Ni pateat fundus, nova maffica non tibi fundo in funde cordis namque profunda latent.
Engraving by Jonas Suyderhoef, after a painting by Adriaan van Ostade. Published by Frederik de Wit. The print is entitled; Ni pateat fundus, nova mafica non tibi fundo in funde cordis namque profunda latent. The image is 20.5 x 18 cm (without text) The print is in a beautiful passe partout, dimensions 44 x 38 cm. The print is in very good condition.
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Jonas Suyderhoeff (Haarlem, September 16, 1614 – Haarlem, May 9, 1686) was a copper etcher and engraver. He was buried in the Grote Kerk in Haarlem. He was a son of Andries Suyderhoeff and Ytgen Leonardsdr Mathol. The father of Jonas Suyderhoeff Andries Suyderhoeff was a son of Pieter Willems Suyderhoeff and Cornelia Hendriksdr van der Laan. A brother of Jonas “Adriaan” (1619-1667) married Maria Hals, daughter of Dirck Hals (artist), on 25-06-1651 in Haarlem. Dirk Hals was a brother of Frans Hals, the famous painter.
Adriaen van Ostade (christened Haarlem, 10 December 1610 – there, 28 April 1685) is one of the most important Dutch painters of the golden age. In addition to being a painter, he was an engraver and draftsman. Van Ostade belongs to the Dutch School. Adriaen van Ostade was the eldest son of Jan Hendricx Ostade, who came from the hamlet of Ostade in today’s Asten. Both Adriaen and his brother Isaac took the name “Van Ostade” when they became painters. Van Ostade married at the age of 28. His wife died in 1640, after which Adriaen van Ostade remarried. In 1666 he became a widower again. Haarlem was one of the most important and prosperous cities of Holland in the Golden Age. The flourishing and freedom of the city attracted many Flemish and Dutch painters, which strengthened Haarlem as an art city. According to Houbraken, Adriaen van Ostade was taught by Frans Hals, at the same time as Adriaen Brouwer. Van Ostade mainly painted the poor layer of the population. He preferably portrayed the peasants and villagers cheerfully dancing, partying and fighting, and at the same time aroused admiration and horror in his time. Van Ostade derived this theme from the writers of that time such as Bredero, from his example the painter Pieter Bruegel and from his immediate surroundings. He combined the raw, realistic tradition of Bruegel with the exuberant style of his teacher Frans Hals: in the early years in particular, his paintings contained a palette of small, ugly caricatures that rags on alcohol and tobacco. From the outset, Van Ostade’s canvases were cheerful and he regularly painted caricatures to mock the exuberant lives of farmers and villagers. He also experimented with strong light-dark contrasts. It is a movement in time, in which Rembrandt excels most. A clear example of the ‘clair-obscur’ is a work from 1635, ‘partying farmers in a barn’, the bright lighting of the main group, the sparse-lit space and the dark objects in the foreground (the ‘repoussoir’) are characteristic of that period of time. In the first years Van Ostade mainly used many gray and brown shades in his canvases, economically supplemented with pale red, purple and blue. After 1640, Van Ostade’s compositions became calmer and the lighting effect warmer. The paintings show more respect for the subject. The farmers and villagers still drink and dance, but it is not a caricature. Van Ostade appears to have been influenced in style by Rembrandt during this period. Sometimes Van Ostade even takes over a subject such as the “proclamation to the shepherds” (1640). At the time, he also painted a few landscapes that match the monochrome style of Haarlem. But landscapes clearly do not arouse passion in Adriaen van Ostade. Van Ostade changed style again after 1650: he felt the urge for perfection. Van Ostade is a gifted atmosphere painter (“tonalist”) and composition painter, who combines his far-reaching detail with a strong sense of space and light. The colors remain reserved: grays, blue gray and brown. He creates depth effect by painting figures in the background a little fainter in hue. The canvas ‘A painter in his studio’ (1663) is one of his most sensitive paintings from that period in terms of light treatment, which moreover gives a good impression of the habitat of the seventeenth-century painter: the painter behind his easel, next to him the bottles with oil and turpentine, trays, dishes and brushes on the couch. In the background the student is rubbing paint. The poor appearance did not relate to Van Ostade’s studio: he was already a wealthy man through painting. At the end of his life, Van Ostade shifts his attention to producing engravings (which was a lucrative trade) and his canvases flatter.
Frederick de Wit (1629/1630 – 1706) was a Dutch cartographer and artist who drew, printed and sold maps. On maps his name is also written Frederic, Frederik, Frederico and Fredericus (Latinised). His surname is also written as de Witt and de Widt.He was born in Gouda and died in Amsterdam. He was the company founder. Frederick de Wit was born Frederick Hendricksz or Frederick son of Hendrick. He was born to a Protestant family in 1629/30, in Gouda, a small city in the province of Holland, one of the seven united provinces of the Netherlands. His father Hendrick Fredericsz (1608 – 29 July 1668) was a hechtmaecker (knife handle maker) from Amsterdam, and his mother Neeltij Joosten (d. before 1658) was the daughter of a merchant in Gouda. Frederick was married on 29 August 1661, to Maria van der Way (1632–1711), the daughter of a wealthy Catholic merchant in Amsterdam. From c. 1648 until his death at the end of July 1706, Frederick de Wit lived and worked in Amsterdam. Frederick and Maria had seven children, but only one Franciscus Xaverius (1666–1727) survived them. By 1648, during the height of the Dutch Golden Age, De Wit had moved from Gouda to Amsterdam. As early as 1654 he had opened a printing office and shop under the name “De Drie Crabben” (the Three Crabs) which was also the name of his house on the Kalverstraat. In 1655, De Wit changed the name of his shop to the “Witte Pascaert” (the White Chart). Under this name De Wit and his firm became internationally known. The first cartographic images that De Wit engraved were a plan of Haarlem that has been dated to 1648, and sometime before 1649 De Wit engraved the city views – city maps for the cities of Rijsel and Doornik that appeared in the richly illustrated Flandria Illustrata by the Flemish historian, Antonius Sanderus. The first charts engraved by De Wit were published in 1654 under the “De Drie Crabben” address.[ The first map that was both engraved and dated by De Wit was that of Denmark: “REGNI DANIÆ Accuratissima delineatio Perfeckte Kaerte van ‘t CONJNCKRYCK DENEMARCKEN” in 1659. His first world maps, “NOVA TOTIUS TERRARUM ORBIS TABULA AUCTORE F. DE WIT” (approx. 43 × 55 cm) and Nova Totius Terrarum Orbis Tabula (a wall map approx. 140 × 190 cm) appeared around 1660. His Atlas began to appear around 1662 and by 1671 included anywhere from 17 to 151 maps each. In the 1690s he began to use a new title page “Atlas Maior” but continued to use his old title page. His atlas of the Low Countries first published in 1667, was named Nieuw Kaertboeck van de XVII Nederlandse Provinciën and contained 14 to 25 maps. De Wit quickly expanded upon his first small folio atlas which contained mostly maps printed from plates that he had acquired, to an atlas with 27 maps engraved by or for him. By 1671 he was publishing a large folio atlas with as many as 100 maps. Smaller atlases of 17 or 27 or 51 maps could still be purchased and by the mid-1670s an atlas of as many as 151 maps and charts could be purchased from his shop. His atlases cost between 7 and 20 Guilders depending on the number of maps, color and the quality of binding (€47 or $70 to €160 or $240 today). In c. 1675 De Wit released a new nautical atlas. The charts in this atlas replaced the earlier charts from 1664 that are known today in only four bound examples and a few loose copies. De Wit’s new charts were sold in a chart book and as part of his atlases. De Wit published no fewer than 158 land maps and 43 charts on separate folio sheets. In 1695 De Wit began to publish a town atlas of the Netherlands after he acquired a large number of city plans at the auction of the famous Blaeu publishing firm’s printing plates.