Author Archives: Julie Mellby

Love Among the Games

verso

recto

L’Amour parmi les jeux, le Souvenir du bon temps, Dédié aux Belles [=Love Among the Games, the Memory of the Good Times, Dedicated to the Beautiful] (Paris: Boulanger, [1785]) with paintings by François Marie Isidore Queverdo (1748-1797). Provenance: bookplate of Robert de Beauvillain.  Graphic Arts Collection GAX 2020- in process.

The complete description that came with the volume: “24mo (binding size 98 x 57 mm). Entirely engraved. 44 leaves = 22 bifolia, a “nested” construction, irregularly paginated: engraved title, Remarques pour la présente année 1785on verso, conjugate with advertisement leaf at end, 6-leaf engraved calendar for 1785 enclosing central quire, paginated 3-62, containing: 12 leaves engraved text, each text leaf alternating with one of 12 full-page engraved “plates” (printed on 6 conjugate bifolia), the printed sides included in the pagination; at center a separate quire of tables of gains and losses, with separate imprint, but included in the pagination (pp. 21-44).”

 

The Graphic Arts Collection has a new, quietly erotic almanac in an embroidered binding set with painted miniatures by or after François Marie Isidore Queverdo (1748-1797). The interior engravings are described elsewhere as by Jean Dambrun (1741-1808) after Queverdo. If you look closely, each print displays various amorous encounters while the poetry describes seduction involving both men and women, husbands and wives, humans and angels.

 

The games mentioned in the title are both actual sports: in January there is bowling, in February is hide and seek, and so on. But they are also the adult games played by men and women throughout the year.

 

Benezit lists Queverdo as born 2 February 1748, in Josselin (Morbihan) and died 24 December 1797, in Paris. “The father of Louis Marie Yves Queverdo, François Queverdo appears on the register of pupils of the Académie Royale as being the protégé of the duchess of Rohan-Chabot and living in her house. He was a pupil of Pierre and Longueil. He collaborated as a draughtsman and engraver on the plates for the Abbé de St-Non’s Picturesque Journey Through Italy ( Voyage pittoresque d’Italie). He also made many engravings from his own drawings of fêtes galantes. His works are not without talent although the forms are heavy and often inaccurate and some of his pieces are highly prized. He imitated the style of Baudouin.”

 

Les quatre-coins (Puss in the Corner), see: https://en.wikipedia.org/wiki/Puss_in_the_corner_(children%27s_game)

Edward Colie Caswell



Looking for a good novel to read while the 2020 campus shuts down for a winter break, Edith Wharton’s Old New York (1924) was suggested. A collection of four novellas set in the 1840s, 1850s, 1860s, and 1870s, the last, New Year’s Day, seemed timely. Although written in France, they describe Wharton’s family home at 14 West 23rd Street–the same building that now holds a Starbucks–acting as prequels to The Age of Innocence, for which she received a Pulitzer Prize in 1921. Each of the four volumes is decorated with a paper label on the cover and illustrated endpapers designed by E.C. Caswell (1879-1963).

Edward Colie Caswell may not have known he was following in  Wharton’s footsteps when, a few years later, he moved into the Chelsea Hotel also on 23rd Street, joining the musicians and writers who first gave the Hotel its reputation for housing bohemians. Suzan Mazur wrote one of the few biographical sketches of Caswell, a well-known book illustrator and columnist for The Villager newspaper. “Caswell started out at a studio in the Ovington Building on Fulton St. before moving to the Chelsea Hotel in the 1930s,” she wrote, adding that he “helped establish the Washington Square Outdoor Art Exhibition.”

What she didn’t mention were his illustrations of Princeton University for the fictional memoir by Latta Griswold (1876-1931) entitled Deering at Princeton: a Story of College Life (1913. Recap PS3513.R786 D44 1913. Gift of Landon T. Raymond, Princeton Class of 1917 collection). It is the story of a freshman named Deering, who endured hazing, bullying, and other difficulties during his first year at Princeton.

The book was read by every student that year and in response to complaints, the author wrote a letter to the Editor of the Princetonian:

Dear Sir:— My attention has been called to the fact that in a recent story “Deering at Princeton”, published a few weeks ago, among the fictitious names given to various Princeton clubs I called one The Arch Club, assigning to it a somewhat undesirable character. It should be evident to everyone, but in case any misunderstanding should arise I desire to say through your columns, that when I selected this name I did not know that the Princeton Arch Club had been formed, and with quite different purposes from those associated with the name in my story. I regret very much that this should have happened, and offer my apologies very sincerely to any who may have been annoyed by the unfortunate mistake. In any future edition of the book the mistake will of course be rectified. Very truly yours, Latta Griswold.”– Daily Princetonian, Volume 37, Number 110, 5 November 1913


Edith Wharton (1862-1937), Old New York (New York and London : D. Appleton and Company, 1924). “The shared main title, Old New York, had served for the working title of The Age of Innocence … All four volumes printed at Van Rees Press, New York (printing completed 30 August 1924)”–Cf. Garrison.

Learn more about Edith Wharton’s New York home:

Maple Leaf Rag

Scott Joplin (ca. 1868–1917) and Ellen Banks (1938-2017), Maple Leaf Rag (Atlanta: Nexus Press, 1988). One folded sheet; 35 cm in case 46 cm. Graphic Arts Collection GAX 2020- in process

Photo by Kalman Zabarsky for Boston University

 

After seeing her work, no one would be surprised to learn that one of Ellen Banks’ earliest influences was Piet Mondrian. In his essay, “Ellen Banks: The Geometries of the Score,” Graham Lock notes that she “paints nothing but music—not as heard but taken directly from the score and transformed, via a system of personal symbolism, into colors and shapes: ‘Music is my still life, my landscape, my nude.’ Banks is unique … in taking music as the sole subject of her art. Her approach is highly unusual too: her canvases are based not on the sound or performance of music but on musical scores.”

Although primarily a painter, Banks editioned this artists’ book [above] transferring her understanding of Scott Joplin’s notation into color and pattern. It is her visualization of sound in shape and embodiment of tone in hue.

Last two verses of The Maple Leaf Rag
Composition by Scott Joplin 1899; Lyrics by Sydney Brown 1903

The men were struck wit’ jealousy, the razors ‘gan to flash
But de ladies gathered ’round me for I’d surely made a mash
The finest belle, she sent a boy to call a coach and four
We rode around a season ’till we both were lost to reason

Oh go ‘way man, I can hypnotize this nation
I can shake the earth’s foundation wit’ the Maple Leaf Rag
Oh go ‘way man, just hold you breath a minute
For there’s not a stunt that’s in it with the Maple Leaf Rag

https://www.lyrics.com/lyric/4695627/Scott+Joplin/Maple+Leaf+Rag

Walking the Poetry Path

Tom Otterness

“As part of the yearlong celebration of our 10th anniversary at 10 River Terrace, check out the Poets House Poetry Path in Battery Park City—an immersive public art installation of poetry running from Rockefeller Park’s north end to the marina at Brookfield Place. This installation includes fragments from poems reaching across time, space, and cultures, featuring over 40 poets whose work considers the relationships between people, nature, and the urban landscape. The installation of the Poetry Path is now complete and can be enjoyed in person or virtually”: https://poetshouse.org/poetry-path/

City of Ships by Walt Whitman (1819-1892)
…City of the sea! city of hurried and glittering tides!
City whose gleeful tides continually rush or recede, whirling in and out with eddies and foam!
City of wharves and stores—city of tall facades of marble and iron!
Proud and passionate city—mettlesome, mad, extravagant city!
— https://whitmanarchive.org/published/LG/figures/ppp.00473.379.jpg

 

I am New York City by Jayne Cortez (1934-2012)
i am new york city
here is my brain of hot sauce
my tobacco teeth my
mattress of bedbug tongue
legs aparthand on chin
war on the roofinsults
pointed fingerspushcarts
my contraceptives all … https://www.poetryfoundation.org/poems/90805/there-it-is
Practice Standing Unleashed and Clean by Patricia Smith (born 1955)
…I traveled with a whole chattering country’s restless mass
weakening my shoulders. But I offer it as both yesterday
and muscle. I come to you America, scrubbed almost clean,
but infected with memory and the bellow of broiling spices
in a long-ago kitchen. I come with a sickness insistent upon
root in my body, a sickness that may just be a frantic twist
from one life’s air to another. I ask for nothing but a home
with windows of circled arms, for a warm that overwhelms
the tangled sounds that say my name.–https://poets.org/poet/patricia-smith

 

“Martin Puryear’s stately Pylons (1995) rise along the waterfront of the Belvedere, framing the sightlines of the Winter Garden. Both columns are made from stainless steel and are composed from six segments. In their contours they are a study in opposites. One is solid and all angles, thrustting downward; the other, an airy, volumetric weave of steel mesh gracefully spirals upward. Situated between the ferry dock and the North Cove Harbor, the Pylons are designed to be viewed from either land or water as a symbolic portal connecting the two. By day, they give the waterfront an identifiable landmark. By night, the two opposing columns are dramatically illuminated like beacons.”

 

Death of a Naturalist by Seamus Heaney
All year the flax-dam festered in the heart
Of the townland; green and heavy headed
Flax had rotted there, weighted down by huge sods.
Daily it sweltered in the punishing sun.
Bubbles gargled delicately, bluebottles
Wove a strong gauze of sound around the smell.
There were dragonflies, spotted butterflies,
But best of all was the warm thick slobber
Of frogspawn that grew like clotted water
In the shade of the banks. —https://www.poetryfoundation.org/poems/57040/death-of-a-naturalist

Trickster Feminism by Anne Waldman
History will decide moments, but you live them. Crossroads beyond identity you have to go to stake for your fractured land. Place where forces gather. They could put you away, rights stripped down, murder you. Shadowy nimble trickster comes mysteriously out of twilight, walking backward, walking sideways and flying in air too. Scrying the tracks & flight patterns you will come to when we’ve forgotten how to read: Rescue.

 

Thirst drove me down to the water, where I drank the moon’s reflection.–Jalāl ad-Dīn Muhammad Rūmī, also known as Rumi (1207–1273)

“Taking over its corner of the park with gleeful abandon, Tom Otterness’ whimsical sculptural installation entitled The Real World is one of New York’s most popular public artworks. Cast in bronze, the sculptures feature Otterness’ signature cartoonish figures: animals and people, banks and robbers, laborers and pilgrims, predators and prey, all rubbing shoulders in his delightfully loopy narrative world.”

Prints wearing out? Paste in new ones.

Engraved allegorical title page by Adamo Scultori (1530–1585) with a medallion scene of the Virgin and Child, flanked by Saint Dominic and Saint Vincent. Note the close trimmed print.

When the information on this new acquisition is loaded into our online catalogue in a few weeks, the link to this physical book will probably disappear, superseded by one for the Hathi Trust digital copy. During this odd year, it is one or the other. This is too bad, given the unique material properties of our copy.

First published in 1573, compiled by the Dominican Andrea Gianetti da Salò (d. 1575) from the writings of Luis de Granada (1504–1588), the book offers a guide to the fifteen mysteries of the Rosary. Scultori’s engravings caught the attention of the book’s many reader, leading to its reprinting over twenty times in the following thirty years. When Scultori’s plates became worn, they were sometimes re-engraved in later editions. This 1578 Varisco edition holds a number of prints beginning to show wear.

What is most interesting in this individual book are the rich, dark prints someone pasted on top of seven original engravings, a conservation procedure not yet found in any other copy. Our dealer notes “The lack of other similarly ‘improved’ copies seems to indicate a later intervention rather than something made at the time of printing, although the skill with which the new engravings have been pasted suggests a professional, maybe a seventeenth- or eighteenth-century binder or bookseller, rather than a former owner. See: Mortimer 218 (for the 1573 edition).”

Other owners might want to check their copies.

 

Luis de Granada. (Andrea GIANETTI, editor.) Rosario figurato della Sacratissima Vergine Maria Madre di Dio nostra avocata... (Venice, Giovanni Varisco, 1578). Graphic Arts Collection GAX 2020- in process

 

Here are some biographical details on Adamo Scultori (1530–1585) from Brown University:

Son of the Mantuan sculptor Giovanni Battista Mantovano (Mantuano) and brother of the engraver Diana Mantovana (Mantuana, Scultori), Adamo, like his sister, was taught to engrave as a child by his father. His earliest known work, done when still a youngster, was a series of figures from Michelangelo’s Last Judgment fresco in the Sistine Chapel. His made many engravings after the Roman court artist in Mantua, Giulio Romano, and also after the antique. He also engraved frontispieces for book illustration, and in the case of the phlebotomy manual Discorsi di Pietro Paolo Magni Piacentino sopra il modo di sanguinar… he not only designed and engraved the frontispiece of Magni’s first, 1584 edition, but also engraved–and most likely designed-the other illustrations in the book. He was active as a print dealer and publisher in Rome between ca. 1577-80.

Juggling a diabolo in 1813

Le Diable couleur de rose ou Le jeu à la mode [=The Pink Devil or The Fashionable Game] (Paris: [Louis] Janet, Libraire, rue St. Jacques No 59, [ca. 1813-1819]). Graphic Arts Collection GAX 2020- in process


This luxury gift book/almanac for fashionable ladies features poetry, calendars, and six etchings depicting the game of ‘devil sticks’ also called the Chinese yo-yo also known as juggling a diabolo. Although the game originated in China, it was especially popular in France in the early 19th century, as seen here. The front and back endsheets incorporate gilt loops to hold a tiny pencil but there are no notes in this volume.

Bound and published by Janet, the BnF lists Pierre-Claude-Louis Janet, also known as Louis Janet (1788-1840) as a “Bookseller and bookbinder. – Son of the Parisian bookseller-bookbinder Pierre-Étienne Janet (1746-1830) and brother of the music publisher Pierre-Honoré Janet (1779? -1832) and of the engraver-publisher François-Pierre Janet (1784-1870). First established in 1810 as a satin maker and bookbinder. Patented bookseller in Paris on June 26, 1821, in succession from his father who gave him his patent (inspector’s report of April 12, 1821). Publishes almanacs, New Year’s Eve books and gift books known as “keepsakes”. Produces cardboard boxes, serial bindings and luxury bindings. Bankruptcy declared on July 6, 1838. Died in Paris in Jan. 1840. His widow succeeded him in 1841 and would practice until at least 1875.”

Janet’s “fixé sous verre” binding includes two hand painted scenes, front and back, mounted under transparent material framed with heavy gilt paper “gauffred cartonnage” [https://cool.culturalheritage.org/don/dt/dt1504.html]. On the cover a charming lady rises from a cloud balancing cupid on the stem of a rose. Above her is “Avis Aux Dames” or Ladies View or Ladies Point of View.

See also: https://cirque-cnac.bnf.fr/en/diabolo


 
 
Want to learn how to juggle the diabolo?

 

Universal Penman variations

“…hmmm. First edition, second issue…Second edition, first issue…”

George Bickham the Elder (1684-1758), The Universal Penman, or, The Art of Writing Made Useful to the Gentleman and Scholar, As Well As the Man of Business (London: Printed by and sold for the Author, 1741). Graphic Arts Collection GAX 2020- in process


 

 

A classic text in the history of writing and printing, the engraved copybook The Universal Penman by George Bickham the Elder is a must for any serious rare book collection. According to most sources, Bickham began collecting samples of English penmanship in 1733 from 25 London writing masters. A master engraver by trade, he then transferred the ink calligraphy to engraved copper plates and issued them in 52 parts between 1733 and 1741. The popular collection was reprinted and reissued continually, most recently by Gale in 2018.

Is there a definitive first edition?

Princeton University Library now holds three early collections of Bickham’s parts. Our most recent is complete with an engraved frontispiece by Hubert-François Bourguignon, commonly known as Gravelot (1699–1773), two engraved title pages, and 212 engraved plates of calligraphy. The table of contents matches one other volume but not the front matter, while the pages match a second volume but not the index. This post is not a solution but only the question, whether one set of parts is more correct than another.

Kim Sloan writes for the Dictionary of National Biography:

Bickham, George (1683/4–1758), engraver and writing-master, was born in London; he was said to have been seventy-four when he died in 1758. …Bickham was apprenticed to the writing-master and engraver John Sturt and quickly gained a good reputation among writing-masters as an engraver of calligraphy. Joseph Champion claimed Bickham surpassed his master by being the first to cut through wax on copper without tracing the design first, thus transmitting the master’s original more faithfully. …In his first surviving trade card, of 1705, Bickham advertised himself as a copperplate-engraver and teacher of drawing at Hoop Alley in Old Street, London.

…In 1723, while living in the parish of St Leonard, Shoreditch, in London, he was declared insolvent and imprisoned. Three years later he designed and engraved several plates in Thomas Weston’s Writing, drawing and ancient arithmetick for the use of the young gentlemen at the academy at Greenwich, a school at which his son George later taught drawing. Several combination drawing and writing copybooks were published by George Bickham in the 1720s and early 1730s, and it is impossible to say for certain whether father, son, or both were responsible for them, since by this date both taught drawing and both were skilled engravers.

Often—as in the case of The Drawing and Writing Tutor—the first edition is undated and later editions contain additional plates clearly engraved by the son. However, the invention of plates which cleverly combined simple drawing examples with calligraphic text can undoubtedly be attributed to the father.

In the 1730s the elder Bickham seems to have settled fairly permanently in the Clerkenwell district of London, where his Penmanship in its Utmost Beauty and Extent (1731) was sold from his premises in Warner Street. Two years later he embarked on his most important contribution to British engraving, The Universal Penman, a joint work with his son and John Bickham (fl. 1730–1750), his son or brother, which was sold from his house in James Street, Bunhill Fields. Issued in fifty-two parts from 1733 to 1741, it was the culmination of his work as an engraver of calligraphy: it contained examples by twenty-five contemporary writing-masters on 212 folio copperplates, many embellished with decorations engraved by his son, as the elder Bickham firmly believed that drawing was a necessary qualification for the man of business.

Or woman of business
 

 

“By the Arts of Reading and Writing we can sit at Home and acquaint our selves with what is done in all the distant Parts of the World, & find what our Fathers did long ago in the first Ages of Mankind.”

 

 

George Boileau Willock cartoons

The Graphic Arts Collection recently added an album of 259 original cartoons, watercolors, and pen-&-ink sketches on 170 pp., along with a few printed cartoons, including one “sent to Punch January 1868.”

 

George Boileau Willock (born 1832), Gore Wynyard Willock (1861-1910), et al., Scraps by Many Hands, [ca. 1855-1885]. Embossed cover “G.B.W.”

Some work has already been done on the albums provenance, which is repeated here:
A collection of original art work by G.B.W. (George Boileau Willock, born 1832) and his artistic friends. The album was passed to his son, G.W.W. (Gore Wynyard Willock, 1861-1910). George came from an Imperial family that included Alexander Willock, London merchant and slave owner in the West Indies, his son Francis (1785-1834), naval officer and brother of Sir Henry Willock (1790-1858) chairman of the East India Company, and Captain Frank Gore Willock (1829-1857) who died at Delhi.

The son of Sir Henry Willock and Elizabeth Davis, George married Georgina C.M Willoughby in 1857 and together they had three children, Beatrice, Gore and Frank. Gore was born at Mussoorie, (a hill station pictured in the album) in the Indian state of Uttarakhand, north of New Delhi, and served in the Indian army before retiring to London. The Boileau connection was through Mary Elizabeth Boileau (1838-1919), who married Henry Davis Willock in 1859.

It is assumed that Gore compiled his father’s drawings into this album, including 124 cartoons signed G.B.W. or G.B. Willock; and about 80 others unsigned but probably by Willock. George was clearly an accomplished artist but many of the drawings present racist views of Asian, African, and Indian people, both in the image and the text. They are not included here. A portrait [at the top] presumed to be George Willock is included with a photograph of his face pasted to a sketch of a man on horseback

 

There are 20 non-humorous watercolors or pen-&-ink drawings of landscapes in England, Scotland, and India.. Eighteen cartoons are signed with the initials of other artists: 8 by C.A.R., 4 by J.L., 2 each by H.M.J. and W.T., one each by W.F.L. and M.E.
The two printed items laid into the album are:
Legend of Broadstairs. For Private Circulation only (Broadstairs: Printed by E. Cantwell, ca. 1875). Signed G.B.W. at end. Inscribed to “Gore from the Author,” [ca.1875].
A True Tale told by Mariah Hanne to Sarah Jane. 3pp. on a single folded sheet [ca.1880], inscribed to “Gore from the Author.”

 

 

Alisa Banks’ Fire

 

Alisa Banks, Fire (Dallas, Texas: A Bee Press, 2020). No. 1 of 4. Wool, silk, cotton, thread, paper, wax, ink, and dye with handwritten text. Graphic Arts Collection GAX 2020- in process

Visual artist Alisa Banks writes, “… my work addresses the quest for understanding identity and all it encompasses. … Each individual, quiet story coalesces to form a cultural memory that is shaped by experience, ritual, belief, places and relationships, and is called upon to explore connections. …It continues when stories that reference culture, the body, memory, and place are shared. It continues when an object relays an experience, either by paint, thread or paper. It continues.”

The Graphic Arts Collection acquired our first book in Banks’ elemental series. “Part autobiography, part auto-biology, elemental focuses on aspects of identity in relation to the elements Earth, Fire, Air and Water. In each, the viewer is invited to dig through layers that are sometimes easily accessible and sometimes not.”

Fire is the last of this series.

 


 

Based in Dallas, Texas, Banks produced each book in an edition of only four copies. Fire is fashioned of wool, silk, cotton, thread, paper, wax, ink, and dye with handwritten text. Pamphlet cover with pockets containing an envelope with a scroll, inner envelope, and paper rock. The artist notes, ”Fire – orange to red, to blue, to white – is both intimate and universal. Fire catches and holds on to matter, consuming it until it is transformed into something else, an essence. Fire is mesmerizing, in turn lulling and igniting fervor. In religion and mythology, it is the element that represents awareness and consciousness.”

 

 

“Fire features stories of the transformative power of action, understanding, and experience. A fabric envelope features text about fire and transformation. The envelope is opened to reveal a scroll that features an account of desegregating an elementary school. The story unfolds to reveal another fabric envelope featuring an account of the transformative power of motherhood. Inside the envelope is a paper rock that speaks to the unboundedness of love.”

 

https://www.alisabanks.com/news

https://www.alisabanks.com/body

 

 

 


Francisco de Araoz’s Division of the Printed World of Learning


Allegorical engraving of Wisdom by Jean de Courbes (1592-1630 or after)
Top: Psalm 118:130
Declarátio sermónum tuórum illúminat et intelléctum dat párvulis.
The declaration of your words gives light and understanding to children.
Bottom: Proverbs 8:12-14
Ego sapientia, habito in consilio, et eruditis intersum cogitationibus.
I, wisdom, dwell with prudence; I possess knowledge and discretion.

Francisco de Araoz (1583-1658), De bene disponenda bibliotheca: ad meliorem cognitionem loci & materiae, qualitatisque librorum, litteratis perutile opusculum [= The library is well managed: to improve their knowledge of the matter, and the quality of books, learned a valuable work]/ auctore D. Francisco de Araoz … (Madrid: F. Martínez 1631). Graphic Arts Collection GAX 2020- in process.

 

This rare Spanish bibliography develops a classification structure of 15 branches of knowledge, offering representative authors for each category. One scholar identifies this work as “one of the first to positively mention Cervantes’ Don Quixote and F. Martinez was the first printer to publish the complete Madrid, Don Quixote (1st ed. 1605 & 1615 of 2 parts).”

“Dictionaries, spellers and grammars come first then broad subject surveys of all fields. Rhetoric and eloquence, history, dramatic comedy and secular poetry, are the next three categories followed by the quadrivium. The seventh section includes science, medicine, agronomy and gastronomy, metallurgy and precious stones. Moral philosophy, emblems, fables, symbology and proverbs form a class, as do the practical undertakings of politics and civil law. The remaining sections are of a piece — canon law, scholastic theology, scripture (and its commentaries), ecclesiastical history, Church Fathers and doctrine, and, lastly, sacred verse, devotionals and liturgical works.”

The French engraver living in Madrid, Jean or Juan de Courbes was active with Spanish publishers, designing a number of frontispieces.

Nacido en París, debió de llegar a Madrid hacia 1620, llamado por su hermano, el librero Jerónimo de Courbes, que tenía tienda abierta en la calle Mayor frente a las gradas de San Felipe. Su primera obra conocida, datada ya en Madrid en 1621, . . .

Autor prolífico, trabajó para todas las imprentas madrileñas e ilustró con sus grabados las portadas arquitectónicas o heráldicas de numerosos libros, como la Relación de las fiestas que la insigne villa de Madrid hizo a la canonización de (…) San Isidro, relación festiva de la que se encargó Lope de Vega, impresa por la viuda de Alonso Martín, 1622. En 1626, tras un paréntesis de tres años en los que pudo haber retornado a Francia, la portada del libro de Juan Pablo Mártir Rizo, Historia de Cuenca, con los retratos de los caballeros de la casa de Hurtado de Mendoza, señores de Cañete, recogidos en páginas interiores.

Sobre dibujo de Juan de Noort grabó en 1628 la portada del Quadragesimal sobre los Evangelios del padre fray Francisco de Rojas, impreso por Juan de la Cuesta. Del mismo año es la portada de la Vida de la bienaventurada Ritta de Casia de Alonso de Aragón, obra publicada en Madrid, en la imprenta de la viuda de Luis Sánchez; de 1630 la portada del Tratado de confirmaciones reales de Encomiendas, de Antonio de León Pinelo, impreso por Juan González, con las alegorías del Perú y la Nueva España, y del mismo año la de los Asuntos predicables para los domingos después de Pentecostés obra de Diego Niseno. …https://es.wikipedia.org/wiki/Juan_de_Courbes