteyn Generaal over Gelderlant, Hollant, Zeelant, Utrecht, Overijssel &c.
The Hague 1607, First Edition, folio (390 x 300mm], publisher’s vellum gilt, gilt arabesque device within gilt frame on covers, edges gilt, with engraved illuminated allegorical title and 117 superb hand-coloured engraved plates, illuminated with gold and silver, issued in three parts, Dutch text to each part, signed J.De Gheyn in brown ink on the first plate of each part, a splendid copy. £75,000.00
THE RARE FIRST DUTCH EDITION SIGNED AND COLOURED BY THE AUTHOR JACQUES DE GHEYN.
The finest and one of only a few coloured copies of the Waffenhandlinghe showing all the actions and movements of soldiers handling the caliver (or harquebus), the musket and the pike.This manual was written according to the drill developed in the late sixteenth century by Johann II, Count of Nassau-Siegen (1561-1623) and introduced in the Dutch Army by his cousin Maurits, Prince of Orange (1567-1625).
The Wapenhandlinghe became an instant success. In 1606 De Gheyn was granted a 12 year priviledge and it was issued in Dutch, English,French, German and Danish.The great folio editions were followed in 1609 and 1619, by smaller quarto editions with woodcut copies of the original engravings.
De Gheyn made his designs in 1596-99 of which 60 are still extant in the Rijksprentenkabinet in Amsterdam. As the sitter for his drawings he used Pierre du Moulin, a captain of Maurice's army.
Translated into many languages, widely distributed and often imitated, the Wapenhandlinghe not only profoundly changed military practice in Europe, but also provided motifs for several kinds of decorative art.The Delft factories produced series of tiles based upon De Gheyn’s engravings (1628) ; at Clifton Hall in Nottinghamshire , England,the designs were used for paintings set high in the panelling ; and in 1621 De Gheyn’s soldiers were copied out in the glass panels of a French Château.
The Wapenhandlinghe epitomises the ‘golden age’ of Dutch print-making and of the engravers active in the late sixteenth and early seventeenth centuries, Jacques De Gheyn II was among the most gifted.
The engravings in the above work are hand-coloured in gouache,and the execution is of the highest quality. Highlights are indicated in silver and gold leaf and De Gheyn is certainly the artist responsible for this hand-colouring.This copy of the Wapenhandlinghe has been compared with an exquisite album of flower and insects studies on vellum by De Gheyn in the Lugt Collection. For obvious reasons, the colouring in this volume differs but the virtuosity, colouring style and execution are by the same hand.
Muller, Historieplaten IV 1117; Jähns p. 1005-7; Lipperheide 2057