Logo DBNL
Jaarboek voor Nederlandse Boekgeschiedenis. Jaargang 26 (2019)

Jaarboek voor Nederlandse Boekgeschiedenis. Jaargang 26

(2019)– [tijdschrift] Jaarboek voor Nederlandse Boekgeschiedenis–rechtenstatus Auteursrechtelijk beschermd

Vorige Volgende

Nelke Bartelings
Bernard Picart's Épithalames and the teamwork of image and text

Bernard Picart, a French draughtsman and printmaker, was born in Paris on 11 June 1673.1 At the age of sixteen his father sent him to the Académie royale de peinture et de sculpture where he gained a prize for his drawings. Between 1697-1698 he stayed in the Dutch Republic but due to the illness of his family he had to return to Paris. In 1710 he emigrated with his father to the Netherlands; for a short period he settled together with his friend the bibliographer Prosper Marchand (1678-1756) in the Hague, and both registered in the Walloon church. Picart apparently preferred the more tolerant working environment of the Republic, but there is no indication that he held negative feelings about his French background. He actually introduced his French rooted ideas about the training of printmakers in the Netherlands.2 From 1711 onwards Picart resided in Amsterdam where he died in 1733. From the moment he arrived in the Netherlands the orders flocked, mostly from Huguenot book publishers, but also from private clients. They felt attracted to the elegant classicism of Picart's inventions and to the finish of his prints.

From 1715 to 1729 Picart made twelve wedding prints, which he called Épithalames.3 They form a coherent and special category of title prints, designed to adorn booklets

with poetry, which were published on the occasion of a wedding or wedding anniversary.4 In 1978, in one of her articles, I.H. van Eeghen (1913-1996) expressed the hope that somebody would make a thorough study of Picart's wedding prints.5 However, up to now the subject received virtually no attention from academic researchers. With this article I want to give the initial impetus to the study of wedding prints.

All Picart's wedding prints were his own invention, except the last one, which was by a close friend, Louis Fabricius Dubourg (1693-1775). Each print has a Latin motto. Picart's wedding prints were mainly commissioned by a small group of wealthy Mennonites in Amsterdam and Haarlem, but unfortunately there is no archival material which relates to an assignment for these prints nor for the poems. Picart's father-in-law, the paper dealer and poet Ysbrand Vincent (1641-1718), may have introduced him. Ysbrand's mother and his two older brothers had been baptized with the Mennonites and must have been part of the community. However, the mutual ties between these clients were quite close. For example, the names Van Lennep, Van Vollenhoven and De Neufville appear more than once, and they all earned their fortune with the trade overseas. From the beginning of the eighteenth century, they also acted as bankers and insurers. It goes without saying that these rich families wished to add lustre to their marriages with beautifully decorated epithalamia.

After pulling enough prints from the press for family and friends, the copperplate was gilded and put in a frame for the married couple.6 Picart was dissatisfied with the printing quality of some publishers, and according to the Éloge historique, he had stipulated that he could print copies of all his work for himself before the delivery of the copper plates to his clients.7 This is not just a sales pitch; Picart really watched over the quality of the impressions.8

Picart printed these images on better quality paper with wider margins and sold them to print collectors (curieux). After 1729, Picart published especially for them a separate brochure with explanations of the depicted scenes and French translations of the

Latin mottos with the title Explication de diverses planches inventées et gravées pour des Épithalames ou noces par Bernard Picart.9 It is difficult to say how many copies were printed for family and friends, but there cannot be that many of them. For the benefit of the curieux Picart must have printed at least 50 copies of each image.10

The framework or peritext of the poems in the wedding booklets consists of the title page, the print, and the title print poem.11 The title page usually gives only the names of the bride and groom, the place and date of the wedding ceremony, and occasionally the publisher's address. The mottos are what they are supposed to be: brief statements expressing the guiding principle of the specific wedding. The connection between the title print and the title print poem, however, is more ambiguous and therefore exciting.12 Unfortunately it is unknown whether there was any contact between Picart and the author of the title print poem. Picart is unlikely to have mastered the Dutch language, especially because he lived and worked in an environment where mostly French was spoken and written. Considering the personal attributes on the prints, it can, however, be assumed that he consulted the client about the content of the print. The title print poems were most likely made after the print was finished because it concerns an explanation of the picture.

The connection between image and text in general has been studied in depth, especially by literary scholars.13 They have developed theories and concepts, often based on semiotics (the study of signs and sign processes), to gain insight into our understanding of the interplay between image and text. Lawrence Sipe, a scholar of education and literature, prefers to use the term synergy to describe this relation, which means ‘the interaction of two or more agents or forces so that their combined effect is greater than the sum of their individual effects’.14 In regard to the wedding booklets, image and (liminal) text

are two different disciplines, which jointly tell the story. To conceptualize this connection I use Sipe's notion of a synergetic relation.

The soul which moves the body

Contemporary sources about title prints are virtually absent, but there is one exception: the Groot Schilderboek by the classicist painter and printmaker Gerard Lairesse (1640-1711).15 It is elucidating to study Lairesse's arguments because already in the seventeenth century he repeatedly emphasized the connection between the visual and the verbal. Issues that he addresses concern why publishers decided to include a title print, what the requirements for the composition were, and how the image was interpreted by contemporaries. Lairesse also specifies the three qualities the title print should have: ‘All frontispiece-plates should have the three following qualities: 1. To delight the eye. 2. To tend to praise and honour of the author and designer. 3. To be advantageous to the seller.’16

Gerard Lairesse's Groot Schilderboek is an important source for the study of printmaking in general, but also for ‘book prints’, as he calls them, in particular.17 It is noteworthy that he explains the difference between a book print and a fine print:

(...) for there is a great difference between book and other prints: the former [book print] (...) express the matter which is represented, even were if designed in white marble, bas relief, nay, in snow or sand; and the latter [fine print] consider only the master who painted it, and his art, together with that of the engraver and his capacity. For this reason, book prints stand in need of an explanation, but other prints not: for the colour is in the one, what the writing is in the other.18

Lairesse highlights the need for a textual explanation, and with this, he determines the inseparable connection between image and text. At the same time he emphasizes the decorative function of the title print, which is ‘tending in all respects to embellish the

book only; like a fine garden-walk, where the objects, whether vases, statues, trees, &c. are placed to answer their purposes.’19

Lairesse deals extensively with the guidelines that must be observed when inventing a title print, ‘as being of a different nature from other compositions’.20 The image should be displayed in a ‘theatrical stage opened on one or both sides with a curtain, sometimes setting it off with a colonaded frontispiece, or else inclosing it in a moulding or compartment’.21 The light is given a symbolic function; it should fall from the left side of the opening of the book, to suggest a perfect correspondence between print and book.22 The book is also compared with a body, and the print with the soul that animates this body. By doing so, Lairesse again emphasizes the interaction between the visual and the textual. In this metaphor however, Lairesse, who was primarily a painter, places the image (soul) at a higher level than the text (body).

The distinction Lairesse made between fine prints and book prints is of great importance to the print historian of today, because it expresses that book prints were regarded as a separate category with its own appearance. Lairesse's ideas were not new; all his instructions are based on a format that was already used by printmakers long before the publication of his Groot Schilderboek. The significance of his writings lies mainly in the fact that Lairesse provides us with the only contemporary textual source about title prints (book prints), and essential to his argument is the connection between print and book as two equivalent parts complementing each other. This is not so far away from Sipe's synergetic relation between image and text.

Epithalamia

Originally, epithalamia were poems or hymns celebrating a wedding. This literary tradition, dating back to Greek antiquity, has been sufficiently studied,23 but the visual counterparts which appeared from about the sixteenth century onwards were ignored.

In antiquity ‘epithalamium’ was used as a general term for a wedding poem, speech

or hymn.24 Initially it was sung in front of the bridal chamber, just before or during the wedding night. Rhetorical conventions for the epithalamium arose in the classical period, and hardly changed in later centuries. Any particular type of poem could be varied to suit the circumstances, but they all deal with the same topics concerning marriage such as the bridal couple, nature, marriage and love goddesses, and good wishes.25 Even in the Middle Ages, when epithalamia became Christian devotional poems, they retained many motifs of the old pagan examples.26 In the sixteenth, seventeenth, and still in the early eighteenth centuries every wedding poem had its own specific feature, but the classical tradition remained evident.

In the Netherlands, particularly in the seventeenth and eighteenth centuries, the most influential author on the theory of the genre is the Italian scholar Julius Caesar Scaliger (1484-1558). In the third book of his Poetices libri septem, he devotes an entire chapter to the epithalamium and sets out six requirements that it should meet.27 These involve the praise of the bride and the groom (1), references to their backgrounds and to their trades (2), good wishes for the marriage (3), wordplays on the names of both (4), the bride's apparent resistance versus the groom's persuasiveness (5), and the prediction that children may come soon (6).

Although not explicitly mentioned in Scaliger's requirements, the beauty of cultivated nature is also an important and recurrent topic in many epithalamia. Already in the fragments of the Greek poetess Sappho (c. 630-c. 570 bc) the bride is compared to flowers or fruit, and the groom to a tree.28 The interference of the gods who are associated with love and marriage, like the wedding god Hymen with his flaming torch, Venus and Juno, is another repeated theme. Most poems conclude with wishing goodnight to the bridal guests, except of course to the groom and bride; they have to stay awake to consume their marital bond. Sexual allusions were common but became more and more concealed during the eighteenth century. In the next section, we will see that the same ingredients apply to Picart's prints.

Picart's Épithalames and the teamwork of image and text

Most epithalamia are not illustrated, but at the beginning of the sixteenth century a few title pages of booklets with wedding poems were adorned with small vignettes, and in the course of time separate title prints sometimes occured, particularly in the Netherlands.29 These images usually depict the bride and groom shaking their right hands, sometimes accompanied by mythological figures, in order to emphasize their marital bond. The artistic quality of most of these prints, however, is questionable. In this re-

spect, the wedding prints of Bernard Picart stand out because the images are graceful, delicate and highly finished.

At first sight, all Picart's wedding prints look similar, but on closer examination they differ in the details. Generally, the setting is a garden or a gardenlike surrounding with a bridal chamber or bed. The setting is, in accordance with the classical epithalamia, exuberantly decorated with garlands of flowers, ivy, fruitful trees, and streams or rivers. The bridal couples are never detailed portraits, but rather standardized figures, all dressed à l'antique. The topic of the seemingly reluctant bride is expressed by her withdrawn gestures. Hymen is always present lighting his torch, usually helped by Cupids. The attributes referring to the personal situation of the couple's families are often alike and symbolizing the mercantile activities of the families, for instance a sea with ships or vessels with trading goods.

While the prints clearly show similar features, this cannot be said of the title print poems. First of all, they vary in length from six to sixty-four lines. The shorter ones are about the bridal couple and the role of Hymen. But most title print poems supplement and explain the image. They do justice to Lairesse's remark that a title print needs an explanation.

Hereafter, a representative selection of Picart's Épithalames will be closer looked upon with the aim to show the ‘synergy’ between the print and the poem.

Nova gaudia surgunt or New joy rises

The first Épithalame was published on the occasion of the silver wedding anniversary of the Mennonites Maria van der Palm (1670-1745) and Jan van Vollenhoven (1670-1737) (Appendix no. 1, Figure 1),30 on the 16th of July 1715. Unfortunately, a copy of the booklet could not be traced - the wedding print is all that remains. Among Picart's wedding prints this is the only example of a wedding anniversary.31

Like all the Épithalames this picture contains elements from the classical tradition combined with personal details. The couple is sitting on a couch, situated in a delightful garden, which is an allusion to the garden of love, but also to the groom's family name Vollenhoven (‘full garden’). The palm trees refer to the bride's family name Palm. The bride is holding her hand under the groom's chin, a gesture that would be inappropriate for a young couple, but this intimacy is, according to the Explication, allowed for a couple

that has been married for 25 years.32 Hymen, the wedding god, rekindles the love of the couple with the help of several Cupids who are busy preparing the celebration. At the upper left corner of the frame, the personification of America and a moose symbolize that the couple made their fortune by trading moose skins from America. At the lower left a Siren, and at the lower right a Triton point to their overseas trade activities. At the upper right, Fortuna denotes their wealth. Together with the image, the motto ‘Nova gaudia surgunt’ or ‘New joy rises’ provides additional information: it predicts the success of the following years of the marriage.33



illustratie
Figure 1. Allegorical representation with an amorous couple, Hymen and putti in a decorated frame with the motto Nova gaudia surgunt. Etching and engraving, 127 × 182 mm, signed at lower left within decorated frame: B. Picart in. et scul. 1715


Nil vinclis dulcius illis or Nothing is sweeter than these shackles

The second Épithalame is a large vignette on the title page of the wedding booklet that was published on the occasion of the wedding of the Mennonites Dirk van Lennep jr. (1693-1755) and Catharina de Neufville (1684-1729) on the 7th of July 1716 in Amsterdam (Appendix no. 2, Figure 2). It was her second marriage. Although biographical information of the families of the wedding prints is scarce, we know that the De Neufville fam-

ily became wealthy in the trade of textiles, in particular silk.34 After their wedding Dirk and Catharina lived in a splendid residence in Amsterdam at the Herengracht 476, situated at the so-called ‘Gouden Bocht’ (Golden Bend).



illustratie
Figure 2. Allegorical representation with a young man who offers a burning heart to a young woman, seated on a bed, in an ornamental frame with the motto Nil vinclis dvlcivs illis. Etching and engraving, 119 × 145 mm, signed at lower centre below decorated frame: B. Picart inve. et sculp. 1716


The bride is depicted sitting on a wedding bed and invites her groom to approach her. The couple's wealth is expressed by Juno who is scattering jewels and coins from a cloud. This picture is a striking example of the play between the bride and groom before they eventually unite, but this time it is the groom who is restrained and not the bride. The personification of Liberty with a yoke at her feet pulls at the arm of the groom to warn him that he is about to lose his freedom. She is too late, because Cupid has already entwined him with garlands of flowers and guides the groom toward the wedding bed while he offers his future bride a burning heart. The bride invites him to join her by pointing at Hymen. The motto ‘Nil vinclis dulcius illis’, or ‘Nothing is sweeter than these shackles’ refers to the garlands by which the groom is pleasantly enchained to show his commitment to his future wife.

The title print poem is short, only six lines, but includes most features of the classical epithalamia.35 The intertwining of the groom with the shackles of love, the virtue of the bride, interference of Gods, Hymen and his torches, and the blessing of the bond by Juno. Everything that can be seen in the image is also explained in this short poetical interpretation.

Non haec sine numine divum or This does not come about without the will of the gods

The couple Abraham Bruin and Lady Debora van Vollenhoven married on the fourth of September 1718 in Amsterdam. A fullpage Épithalame was published on the occasion of their wedding (Appendix no. 4, Figure 3). Contrary to the previous examples, this print shows more motifs than are described in the twelve lines of Pieter Vlaming's poem.36 The latter was poet and book keeper in the Dutch East Indian Company, and is primarily known as publisher of the works of Hendrik Laurenszoon Spiegel. The closed door of the lush garden is symbolic of the virginity of the bride and at the same time the garden refers to her family name Vollenhoven. In his poem, Vlaming advises the groom to think about the delights behind the door that will only be opened by the favour of the Gods, which concurs with the motto ‘Non haec sine numine divum’, meaning: ‘This does not come about without the will of the gods’37

The personification of September, the month in which the marriage took place, gives the groom the key of this delightful garden. In her right hand she carries a horn with children's heads to indicate a fertile offspring. Pieter Vlaming, however, writes about Fecundity and not about September as can be seen in the print. At the lower left one of the Cupids is playing his lyre, symbolizing the harmony of the marriage, but it may also refer to the groom who - according to the poem - was an excellent player of the lyre. The apple tree outside the frame at the right bears no fruit at the top the trunk, which indicates that the marriage has not borne fruit yet. The future fertility of the marriage is expressed through branches full of fruits caused by one of Cupid's arrows shot at the middle of a heart attached to the tree.



illustratie
Figure 3. Allegorical representation with a couple entering the temple of Hymen, in a decorated frame with the motto Non haec sine numine divum. Etching and engraving, 243 × 199 mm, signed at lower left: B. Picart invenit et fecit 1718


Coëunt in foedera dextrae or The right hands join to form an alliance

The fifth Épithalame is a fullpage title print published on the occasion of the marriage of Jacob Alewyn Ghysen junior and lady Perina Vorsterman on 19 December 1719 in Amsterdam. Although the title print poem of the fifth Épithalame counts 28 lines, again the visual information is at some points more elaborate than the textual. This becomes

most apparent when the depiction and description of the personifications are compared (Appendix no. 5, Figure 4).



illustratie
Figure 4. Allegorical representation with couple joining the right hands, in a decorated frame with on pedestal the motto Coëunt in foedera dextrae. Etching and engraving, 246 × 198 mm, signed at lower left: B. Picart inv. et sculpsit 1719


The bride is accompanied by Fidelity, depicted with her attributes a key and a dog, by Virtue wearing a sun upon her bosom, holding a spear in her right-, and a laurel in her left hand, and by Chastity hiding her face with a veil and holding a dove. This procession is closed by Abundance with her cornucopia. The poem on the other hand reads: ‘While Chastity, Fidelity, and Virtue, as Chambermaids, are

decorating the marriage splendor at the side of the Bride.’38 In this case, the traditional attributes in the print give additional information necessary to name the personifications, which is, of course, not necessary in the text. The motto ‘Coëunt in foedera dextrae’ or ‘The right hands join to form an alliance’ refers to the tradition of the bride and groom joining their right hands, before they say ‘I will’ to one another.

The trees bend towards each other and form a triumphal arch, which in this context is a metaphor for the union of the couple. The olive tree, the laurel, and the grapevines protect the couple against bad weather and bad times. This image of nature, like the bending trees, is repeated outside the cartouche with the bridal scene. On the one hand nature entices the eye, but on the other it has a symbolic function, which is described in detail in the title print poem by the poet Johannes Oosterwyk.39

Soli tibi pronuba Juno or Juno protects the marriage for you alone

The seventh Épithalame was published on the occasion of the wedding of Adriaen Maten, who was ‘Directeur des Mesureurs de Grains’, and Lady Maria van Vollenhoven on May 6th, 1721 in Amsterdam (Appendix no. 7, Figure 5). The poet, again Pieter Vlaming, explains that the scene was designed by the printmaker. The sister arts are not competing as usual but working together.

While a delighted Poetry is queuing at the party, her sister, who has the brush, the pen, and the [etching] needle, is engaged with designing a beautiful carpet with everything that makes you happy.40

The bride is again a member of the Van Vollenhoven family, so we find the same elements as in the first Epithalamium: a lush garden, moose, and ships. At the lower right two Cupids measure grain and mark a barrel which indicates the trade of the couple in linseed as well as the family name of the groom Maten, which is also demonstrated by the two coats of arms at the upper centre. Their mercantile activities are further underlined by the presence of Mercury the God of commerce, and Ceres the Goddess of agriculture, depicted on both sides of the decorated fence that frames the image.



illustratie
Figure 5. Allegorical representation with a young couple who is offering a libation to Juno, in a decorated frame with the motto Soli tibi pronuba Juno. Etching and engraving, 118 × 149 mm, signed at lower left: B. Picart invenit et fecit 1721. Leiden, ub (mnl 1118 (5) a 4)


The motto reads ‘Soli tibi pronuba Juno’ or ‘Juno protects the marriage for you alone’ - Pronuba is the matron who attends the bride, and also a nickname of Juno, as the protectress of marriage. This is visualized by the couple taking a wedding vow before the altar of Juno, and by the groom who pours out a libation before the wedding goddess Juno. Hymen attends the ceremony and holds two candlesticks to kindle the love of both the bride and the groom.

In the title print poem Maria van Vollenhoven is compared with a Sabine woman who wears her hair long and loose. The bride is indeed depicted in the same way. The story of the Sabine women was first told by Livy and later more elaborately by Plutarch.41 The latter explains that there was a young man named Talasius among the Romans.42 One of the Sabine virgins was of a particular beauty, and she was brought to him as a bride. It became a happy marriage and that is why Talasius is invoked at other marriages, just as Hymen is invoked at the Greeks.43 The poet expresses the wish that a boy will be born who can succeed his grandfather in the trade of moose pelts, and his parents in the trade of flaxseed. The poem concludes with the prediction of a happy and healthy future.

Ira cedit favet dum Hymen amori or The wrath disappears as long as Hymen's love is well-disposed

Picart invented the eighth Épithalame for the second marriage of the Mennonite silk merchant David Leeuw van Lennep (1683-1745) with Lady Hester Barnaart (1695-1773) on the 25th of May 1723 in Haarlem (Appendix no. 8, Figure 6). [David is the brother of Dirk van Lennep, the groom of the second Épithalame. He owned a large library. The four corners of this Épithalame are crowned with the coats of arms and initials of the family names.44 Johannes Oosterwyk wrote a long poem of 64 lines, beginning with the art of drawing who has nature as its source and who teaches the etching needle. The printmaker Picart creates the scene as if he is the wedding god himself.45

The Art of Drawing, that of nature | Received her life, force, and fire, | Learns the Etching Needle with many loose swings | To control on the smooth copper, | So Picart brings out in this scene | a perfect garden house | Of Love, and Opulence; a Wedding Eden, | and Temple full of amusements, | Adorned with youthful Spring green.46

The traditional element of the seemingly reluctant bride is clearly visualized by her gestures, but also described in the poem. Hymen is depicted in the pavilion where the marriage bed stands. It is made to receive the couple, but the bride is depicted pushing the groom away out of (virgin) shame. Above on a cloud, Juno and Venus join hands to illustrate their approval of this alliance. The motto at the lower centre confirms the disappearance of the bride's resistance: ‘The wrath disappears as long as Hymen's love is well-disposed’, which also reflects the last two lines of the title print poem.47

The title print poem teaches us that David Leeuw van Lennep was a ship's insurer whose business is protected by the depiction of Mercury hovering above some ships in the sea and goods on the shoreline.

At the other side a sea full of ships, | securely navigating, not afraid of cliff, of storm, or high tide, | while Maja's son is protecting her; | This gives the merchant | the peace to live with a small profit, | when Van Lennep insures his goods or ship.48


illustratie
Figure 6. Allegorical representation with a young man who tries, with the help of Hymen, to persuade a young woman to share the marriage bed. In a cartouche the motto Ira cedit, favet dum Hymen Amori. Etching and engraving, 246 × 202 mm, signed at lower left: B. Picart invenit et fecit. 1723


The river gods, symbolizing the Amstel and the Spaarne, greet each other cheerfully and predict the couple a golden age.

Image and text connected

In this case-study of Picart's Épithalames I focused on a selection of title prints in conjunction with the title print poems. The Mennonites Picart worked for, belonged to a close group of intellectual merchants who knew each other, partly because of their family ties or their joint mercantile activities. They must have been aware of the connection between image and text, if only because they have placed the order. And after all, Lairesse explains in his Groot Schilderboek how important book prints are, and that they need a textual explanation. We have seen that Picart's wedding prints are visual epithalamia with features from the classical tradition. Allegories with personifications were the simplest way to clarify concepts visually, because most people were familiar with the traditional attributes that were meant to characterize the different figures or concepts. Although the compositions of the images vary, they are highly standardized. The advantage was that in theory any wedding print of Picart could be used for any marriage, or sold as attractive pictures to a group of print collectors. The title print poems, however, cannot be used for any random marriage; they relate the personal information of the bride and groom to the image. Together, image and text are tailored to the specific wedding couple and as such form a synergetic relation.

Appendix: List of Épithalames by Bernard Picart

kbh - Den Haag, Koninklijke Bibliotheek
uba - Amsterdam, Universiteitsbibliotheek
ubl - Leiden, Universitaire bibliotheken
ga - Amsterdam, Gemeentearchief

 

Épithalame 1, I715, Nova gaudia surgunt49 [New joy rises]

Etching and engraving, 127 × 182 mm, signed at lower left within decorated frame: B. Picart in. et scul. 1715. Large vignette on the occasion of the silver wedding anniversary of Jan van Vollenhoven and Maria Palm in 1715, Haarlem. Wedding booklet unknown.

 

Épithalame 2, 1716, Nil vinclis dvlcivs illis [Nothing is sweeter than these shackles]

Etching and engraving, 119 × 145 mm, signed at lower centre below decorated frame: B. Picart inve. et sculp. 1716. In: Bruiloftzangen voor den heere Dick van Lennep, de jonge, en mejuffrouw Catharina de Neufville. Vereenigt den 7den juli, 1716, Amsterdam: Hendrik vande Gaete, 1716. 4o kbh: 853 c 140; ga: Len (2443).

 

Épithalame 3, 1718, Nil flammis pulcrius istis50 [Nothing is more beautiful than these flames]

Etching and engraving, 113 × 144 mm, signed at lower centre: B. Picart invenit et sculp.

1718. In: Gezangen ter bruilofte van den heere Arent Bosch, en jonkvrouwe Eletta Thesingh, vereenigt den 3den van grasmaant [april], 1718, Amsterdam: Willem and David Goeree, 1718. 4o ubl mnl: 1256 a 37.

 

Épithalame 4, 1718, Non haec sine numine divum [This does not come about without the will of the gods]

Etching and engraving, 243 × 199 mm, signed at lower left: B. Picart invenit et fecit 1718. In: Zangen, ter bruilofte van den heere Abraham Bruin, en jonkvrouwe Debora van Vollenhoven vereenigt den IV. Van herfstmaendt. MDCCXVIII, Amsterdam: s.n., 1718. 4o kbh 853 g 190.

 

Épithalame 5, 1719, Coëunt in foedera dextrae51 [The right hands join to form an alliance]

Etching and engraving, 246 × 198 mm, signed at lower left: B. Picart inv. et sculpsit 1719. In: Huwelykszangen. Ter bruilofte van den heere Jacob Alewyn Ghysen junior, en jongkvrouwe Perina Vorsterman. In den echt vereenigt binnen Amsterdam, den 19den van wintermaandt 1719, Amsterdam: Johannes Oosterwyk, 1719. 4o kbh: Pc 5211.

 

Épithalame 6, 1720, Sint pacta jugalia curae [Let the marriage arrangements be your concern]

Etching and engraving, 106 × 143 mm, signed at lower centre: B. Picart invenit et sculp. 1720. Large vignette on the occasion of the marriage of the Mennonites Willem Philip Kops and Johanna de Vos on the 22nd September 1720. Wedding booklet unknown.

 

Épithalame 7, 1721, Soli tibi pronuba Juno52 [Juno protects the marriage for you alone]

Etching and engraving, 118 × 149 mm, signed at lower left: B. Picart invenit et fecit 1721. In: Op het huwelyk van den heere Adriaen Maten, en de jongkvrouwe Maria van Vollenhoven. In den echt vereenigd den 6den van bloeimaand, 1721, Amsterdam: heirs J. Lescailje and Dirk Rank, 1721. 4o kbh 853 g 184.

 

Épithalame 8, 1723, Ira cedit, favet dum Hymen Amor [The wrath disappears as long as Hymen's love is well-disposed]

Etching and engraving, 246 × 202 mm, signed at lower left: B. Picart invenit et fecit. 1723. In: Huuwelijkszangen ter bruilofte van den heere David Leeuw van Lennep, en jongkvrouwe Hester Barnaart. Echtelyk vereenigt binnen Haarlem, den 25sten van bloei-maand, 1723, Amsterdam: Johannes Oosterwyk, 1723. 4o kbh: 853 g 174.

 

Épithalame 9, 1724, Oppugnent alii, hic solus de corde triumphat [Let other attack, only this one triumphs over the heart]

Etching and engraving, 252 × 203 mm, signed at lower left: B. Picart invenit et sculp. 1724. In: Huwelykszangen ter bruilofte van den heere Abraham Barnaart, en de jongkvrouwe En-

geltje van Hooven. Echtelyk vereenigt binnen Haarlem, den 28sten van lentemaandt, 1724, Amsterdam: Johannes Oosterwyk, 1724. 4o kbh: 853 g 178.

 

Épithalame 10, 1724, Ne timeas, et casta thorus, tua numina, servat [Do not be afraid, and let your chaste wedding bed serve the gods]

Etching and engraving, 121 × 146 mm, signed at lower centre: Picart inve. et fecit 1724. In: Bruiloftzangen, voor den heere Jacob van Lennep, Dirksz. en jonkvrouwe Susanna Catharina de Wolff. Echtelyk vereenigt in Amsterdam, den XII van herfstmaant, MDCCXXIV, Amsterdam: s.n., 1724. 4o kbh 853 g 180.

 

Épithalame 11, 1726, Virtus sine superbia, et voluptas sine libidine, animos aeternis flammis accendent [Virtue without pride, and pleasure without lust, may inflame the emotions with eternal fire]

Etching and engraving, 124 × 153 mm, signed at lower centre: B. Picart inv. et fecit 1726. In: Huwelykszangen ter bruilofte van den heere Ysbrand Vincent, en jongkvrouwe Johanna Pauw. Echtelyk vereenigt binnen Amsteldam, den 14den van gras-maand, MDCCXXVI, Amsterdam: Willem Barents, 1726. 4o ga: f Vin (4142).

 

Épithalame 12, 1729, Amori cedant omnia53 [Let everything yield to the power of love]

Etching and engraving, 118 × 155 mm, signed at lower left: L.F.D.B. inv.; at lower right: B. Picart sculp. 1729. In: Ter bruilofte van den heere Louis Fabricius Du Bourg, en jonkvrouwe Eva de Kaersgieter, Amsterdam: s.n., 1729.4o kbh: cbg: d 17.


Vorige Volgende

Over dit hoofdstuk/artikel

auteurs