An extra fine example heightened in gold of the first edition of the America volume of Joan Blaeu’s monumental work, the ‘Atlas Major’, considered the greatest of all atlases ever published. “The Great Atlas by the Blaeu’s is one of the monuments of map production, and for size and beauty and accuracy has never been surpassed. The maps, elaborately ornamented with coats-of-arms and views of cities are drawn with great care” (World Encompassed no. 149). “The contents of this unprecedented atlas illustrate the high standards of contemporary cartography and geographical knowledge, and its presentation bears witness to the superb craftsmanship of engraver, printer, binder, and papermaker … The costly atlas was in fact exclusively designed for those members of the patriciate who could command both the material and intellectual resources that were needed to buy it and appreciate it” (Koeman, 1970).

This volume is made up of the original 14 maps found in the American sections of the earlier ‘Atlas Novus’. They are expanded with 9 new plates which all appear in this volume for the first time and are to be especially valued because the colouring includes gold. Four of the new maps are ‘Extrema Americae’ featuring eastern New France, ‘Yucatan’, Canibales Insulae’ on the Lesser Antilles, and ‘Paraguay’. Five further maps on Brazil were originally published in Caspar Barlaeus’ ‘Rerum per octennium in Brasilia’ published in 1647. The work was commissioned by the Governor-General of the short-lived Dutch Brazil. The Dutch took control of north eastern Brazil in 1630 an area representing almost half of Portuguese controlled Brazil. Amongst the artists encouraged into Brazil was the painter Frans Janszoon Post (c.1612-1680), who supplied the remarkable vignettes found on the maps.

This atlas is extra illustrated with an example of the first state of Nicolaas Visscher’s ‘Insulae Americanae’ before the addition of a privilege and centred on the West Indies. It is ultimately derived from the Hessel Gerritsz sea chart separately published c.1631. Van der Krogt records 10 examples of the atlas including an ornate frontispiece out of 106 known examples. This example is therefore complete without it.

One of the more visual aspects of this was the reputation of its colourists. At its peak certain colourists began to produce work of an exceptional nature. Arguably the most famous of these was Dirk Jansz. Van Santen (1637/38-1708). Goedings goes on to describe Van Santen’s use of ‘shell gold’. “Gold leaf was available in small booklets of approximately 5 x 5 centimetres containing a number of very thin sheets of gold. A 17th century method of making shell gold from gold leaf was to grind it on a rubbing stone along with honey, water and salt and then to wash it in very clean water. The small amount of liquid gold was then placed in a shell and vinegar was added to it. The vinegar assured a good consistency … Needless to say, this high quality shell gold was very expensive and must have been paid for by the customers of large, prestigious projects, as in the case of Van der Hem. Seventeenth century instructions for applying gold to paper have been preserved and give an indication of the complexity of this treatment. In all likelihood, Van Santen had developed his own method for applying gold to paper … As far as one can tell with the naked eye, he first put on a yellow base before using a brush to apply the gold. Scientific tests might make it possible to determine more about Van Santen’s characteristic use of material, particularly about his use of gold. This could make it easier to identify his work.” All of these traits can be seen on these particular examples; however, we cannot say who the colourist is.

Willem Janszoon Blaeu (1571-1638) was a student of Tycho Brahe, and in addition to cartography and printing, he was also known for making globes and scientific instruments. Upon the death of Jodocus Hondius II (1594/5-1629), publisher of the Mercator atlas, the Blaeu publishing firm undertook to supplant it. By the time the elder Blaeu died in 1638, two volumes of the ‘Theatrum Orbis Terrarum’ as it was originally known, had been published, with several more in progress. Production continued under the direction of his son Joan Blaeu (c.1599-1673). By the time the ‘Atlas Major’ was finally completed for this Latin edition in 1662 it had grown to over 3,000 pages of text and around 600 maps. Production of the atlas ceased following the destruction of the Bloemgracht factory which was destroyed by fire in 1672. Almost all the sheets and plates were destroyed. Devastated, Blaeu died the following year. By the end of the century Blaeu’s ‘Atlas Major’ was the most expensive book available. The Blaeu firm’s catalogue of 1670 listed the twelve-volume French text edition at 450 Dutch florins for a coloured set and 350 florins for one plain. In 1703 a copy in nine volumes coloured sold for 400 florins. For comparison in the same sale there was an example of the first edition of Abraham Ortelius’ ‘Theatrum Orbis Terrarum’ which sold for 2 florins, itself a considerable sum for a book. The cost of the atlas encouraged its use for presentation throughout Europe as a tangible symbol of the Republic of the United Netherlands.

Provenance: Richard B. Arkway Inc. 2001; Provenance: Juan and Peggy Rada Collection. Borba de Moraes (1983) p. 78; Burden (1996-2007) nos. 189, 241; 242, 253, 371, and 531 state 1; Goedings (1992) ‘Master Colourist Dirk Jansz. Van Santen 1637/38-1708’; Kapp (1971) no.11; Koeman (1967-70) Bl 56 pp. 226-7; Koeman (1970) pp. 1-3, 89-91; Van der Krogt (1997-2010) 2:601.11; Sabin (1868-1936) 3408.