‘Trekt Heuvelman voor ons gezicht?’

The Library of Writing-Master Johannes Heuvelman

In: Quaerendo
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  • 1 New College, Oxford, United Kingdom

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Although the name of the seventeenth-century Dutch writing-master Johannes Heuvelman still invoked a high standard of calligraphy fifty years after his death, little is known about this Haarlemmer master today. This article discusses the printed catalogue and collection of calligraphy of Heuvelman’s library, sold after his death, with which he situated himself in a rich network of writing-masters. These include important calligraphers of the immediate past in the Dutch Republic, contemporaneous French writing-masters – suggesting a hitherto unknown influence on Dutch calligraphy – and many calligraphy professionals and enthusiasts of Haarlem.

  • 3

    Ibid., p. 192. All translations from the Dutch are the author’s.

  • 8

    Croiset van Uchelen, op. cit. (n. 4), p. 5.

  • 15

    Ton Croiset van Uchelen, ‘The writing-master Ambrosius Perling – in the twilight of a great tradition’, Quaerendo, 26 (1996), p. 169. Van der Laegh (b. 1614) also engraved books by Piet van Eede and Jean de la Chambre, and had at least three of his own copybooks published. See Ton Croiset van Uchelen, ‘Schrijfmeesters als schriftgraveurs: gedachten bij een brief van Ambrosius Perling’, in: For Bob de Graaf [. . .] Festschrift on the Occasion of his 65th Birthday, ed. Anton Gerits (Amsterdam 1992), p. 108.

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  • 21

    Bert van Selm, ‘The introduction of the printed book auction catalogue. Previous history, conditions and consequences of an innovation in the book trade of the Dutch Republic around 1600 – Part I’, Quaerendo, 15 (1985), p. 41.

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  • 23

    Ibid., 75; Norbert Furrer, Des Burgers Buch. Stadtberner Privatbibliotheken im 18. Jahrhundert (Zürich 2012). That not only scholars possessed libraries, at least in the eighteenth century, is shown by Furrer in this book, in which he gives an overview of libraries of inhabitants of Bern known from inventories, including small libraries belonging to bakers and butchers.

  • 28

    Rasch and Wind, art. cit. (n. 27), pp. 329-30.

  • 36

    Croiset van Uchelen, op. cit. (n. 4), pp. 5-9; Herman de la Fontaine Verwey, ‘The Golden Age of Dutch Calligraphy’, in: Miniatures Scripts Collections. Essays presented to G.I. Lieftinck, vol. 4 (Amsterdam 1976), pp. 69-78. In calling it ‘The Golden Age’, Croiset van Uchelen follows De la Fontaine Verwey.

  • 37

    Croiset van Uchelen, op. cit. (n. 4), pp. 5-9.

  • 38

    Ibid., p. 7. Copybooks were partly so expensive to make because most writing-masters were not skilled in engraving, and separate engravers, therefore, needed to be engaged for this time-consuming job.

  • 39

    Ibid., pp. 6-8.

  • 40

    Ibid., pp. 7-8.

  • 48

    Ibid., pp. 11, 112-15.

  • 56

    Croiset van Uchelen, op. cit. (n. 4), pp. 6-8.

  • 60

    Jimenes, op. cit. (n. 58), pp. 53-4.

  • 62

    Croiset van Uchelen, art. cit. (n. 15), p. 170.

  • 65

    A. Welcker, ‘P. Bodding alias Pieter van Laer, Orlando Bodding alias Roeland of Orlando van Laer, Nicolaes Bodding alias N. Boddingh van Laer of Ds. Nicolaes Boddingius’, Oud Holland, 59 (1942), pp. 86-7.

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  • 66

    Ibid., pp. 87-8.

  • 67

    Quoted ibid., p. 87. The full text at his appointment was: ‘Nicolaes Boddingius, oud-proponent in de godsgeleerdheid, extra-ordinair schrijver en muzikant, beoefenaar der Grieksche, Hebreeuwsche en Fransche taal, komende van Haarlem!’.

  • 68

    Croiset van Uchelen, op. cit. (n. 4), p. 43. Although three A.B.C.’s are known it is not clear whether there is an A.B.C. in German script.

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