Tours & Angers France 1598 Braun & Hogenberg Unusual Antique Engraved City Views ANTIQUE COPPER ENGRAVED VIEWS OF TOURS & ANGERS FRANCE

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Seller: cesgia ✉️ (20,116) 100%, Location: Perugia, IT, Ships to: WORLDWIDE, Item: 202596718689 TOURS & ANGERS FRANCE 1598 BRAUN & HOGENBERG UNUSUAL ANTIQUE ENGRAVED CITY VIEWS. TOURS & ANGERS FRANCE 1598 BRAUN & HOGENBERG UNUSUAL ANTIQUE ENGRAVED CITY VIEWS

TOURS & ANGERS FRANCE 1598 BRAUN & HOGENBERG UNUSUAL ANTIQUE ENGRAVED CITY VIEWS

Description

Turones vulgo Tours, le Iardin de France. // Andegavum vulgo Angiers .

 

Description:   Striking and highly detailed fine unusual copper engraved plate including two bird's-eye views on one sheet: Tours and Angers, in France.
 
Both engravings are made after drawings by Georg Hoefnagel in 1561.
 
Joris Hoefnagel or Georg Hoefnagel (1542, in Antwerp – 24 July 1601, in Vienna) was a Flemish painter, printmaker, miniaturist, draftsman and merchant. He is noted for his illustrations of natural history subjects, topographical views, illuminations and mythological works. He was one of the last manuscript illuminators and made a major contribution to the development of topographical drawing. His manuscript illuminations and ornamental designs played an important role in the emergence of floral still-life painting as an independent genre in northern Europe at the end of the 16th century. The almost scientific naturalism of his botanical and animal drawings served as a model for a later generation of Netherlandish artists.
 
TOURS
 
CAPTION: Turones, in the vernacular Tours, the garden of France.
 
COMMENTARY BY BRAUN: "The Touronians are the most ancient and noble of all the other peoples of France [...] Tours is also one of France's richest cities, whose wealth is founded on its fertile arable land, they also conduct lively trade and manufacture very fine cloth, as soft and handsome as if it had been made in Italy."
 
In this second engraving of Tours, the city is seen from the opposite direction, i.e. from the north looking across the Loire and the Island of Aucard. Rising in front of the Gothic cathedral of Saint-Gatien in the left half of the picture is the château of the kings of France, including the Tour de Guise that still stands today. On the far right is Notre-Dame-la-Riche. The draughtsman has depicted himself at work in the left-hand foreground.
 
ANGERS
 
CAPTION: Andegavum, in the vernacular Angers.
 
COMMENTARY BY BRAUN: "The city of Angers lies on the Maine, which divides it into two halves, so that one part lies to the southeast and the other towards the west. The local merchants have the right to mint their own coins."
 
Angers, the former capital of Anjou, is seen from the west. Far left lies the Benedictine abbey of Saint-Serge. The cathedral of Saint-Maurice can be seen in the centre and, beside it, the episcopal palace. In front of the cathedral on the left rises the massive tower of Saint-Aubin abbey, today all that survives of the former monastery complex, whose other buildings have since been converted for public use, such as the Prefecture and a banquet hall. To the right of the cathedral lies the Château d'Angers, a fortress surrounded by a wall with 17 towers. The staffage figures in the foreground refer to a distinctive feature of the area around Angers: the quarrying of slate.
 
Source: Georg Braun and Franz Hogenberg. Civitates Orbis Terrarum. 1572-1617.
 
The first volume of the Civitates Orbis Terrarum was published in Cologne in 1572. The sixth and the final volume appeared in 1617.
 
This great city atlas, edited by Georg Braun and largely engraved by Franz Hogenberg, eventually contained 546 prospects, bird-eye views and map views of cities from all over the world. Braun (1541-1622), a cleric of Cologne, was the principal editor of the work, and was greatly assisted in his project by the close, and continued interest of Abraham Ortelius, whose Theatrum Orbis Terrarum of 1570 was, as a systematic and comprehensive collection of maps of uniform style, the first true atlas.
 
The Civitates, indeed, was intended as a companion for the Theatrum, as indicated by the similarity in the titles and by contemporary references regarding the complementary nature of two works. Nevertheless, the Civitates was designs to be more popular in approach, no doubt because the novelty of a collection of city plans and views represented a more hazardous commercial undertaking than a world atlas, for which there had been a number of successful precedents. Franz Hogenberg (1535-1590) was the son of a Munich engraves who settled in Malines. He engraved most of the plates for Ortelius's Theatrum and the majority of those in the Civitates, and may have been responsible for originating the project.
 
Over a hundred of different artists and cartographers, the most significant of whom was Antwerp artist Georg (Joris) Hoefnagel (1542-1600), engraved the cooper-plates of the Civitates from drawings. He not only contributed most of the original material for the Spanish and Italian towns but also reworked and modified those of other contributors. After Hoefnagel's death his son Jakob continued the work for the Civitates. A large number of Jacob van Deventer (1505-1575), also known as Jacob Roelofszof, unpublished works, plans of towns of the Netherlands were copied, as were Stumpf's woodcuts from the Schweizer Chronik of 1548, and Munster's German views from the 1550 and 1572 editions of his Cosmographia. Another important source for maps was the Danish cartographer Heinrich van Rantzau (1526-1599), beter known under his Latin name Rantzovius, who provided maps of Northern Europe, specially of Danish cities. The Civitates provided a uniquely comprehensive view of urban life at the turn of the sixteenth century. Other sources were the maps of Sebastian Munster from around 1550 and , and of.
 
Braun added to the maps figures in local dress. This feature was anticipated in Hans Lautensack's etched view of Nuremberg, 1552, those groups of citizens in the rural foreground add further authenticity to the highly accurate topographical details of what was effectively Germany's cultural capital at that time. Braun's motives for adding figures to the views, however, went further: as stated in his introduction to book 1, he believed, perhaps optimistically, that his plans would not in consequence be scrutinized for military secrets by the Turks, as their religion forbade them from looking on representations of the human form.
 
The plans, each accompanies by Braun's printed account of the town's history, situation and commerce, form an armchair traveler's compendium, which the scholar Robert Burton in The Anatomy of Melancholy of 1621 asserted would not only provide instructions but would uplift the spirit as well.

Date: 1598 ( undated )

Dimension: Paper size approx.: cm 59,4 x 47,2

Condition: Very strong and dark impression on good paper. Paper with chains. Map uncolored. Wide margins. Small foxing. Small browning. Small tears reinforced on the verso. Map folded. Conditions are as you can see in the images.

Mapmakers:  Georg Braun (also Brunus, Bruin; 1541 – 10 March 1622) was a topo-geographer. From 1572 to 1617 he edited the Civitates orbis terrarum, which contains 546 prospects, bird's-eye views and maps of cities from all around the world. He was the principal editor of the work, he acquired the tables, hired the artists, and wrote the texts. He died as an octogenarian in 1622, as the only survivor of the original team to witness the publication of volume VI in 1617.
 
Braun was born and died in Cologne. His principal profession was as a Catholic cleric, however, he spent thirty-seven years as canon and dean at the church, St. Maria ad Gradus, in Cologne. His six-volume work was inspired by Sebastian Münster's Cosmographia. In form and layout it resembles the 1570 Theatrum orbis terrarum by Abraham Ortelius, as Ortelius was interested in a complementary companion for the Theatrum.
 
The Braun publication set new standards in cartography for over 100 years. Frans Hogenberg (1535–1590, from Mechelen) created the tables for volumes I through IV, and Simon van den Neuwel created those for volumes V and VI. Other contributors were Joris Hoefnagel, Jacob Hoefnagel, cartographer Daniel Freese, and Heinrich Rantzau. Works by Jacob van Deventer, Sebastian Münster, and Johannes Stumpf were also used. Primarily European cities are depicted in the publication; however, Casablanca and Mexico City/Cuzco on one sheet[4] are also included in volume I.
 
Frans Hogenberg (1535–1590) was a Flemish and German painter, engraver, and mapmaker.
 
Hogenberg was born in Mechelen as the son of Nicolaas Hogenberg. In 1568 he was banned from Antwerp by the Duke of Alva and travelled to London, where he stayed a few years before emigrating to Cologne. He is known for portraits and topographical views as well as historical allegories. He also produced scenes of contemporary historical events.
 
Hogenberg died in Cologne.
 

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  • Cartographer/Publisher: Georg Braun & Franz Hogenberg
  • Country/Region: France
  • Date Range: 1500-1599
  • Format: Atlas Map
  • Original/Reproduction: Antique Original
  • Printing Technique: Copper Plate
  • Type: City Map
  • Year: 1598

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