Husum & Haderslev Germany 1585 Braun & Hogenberg Unusual Antique Engraved View

Husum & Haderslev Germany 1585 Braun & Hogenberg Unusual Antique Engraved View

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Husum & Haderslev Germany 1585 Braun & Hogenberg Unusual Antique Engraved View:


Husemum Ducatus Slevecensis ad sinum Heveram opp. // Haderslebia in Ducatu Slevicensis, versus Fioniam, Opp. Arce Regia munitū, quæ forma quadrata aream exhibet, centū et quinquaginta paßus longam, et totidem fere latam. 1585. 

CARTOUCHE LEFT: Husum, town in the Duchy of Schleswig on the Hever coast.
CARTOUCHE RIGHT: Recorded by the illustrious gentleman Heinrich Rantzau, viceroy of the King, etc.
COMMENTARY BY BRAUN (on verso): "Husum, a town in Schleswig situated in the territory ruled by Adolf, Duke of Schleswig, has a shipping port that is celebrated for its far-flung commerce and trade links. To it the city owes the bend or twist made by the large arm of the sea called the Hever so that it extends as far as Husum. Hence it is easy to go by ship from here to Holland, Zeeland, England and Scotland, which is, conversely, the reason why so many goods arrive here for transhipment to Flensburg, which is only five miles distant, that is, from the North Sea to the Baltic."
This view, looking north from a slightly elevated vantage point, shows the unfortified town on the Hever, with ships on it. At the centre is the church of St Mary, consecrated in 1436. Behind it is the castle built by Duke Adolf from 1577 to 1582. First mentioned in 1409, Husum was the most important North Friesland port in the late 15th century. It owed this status to a storm flood, which swept away much of the North Friesland coast in 1362, turning an inland settlement into a port town overnight. Husum was not made a free city until the early 17th century. Active in Husum from 1512 to 1521, the celebrated Hans Brüggemann produced his masterpiece here, the Bordersholm Altarpiece. Husum was fondly addressed as " O grey town on the sea" by a famous son, the writer Theodor Storm.
CARTOUCHE: Haderslev, town in the Duchy of Schleswig across from Funen, defended by a royal fort that is square in ground plan, 150 paces long and nearly as many wide. 1585 at Cologne.
COMMENTARY BY BRAUN (on verso): "Haderslev, a town in the Duchy of Schleswig, was incorporated and granted its civic privileges in the year of our lord 1292 by Waldemar, Duke of Jutland. Once it had a fortified castle on an elevation. [...] Moreover it also has a secure harbour or safe haven for mooring ships such that it extends into the Baltic across from Finland, which is surrounded on all sides in the immediate environs by fertile, arable land."
This view with sea-going vessels indicates the importance of Haderslev as a trading port situated on a man-made peninsula at the end of Haderslev Fjord. In the Middle Ages it was one of the most prosperous ports in the region. In 1544 Haderslev became a seat of territorial government and the fortress situated to the east of the city was replaced by magnificent Hansburg castle, which was besieged and destroyed by the Swedes in the 17th century and never rebuilt. The High Gothic church of St Mary was, after Schleswig cathedral, the largest in the former bishopric of Schleswig. Haderslev lost its importance as a port because the fjord and harbour were too narrow for larger ships to be able to manoeuvre in them.
Source: Georg Braun and Franz Hogenberg. Civitates Orbis Terrarum. 1572-1617.
The first volume of the Civitates Orbis Terrarum was published in Cologne in 1572. The sixth and the final volume appeared in 1617.
This great city atlas, edited by Georg Braun and largely engraved by Franz Hogenberg, eventually contained 546 prospects, bird-eye views and map views of cities from all over the world. Braun (1541-1622), a cleric of Cologne, was the principal editor of the work, and was greatly assisted in his project by the close, and continued interest of Abraham Ortelius, whose Theatrum Orbis Terrarum of 1570 was, as a systematic and comprehensive collection of maps of uniform style, the first true atlas.
The Civitates, indeed, was intended as a companion for the Theatrum, as indicated by the similarity in the titles and by contemporary references regarding the complementary nature of two works. Nevertheless, the Civitates was designs to be more popular in approach, no doubt because the novelty of a collection of city plans and views represented a more hazardous commercial undertaking than a world atlas, for which there had been a number of successful precedents. Franz Hogenberg (1535-1590) was the son of a Munich engraves who settled in Malines. He engraved most of the plates for Ortelius's Theatrum and the majority of those in the Civitates, and may have been responsible for originating the project.
Over a hundred of different artists and cartographers, the most significant of whom was Antwerp artist Georg (Joris) Hoefnagel (1542-1600), engraved the cooper-plates of the Civitates from drawings. He not only contributed most of the original material for the Spanish and Italian towns but also reworked and modified those of other contributors. After Hoefnagel's death his son Jakob continued the work for the Civitates. A large number of Jacob van Deventer (1505-1575), also known as Jacob Roelofszof, unpublished works, plans of towns of the Netherlands were copied, as were Stumpf's woodcuts from the Schweizer Chronik of 1548, and Munster's German views from the 1550 and 1572 editions of his Cosmographia. Another important source for maps was the Danish cartographer Heinrich van Rantzau (1526-1599), beter known under his Latin name Rantzovius, who provided maps of Northern Europe, specially of Danish cities. The Civitates provided a uniquely comprehensive view of urban life at the turn of the sixteenth century. Other sources were the maps of Sebastian Munster from around 1550 and , and of.
Braun added to the maps figures in local dress. This feature was anticipated in Hans Lautensack's etched view of Nuremberg, 1552, those groups of citizens in the rural foreground add further authenticity to the highly accurate topographical details of what was effectively Germany's cultural capital at that time. Braun's motives for adding figures to the views, however, went further: as stated in his introduction to book 1, he believed, perhaps optimistically, that his plans would not in consequence be scrutinized for military secrets by the Turks, as their religion forbade them from looking on representations of the human form.
The plans, each accompanies by Braun's printed account of the town's history, situation and commerce, form an armchair traveler's compendium, which the scholar Robert Burton in The Anatomy of Melancholy of 1621 asserted would not only provide instructions but would uplift the spirit as well.

Date: 1582 ( undated )

Condition: Very strong and dark impression on good paper. Paper with chains. Map old original colored. Wide margins. Small foxing. Paper with browning. Small warming. Map folded. Conditions are as you can see in the images.

Mapmakers: Georg Braun (also Brunus, Bruin; 1541 – 10 March 1622) was a topo-geographer. From 1572 to 1617 he edited the Civitates orbis terrarum, which contains 546 prospects, bird's-eye views and maps of cities from all around the world. He was the principal editor of the work, he acquired the tables, hired the artists, and wrote the texts. He died as an octogenarian in 1622, as the only survivor of the original team to witness the publication of volume VI in 1617.
Braun was born and died in Cologne. His principal profession was as a Catholic cleric, however, he spent thirty-seven years as canon and dean at the church, St. Maria ad Gradus, in Cologne. His six-volume work was inspired by Sebastian Münster's Cosmographia. In form and layout it resembles the 1570 Theatrum orbis terrarum by Abraham Ortelius, as Ortelius was interested in a complementary companion for the Theatrum.
The Braun publication set new standards in cartography for over 100 years. Frans Hogenberg (1535–1590, from Mechelen) created the tables for volumes I through IV, and Simon van den Neuwel created those for volumes V and VI. Other contributors were Joris Hoefnagel, Jacob Hoefnagel, cartographer Daniel Freese, and Heinrich Rantzau. Works by Jacob van Deventer, Sebastian Münster, and Johannes Stumpf were also used. Primarily European cities are depicted in the publication; however, Casablanca and Mexico City/Cuzco on one sheet[4] are also included in volume I.
Frans Hogenberg (1535–1590) was a Flemish and German painter, engraver, and mapmaker.
Hogenberg was born in Mechelen as the son of Nicolaas Hogenberg. In 1568 he was banned from Antwerp by the Duke of Alva and travelled to London, where he stayed a few years before emigrating to Cologne. He is known for portraits and topographical views as well as historical allegories. He also produced scenes of contemporary historical events.
Hogenberg died in Cologne.

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