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Christoffel van Dijck

December 30, 2022

Christoffel van Dijck (c. 1600-5, Dexheim – November 1669, Amsterdam)[a] was a German-born Dutch punchcutter and typefounder, who engraved and cast metal type. He is believed to have been influential in the development of Amsterdam as a centre of printing in the Netherlands.[3][4][5][6]

Four types by van Dijck in the Enschedé specimen of 1768: Ascendonica and Kleine Augustyn roman, Mediaan italic and Augustyn blackletter.[1]

Life

 
In the 17th century, behind Elandstraat 84 (image shows later building), with an entrance through a portal, was a garden with a barn and a backhouse, where Van Dijck and his assistants worked.
 
This detail of a map by Balthasar Florisz. van Berckenrode (1647) shows the Elandsstraat and the Hazenstraat in the middle; a little bit down is the location of two houses under one roof with a portal (to an inn), a barn and a garden.

Van Dijck was born in Dexheim, now in Germany, to a Dutch Protestant family.[7][8] They came from Breberen (in the United Duchies of Jülich-Cleves-Berg).[9] His father Gilbert Breberenus van den Dijck was a Calvinist minister, like his grandfather, uncle and half-brother Johannes.[8][10] Christoffel was trained as a goldsmith,[11] perhaps in Frankenthal, where Walloon and Flemish Calvinist refugees set up small manufacturies.[10] By 1640 he moved to Amsterdam as a journeyman.[8][12] On 11 October 1642 he applied to marry Swaentje Harmens (c. 1600/1601 – 1668)[13] from Nordhorn, the widow of former minister Jan de Praet, giving his age as 36.[14][13] He lived at Jodenbreestraat but in 1645 he moved to an area for labourers and craftsmen called the Jordaan.

Van Dijck changed career to become an engraver of steel punches, the masters used to stamp matrices, the moulds used to cast metal type.[b] How he began this career change is not documented; John A. Lane, a historian of printing in the Netherlands and expert on van Dijck's career, speculates that he may have begun engraving types for other typefounders.[12] In 1647 he rented a house on the Bloemgracht in which he set up a type foundry.[7][12][15] This was close to the printing office of Joan Blaeu, who became a client.[12]

In 1664, a year of plague, he bought two houses in Elandsstraat, a former inn, barn and garden and borrowed money from two ministers.[16][17] He died in November 1669 and was buried in the nearby Westerkerk.[17] His near contemporary Rembrandt had been buried there the previous month.

Career

Van Dijck became the most prominent type-founder of his time in the Netherlands,[8] cutting type in roman, italic, blackletter,[18] Armenian,[11] music type,[19] and probably printers' flowers.[20] In or shortly before 1655 he drew out lettering for rooms in the Royal Palace of Amsterdam, then the city hall.[21]

From a surviving 1681 specimen, historian Paul Shaw explains that van Dijck's aesthetic style in roman type is "closer in color and spirit to 16th-century French types such as those by Garamont than to those of his contemporaries, which tend to be darker, narrower, and have a taller x-height (a combination often described by type historians as le goût Hollandois)."[22] The polymath Joseph Moxon, who knew him, praised the Dutch types of the period for "commodous fatness they have beyond other letters which easing the eyes in reading, renders them more legible" and van Dijck's in particular for the "harmony and decorum of their symmetry" and the "good reason for his order and method."[23] Max Caflisch felt that a distinguishing feature of van Dijck's types were that "the contrast between the hair lines and the main strokes is more pronounced...the capital letters are more powerful...the typeface in general appears to have been cut more sharply".[4] His types included swash capitals and terminal forms, although smaller numbers than were common in Robert Granjon's italics.[3]

 
Blackletter types by van Dijck compared to those cut by Joan Michael Fleischman in the following century.

His blackletter types are ornate, with many teardrop terminals, especially on the capitals, apparently following the lead of types cut by Nicolaes Briot.[18][24]

 
Yisus vordi (Jesus the son), a book printed by Van Dijck's client Matteos Tsaretsi in 1661. The body text uses van Dijck's Text bolorgir Armenian type.[25]

Van Dijck worked extensively for Armenian printers in Amsterdam. On 27 November 1658 he contracted with the Armenian Matteos Tsaretsi (Matheos van Tsar in Dutch) to make punches and matrices to print an Armenian bible, and continued to work on Armenian types for the rest of his life.[26]

Understanding of van Dijck's career has been limited by a lack of knowledge of what types he cut: as was common for pre-nineteenth century printing materials a large proportion of his punches and matrices were lost due to changing artistic tastes in favour of "modern face" typefaces, being destroyed from around 1808 by Enschedé at a time when it was also in financial difficulties, although some survive at Enschedé,[27] and others in the collection of Oxford University Press.[28] An impressive but jumbled specimen was issued by the widow of Daniel Elzevir in 1681 offering what had been his foundry for sale, of which a single copy survives in the Plantin-Moretus Museum, Antwerp.[29][22][30][8] Fragments of an earlier specimen are also extant at Cambridge University Library.[3]

A specimen issued by van Dijck in 1668/1669 was found to exist in the National Archives in London by historian Justin Howes;[31] according to Lane as of 2013 it had yet to be published.[32]

Besides van Dijck's own types, his foundry apparently owned older types. For example, by the year after his death Abraham van Dijck owned matrices for a Greek type cut by Robert Granjon.[33][c] Marshall bought matrices for this type which survive at Oxford University Press, probably from Abraham van Dijck, or possibly another source in the Netherlands; if they did come from van Dijck his foundry was apparently able to source a second set of matrices since the type is advertised on the 1681 specimen.[33] Besides this, on the 1681 specimen a number of other types are also known to be by Granjon, Claude Garamond, Hendrik van den Keere and possibly Pierre Haultin.[28][d] According to Marshall Amsterdam typefounders were able to buy earlier types from Frankfurt.[35][52]

Van Dijck apparently had a strong reputation in his lifetime and beyond, aided by the connection between Protestant Britain and the Dutch Republic. Marshall considered him a "famous artist".[53] Moxon, who spent time in the Netherlands as a child and later met van Dijck on returning as an adult, wrote soon after his death that "Holland letters in general are in most esteem, and particularly those that have been cut by the hand of that curious artist Christofel van Dijck, and some very few others...when the Stadthouse at Amsterdam was finishing, such was the curiosity of the Lords that were the Overseers of the building, that they offered C. van Dijck aforesaid 80 Pounds Sterling (as himself told me) only for drawing in paper the names of the several offices that were to be painted over the doors, for the painter to paint by"[54] and also praised them extensively in his Mechanick Exercises of 1683.[55] Many of his types are also identified in the Enschedé type foundry specimen dated 1768,[e] specifically his smaller types and blackletters from the middle of the book.

Several digital fonts based on van Dijck's work have been published, including DTL Elzevir (1992) from Dutch Type Library, based on his Augustijn (12pt size) type,[57][58] and Custodia (2002–06) by Fred Smeijers.[59][60]

Legacy

On van Dijck's death, his foundry was taken over by his son Abraham (1645–1672), who was also a punchcutter.[61] Abraham van Dijck sold matrices to Thomas Marshall, who was acting on behalf of Bishop John Fell in Oxford for Oxford University Press. Many of these survive, as does their correspondence.[62][28][63] Marshall wrote to Fell in April 1670 that "this last winter had sent van Dijck and [Bartholomeus] Voskens, the two best artists in this country, to their graves."[62]

Abraham van Dijck suffered from poor health, and his steadily declining condition forms a large part of Marshall's correspondence.[64] He finally died in February 1672.[65][14][66][f] The following April the foundry was auctioned,[61] and bought by Daniel Elsevier of the Elzevir family of printers.[30]

 
The widow of Daniel Elsevier's type specimen offering van Dijck's foundry for sale in 1681 (facsimile).[69] Not all the types shown are by van Dijck.

In 1680 Daniel Elsevier died. His widow felt unable to run the foundry and placed it up for sale, leading to the printing of the well-known 1681 specimen; she herself died shortly afterwards and before the auction could take place. Following her death it was bought by Joseph Athias, the printer of books in Hebrew who cooperated with the widow of Jan Jacobsz. Schipper printing English bibles.[70][30][71][61] Around 1707 his son Manuel Athias sold his part in the foundry to the heir Cornelia Schipper.[72][73]

 
Some of van Dijck's materials (not shown in photo) are preserved by Oxford University Press.

In 1755 the family closed the business at Nieuwe Herengracht; the foundry was bought by Jan Roman the younger (1709–1770), bookseller in the Kalverstraat.[74] In 1767 the foundry was auctioned again,[35] and materials bought by both the Enschedé foundry in Haarlem and the Ploos van Amstel brothers in Amsterdam, the latter bought by Enschedé in 1799.[35][75][76] The standing type used to print the 1681 specimen continued to be used by the successors to van Dijck's foundry to print specimens, including the 1768 Enschedé specimen.[77]

Notes

  1. ^ Date of birth according to Lane 2012, although in his marriage application in 1642 van Dijck gave his age as 36.[2]
  2. ^ This is a slight simplification: technically in metal typesetting a distinction is made between the adjustable hand mould that casts the main body of the type, and the matrix, which is the mould only for the letter shape.
  3. ^ This 10pt type, like Granjon's other Greeks, is a copy of Claude Garamond's Grecs du roi types.[34]
  4. ^ Specifically, the type of the word "Proeven" is by van den Keere,[35] the Dubbelde Mediaen Kapitalen,[36] Brevier No. 2[37] and Augustijn No. 2[38] romans and Paragon,[39][40] Augustijn,[41] first Mediaen[42] and Garmont italic[43] by Granjon, the Dubblede Descendiaan titling capitals and Text roman by Garamond,[35] and the Mediaen Romeyn No. 2 probably by Pierre Haultin.[44][45] The Brevier italic (the showings share many but not all characters) is of uncertain attribution; it seems to be a copy of a Granjon italic, whether van Dijck or someone else cut it.[46][47][48] The Dubbelde Text [49] and Dubbelde Augustijn[50] capitals may also be by other engravers. According to Lane the unpublished 1668/9 specimen also shows an old-fashioned Greek type in Mediaen size.[51]
  5. ^ But probably actually issued in 1769, when a portrait in it is dated.[56]
  6. ^ According to van Eeghen, Abraham van Dijck was buried in the Westerkerk on 23 February 1672.[17] A record of an interment there of an Abraham van Dijck living on the Ellandstraat, reportedly buried 26 February 1672 has been sometimes suggested in older art history research to refer to the little-known painter Abraham van Dijck, although recent writers have rejected this attribution.[67][68] However, there is no doubt that the Abraham who was Christoffel van Dijck's son died in February 1672 (new style), as his death is reported in Marshall's letters to Fell.[65]

References

  1. ^ Lane, Lommen & de Zoete 1998, p. 71.
  2. ^ Lane 2012, p. 70.
  3. ^ a b c McKitterick, David J. (1977). "A Type Specimen of Christoffel van Dijck?". Quaerendo. 7 (1): 66–75. doi:10.1163/157006977X00062.
  4. ^ a b Middendorp 2004, p. 23.
  5. ^ Lommen, Mathieu (1996). "A history of Lettergieterij 'Amsterdam' voorheen N. Tetterode (Typefoundry Amsterdam) 1851-1981". Quaerendo. 26 (2): 120. doi:10.1163/157006996X00089.
  6. ^ Rasterhoff, Clara. "The fabric of creativity in the Dutch Republic: Painting and publishing as cultural industries, 1580-1800" (PDF). University of Utrecht (PhD thesis). Retrieved 3 December 2021.
  7. ^ a b Enschedé 1993, p. 26.
  8. ^ a b c d e Lane 2004, p. 45.
  9. ^ Lane 2012, pp. 72–73.
  10. ^ a b Lane 2012, p. 73.
  11. ^ a b Lane 2012.
  12. ^ a b c d Lane 2012, p. 74.
  13. ^ a b Lane 2004, p. 47.
  14. ^ a b Hoeflake 1973, p. 114.
  15. ^ Eeghen 1960–1978, p. 87.
  16. ^ Notarial deeds by Van Dijck: notice of marriage, baptism of his son, purchase of the houses, and burial record; see also Van Eeghen, p. 277-279, 282, 287–288.
  17. ^ a b c Eeghen 1960–1978, p. 288.
  18. ^ a b Enschedé 1993, p. 64.
  19. ^ Enschedé 1993, pp. 65–66.
  20. ^ Enschedé 1993, p. 88.
  21. ^ Moxon 1676, p. 4.
  22. ^ a b Shaw 2017, p. 64.
  23. ^ Moxon 1896, p. 15.
  24. ^ Lane 2013, p. 424.
  25. ^ Lane 2012, pp. 77–78.
  26. ^ Lane 2012, p. 86.
  27. ^ Enschedé 1993, pp. 57, 64.
  28. ^ a b c Dreyfus 1963, pp. 17–18.
  29. ^ Mosley, James. "Elzevir Letter". Typefoundry (blog). Retrieved 7 November 2017.
  30. ^ a b c Dreyfus 1963, p. 16.
  31. ^ "Proeven van alle de LETTEREN die Gesneden zijn van Christoffel van Dyck". National Archives. Retrieved 4 July 2019.
  32. ^ "John Lane & Mathieu Lommen: ATypI Amsterdam Presentation". ATypI. Retrieved 12 July 2019 – via YouTube.
  33. ^ a b Lane 1996, p. 116.
  34. ^ Lane 1996, pp. 109–110.
  35. ^ a b c d e Dreyfus 1963, p. 17.
  36. ^ Vervliet 2008, p. 232.
  37. ^ Vervliet 2008, p. 223.
  38. ^ Vervliet 2008, p. 226.
  39. ^ Vervliet 2008, p. 339.
  40. ^ Lane 2013, p. 436.
  41. ^ Vervliet 2008, p. 348.
  42. ^ Vervliet 2008, p. 336.
  43. ^ Vervliet 2008, p. 368.
  44. ^ Vervliet 2008, pp. 236, 256.
  45. ^ Enschedé 1993, p. 58.
  46. ^ Dreyfus 1963, p. 18.
  47. ^ Lane 2004, p. 48.
  48. ^ Vervliet 2008, p. 342.
  49. ^ Lane 2013, p. 384.
  50. ^ Lane 2013, p. 386.
  51. ^ Lane 2013, p. 427.
  52. ^ Hart 1900, p. 166.
  53. ^ Hart 1900, p. 162.
  54. ^ Moxon 1676, pp. 3–5.
  55. ^ Moxon 1896, pp. 15–16.
  56. ^ Enschedé 1993, p. 22.
  57. ^ "DTL Elzevir". Dutch Type Library. Retrieved 6 September 2020.
  58. ^ Lane, Lommen & de Zoete 1998, p. 292.
  59. ^ Shaw 2017, pp. 64–65.
  60. ^ "Custodia". Type By. Retrieved 25 June 2021.
  61. ^ a b c Hoeflake 1973, p. 115.
  62. ^ a b Hart 1900, p. 161.
  63. ^ Ould 2013, pp. 215–6.
  64. ^ Hart 1900, pp. 162–3.
  65. ^ a b Hart 1900, p. 171.
  66. ^ Lane 2004, p. 46.
  67. ^ Jonathan Bikker; Willem Drost (1 January 2005). Willem Drost (1633–1659): A Rembrandt Pupil in Amsterdam and Venice. Yale University Press. p. 34. ISBN 0-300-10581-9.
  68. ^ Amy Golahny; Mia M. Mochizuki; Lisa Vergara (2006). In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias. Amsterdam University Press. p. 268. ISBN 978-90-5356-933-7.
  69. ^ Willems, Alphonse (1880). Les Elzevier: histoire et annales typographiques. pp. lxxix–lxxxvii. Retrieved 19 June 2021.
  70. ^ M.M. Kleerkooper, De boekhandel te Amsterdam voornamelijk in de 17e eeuw, deel 1
  71. ^ Lane 2012, p. 105.
  72. ^ Lane, Lommen & de Zoete 1998, p. 300.
  73. ^ Familiearchief Cambier. In: Nationaal Archief
  74. ^ Eeghen 1960–1978, p. 301.
  75. ^ Hoeflake 1973, p. 116.
  76. ^ Lane, Lommen & de Zoete 1998, p. 62.
  77. ^ Enschedé 1993, p. 48.

Cited literature

  • Dreyfus, John, ed. (1963). Type Specimen Facsimiles. London: Bowes & Bowes, Putnam. pp. 16–18.
  • Eeghen, Isabella Henriette van (1960–1978). De Amsterdamse boekhandel 1680–1725. Amsterdam. ISBN 9789060721315. Retrieved 14 June 2021.
  • Enschedé, Johannes (1993). Lane, John A. (ed.). The Enschedé type specimens of 1768 and 1773: a facsimile ([Nachdr. d. Ausg.] 1768. ed.). Stichting Museum Enschedé, the Enschedé Font Foundry, Uitgeverij De Buitenkant. pp. 29–30 etc. ISBN 9070386585.
  • Enschedé, Charles (1978). Carter, Harry; Hellinga, Lotte (eds.). Typefoundries in the Netherlands, from the fifteenth to the nineteenth century: a history based mainly on material in the collection of Joh. Enschedé en Zonen at Haarlem (2nd ed.). Haarlem: Stichting Museum Enschedé. pp. 77–94. ISBN 9789070024130.
  • Hart, Horace (1900). Notes on a Century of Typography at the University Press, Oxford, 1693–1794. Oxford: Oxford University Press. Retrieved 6 September 2020.
  • Hoeflake, Netty (7 June 1973). "Van Dijck". A Tally of Types. CUP Archive. pp. 113–6. ISBN 978-0-521-09786-4.
  • Lane, John A. (1996). "From the Grecs du Roi to the Homer Greek: Two Centuries of Greek Printing Types in the Wake of Garamond". In Macrakis, Michael S. (ed.). Greek Letters: From Tablets to Pixels (PDF). Oak Knoll Press. ISBN 9781884718274.
  • Lane, John A.; Lommen, Mathieu; de Zoete, Johan (1998). Dutch Typefounders' Specimens from the Library of the KVB and other collections in the Amsterdam University Library with histories of the firms represented. De Graaf. Retrieved 4 August 2017.
  • Lane, John A. (2004). Early Type Specimens in the Plantin-Moretus Museum. Oak Knoll Press. pp. 45–9. ISBN 9781584561392.
  • Lane, John A. (2012). The Diaspora of Armenian Printing, 1512-2012. Amsterdam: Special Collections of the University of Amsterdam. pp. 70–86, 211–213. ISBN 9789081926409.
  • Lane, John A. (27 June 2013). "The Printing Office of Gerrit Harmansz van Riemsdijck, Israël Abrahamsz de Paull, Abraham Olofsz, Andries Pietersz, Jan Claesz Groenewoudt & Elizabeth Abrahams Wiaer c.1660–1709". Quaerendo. 43 (4): 311–439. doi:10.1163/15700690-12341283.
  • Middendorp, Jan (2004). Dutch Type. 010 Publishers. pp. 23–25. ISBN 978-90-6450-460-0.
  • Moxon, Joseph (1676). Regulæ trium ordinum literarum typographicarum, or, The rules of the three orders of print letters : viz. The Roman Italick English capitals and small : shewing how they are compounded of geometrick figures, and mostly made by rule and compass : useful for writing masters, painters, carvers, masons, and others that are lovers of curiosity. London: Joseph Moxon. Retrieved 19 June 2021.
  • Moxon, Joseph (1896). de Vinne, Theodore (ed.). Moxon's Mechanick exercises; or, The doctrine of handy-works applied to the art of printing; a literal reprint in two volumes of the first edition published in the year 1683, Volume 1. New York: The Typothetæ of the City of New York. Retrieved 19 June 2021.
  • Ould, Martyn (November 2013). Gadd, Ian (ed.). History of Oxford University Press: Volume I: Beginnings to 1780. Oxford University Press. pp. 212–221. ISBN 978-0-19-955731-8.
  • Shaw, Paul (18 April 2017). Revival Type: Digital Typefaces Inspired by the Past. Yale University Press. pp. 48, 61. ISBN 978-0-300-21929-6.
  • Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.

December 30, 2022
christoffel, dijck, 1600, dexheim, november, 1669, amsterdam, german, born, dutch, punchcutter, typefounder, engraved, cast, metal, type, believed, have, been, influential, development, amsterdam, centre, printing, netherlands, four, types, dijck, enschedé, sp. Christoffel van Dijck c 1600 5 Dexheim November 1669 Amsterdam a was a German born Dutch punchcutter and typefounder who engraved and cast metal type He is believed to have been influential in the development of Amsterdam as a centre of printing in the Netherlands 3 4 5 6 Four types by van Dijck in the Enschede specimen of 1768 Ascendonica and Kleine Augustyn roman Mediaan italic and Augustyn blackletter 1 Contents 1 Life 2 Career 3 Legacy 4 Notes 5 References 5 1 Cited literatureLife Edit In the 17th century behind Elandstraat 84 image shows later building with an entrance through a portal was a garden with a barn and a backhouse where Van Dijck and his assistants worked This detail of a map by Balthasar Florisz van Berckenrode 1647 shows the Elandsstraat and the Hazenstraat in the middle a little bit down is the location of two houses under one roof with a portal to an inn a barn and a garden Van Dijck was born in Dexheim now in Germany to a Dutch Protestant family 7 8 They came from Breberen in the United Duchies of Julich Cleves Berg 9 His father Gilbert Breberenus van den Dijck was a Calvinist minister like his grandfather uncle and half brother Johannes 8 10 Christoffel was trained as a goldsmith 11 perhaps in Frankenthal where Walloon and Flemish Calvinist refugees set up small manufacturies 10 By 1640 he moved to Amsterdam as a journeyman 8 12 On 11 October 1642 he applied to marry Swaentje Harmens c 1600 1601 1668 13 from Nordhorn the widow of former minister Jan de Praet giving his age as 36 14 13 He lived at Jodenbreestraat but in 1645 he moved to an area for labourers and craftsmen called the Jordaan Van Dijck changed career to become an engraver of steel punches the masters used to stamp matrices the moulds used to cast metal type b How he began this career change is not documented John A Lane a historian of printing in the Netherlands and expert on van Dijck s career speculates that he may have begun engraving types for other typefounders 12 In 1647 he rented a house on the Bloemgracht in which he set up a type foundry 7 12 15 This was close to the printing office of Joan Blaeu who became a client 12 In 1664 a year of plague he bought two houses in Elandsstraat a former inn barn and garden and borrowed money from two ministers 16 17 He died in November 1669 and was buried in the nearby Westerkerk 17 His near contemporary Rembrandt had been buried there the previous month Career EditVan Dijck became the most prominent type founder of his time in the Netherlands 8 cutting type in roman italic blackletter 18 Armenian 11 music type 19 and probably printers flowers 20 In or shortly before 1655 he drew out lettering for rooms in the Royal Palace of Amsterdam then the city hall 21 From a surviving 1681 specimen historian Paul Shaw explains that van Dijck s aesthetic style in roman type is closer in color and spirit to 16th century French types such as those by Garamont than to those of his contemporaries which tend to be darker narrower and have a taller x height a combination often described by type historians as le gout Hollandois 22 The polymath Joseph Moxon who knew him praised the Dutch types of the period for commodous fatness they have beyond other letters which easing the eyes in reading renders them more legible and van Dijck s in particular for the harmony and decorum of their symmetry and the good reason for his order and method 23 Max Caflisch felt that a distinguishing feature of van Dijck s types were that the contrast between the hair lines and the main strokes is more pronounced the capital letters are more powerful the typeface in general appears to have been cut more sharply 4 His types included swash capitals and terminal forms although smaller numbers than were common in Robert Granjon s italics 3 Blackletter types by van Dijck compared to those cut by Joan Michael Fleischman in the following century His blackletter types are ornate with many teardrop terminals especially on the capitals apparently following the lead of types cut by Nicolaes Briot 18 24 Yisus vordi Jesus the son a book printed by Van Dijck s client Matteos Tsaretsi in 1661 The body text uses van Dijck s Text bolorgir Armenian type 25 Van Dijck worked extensively for Armenian printers in Amsterdam On 27 November 1658 he contracted with the Armenian Matteos Tsaretsi Matheos van Tsar in Dutch to make punches and matrices to print an Armenian bible and continued to work on Armenian types for the rest of his life 26 Understanding of van Dijck s career has been limited by a lack of knowledge of what types he cut as was common for pre nineteenth century printing materials a large proportion of his punches and matrices were lost due to changing artistic tastes in favour of modern face typefaces being destroyed from around 1808 by Enschede at a time when it was also in financial difficulties although some survive at Enschede 27 and others in the collection of Oxford University Press 28 An impressive but jumbled specimen was issued by the widow of Daniel Elzevir in 1681 offering what had been his foundry for sale of which a single copy survives in the Plantin Moretus Museum Antwerp 29 22 30 8 Fragments of an earlier specimen are also extant at Cambridge University Library 3 A specimen issued by van Dijck in 1668 1669 was found to exist in the National Archives in London by historian Justin Howes 31 according to Lane as of 2013 it had yet to be published 32 Besides van Dijck s own types his foundry apparently owned older types For example by the year after his death Abraham van Dijck owned matrices for a Greek type cut by Robert Granjon 33 c Marshall bought matrices for this type which survive at Oxford University Press probably from Abraham van Dijck or possibly another source in the Netherlands if they did come from van Dijck his foundry was apparently able to source a second set of matrices since the type is advertised on the 1681 specimen 33 Besides this on the 1681 specimen a number of other types are also known to be by Granjon Claude Garamond Hendrik van den Keere and possibly Pierre Haultin 28 d According to Marshall Amsterdam typefounders were able to buy earlier types from Frankfurt 35 52 Van Dijck apparently had a strong reputation in his lifetime and beyond aided by the connection between Protestant Britain and the Dutch Republic Marshall considered him a famous artist 53 Moxon who spent time in the Netherlands as a child and later met van Dijck on returning as an adult wrote soon after his death that Holland letters in general are in most esteem and particularly those that have been cut by the hand of that curious artist Christofel van Dijck and some very few others when the Stadthouse at Amsterdam was finishing such was the curiosity of the Lords that were the Overseers of the building that they offered C van Dijck aforesaid 80 Pounds Sterling as himself told me only for drawing in paper the names of the several offices that were to be painted over the doors for the painter to paint by 54 and also praised them extensively in his Mechanick Exercises of 1683 55 Many of his types are also identified in the Enschede type foundry specimen dated 1768 e specifically his smaller types and blackletters from the middle of the book Several digital fonts based on van Dijck s work have been published including DTL Elzevir 1992 from Dutch Type Library based on his Augustijn 12pt size type 57 58 and Custodia 2002 06 by Fred Smeijers 59 60 Legacy EditOn van Dijck s death his foundry was taken over by his son Abraham 1645 1672 who was also a punchcutter 61 Abraham van Dijck sold matrices to Thomas Marshall who was acting on behalf of Bishop John Fell in Oxford for Oxford University Press Many of these survive as does their correspondence 62 28 63 Marshall wrote to Fell in April 1670 that this last winter had sent van Dijck and Bartholomeus Voskens the two best artists in this country to their graves 62 Abraham van Dijck suffered from poor health and his steadily declining condition forms a large part of Marshall s correspondence 64 He finally died in February 1672 65 14 66 f The following April the foundry was auctioned 61 and bought by Daniel Elsevier of the Elzevir family of printers 30 The widow of Daniel Elsevier s type specimen offering van Dijck s foundry for sale in 1681 facsimile 69 Not all the types shown are by van Dijck In 1680 Daniel Elsevier died His widow felt unable to run the foundry and placed it up for sale leading to the printing of the well known 1681 specimen she herself died shortly afterwards and before the auction could take place Following her death it was bought by Joseph Athias the printer of books in Hebrew who cooperated with the widow of Jan Jacobsz Schipper printing English bibles 70 30 71 61 Around 1707 his son Manuel Athias sold his part in the foundry to the heir Cornelia Schipper 72 73 Some of van Dijck s materials not shown in photo are preserved by Oxford University Press In 1755 the family closed the business at Nieuwe Herengracht the foundry was bought by Jan Roman the younger 1709 1770 bookseller in the Kalverstraat 74 In 1767 the foundry was auctioned again 35 and materials bought by both the Enschede foundry in Haarlem and the Ploos van Amstel brothers in Amsterdam the latter bought by Enschede in 1799 35 75 76 The standing type used to print the 1681 specimen continued to be used by the successors to van Dijck s foundry to print specimens including the 1768 Enschede specimen 77 Notes Edit Date of birth according to Lane 2012 although in his marriage application in 1642 van Dijck gave his age as 36 2 This is a slight simplification technically in metal typesetting a distinction is made between the adjustable hand mould that casts the main body of the type and the matrix which is the mould only for the letter shape This 10pt type like Granjon s other Greeks is a copy of Claude Garamond s Grecs du roi types 34 Specifically the type of the word Proeven is by van den Keere 35 the Dubbelde Mediaen Kapitalen 36 Brevier No 2 37 and Augustijn No 2 38 romans and Paragon 39 40 Augustijn 41 first Mediaen 42 and Garmont italic 43 by Granjon the Dubblede Descendiaan titling capitals and Text roman by Garamond 35 and the Mediaen Romeyn No 2 probably by Pierre Haultin 44 45 The Brevier italic the showings share many but not all characters is of uncertain attribution it seems to be a copy of a Granjon italic whether van Dijck or someone else cut it 46 47 48 The Dubbelde Text 49 and Dubbelde Augustijn 50 capitals may also be by other engravers According to Lane the unpublished 1668 9 specimen also shows an old fashioned Greek type in Mediaen size 51 But probably actually issued in 1769 when a portrait in it is dated 56 According to van Eeghen Abraham van Dijck was buried in the Westerkerk on 23 February 1672 17 A record of an interment there of an Abraham van Dijck living on the Ellandstraat reportedly buried 26 February 1672 has been sometimes suggested in older art history research to refer to the little known painter Abraham van Dijck although recent writers have rejected this attribution 67 68 However there is no doubt that the Abraham who was Christoffel van Dijck s son died in February 1672 new style as his death is reported in Marshall s letters to Fell 65 References Edit Lane Lommen amp de Zoete 1998 p 71 Lane 2012 p 70 a b c McKitterick David J 1977 A Type Specimen of Christoffel van Dijck Quaerendo 7 1 66 75 doi 10 1163 157006977X00062 a b Middendorp 2004 p 23 Lommen Mathieu 1996 A history of Lettergieterij Amsterdam voorheen N Tetterode Typefoundry Amsterdam 1851 1981 Quaerendo 26 2 120 doi 10 1163 157006996X00089 Rasterhoff Clara The fabric of creativity in the Dutch Republic Painting and publishing as cultural industries 1580 1800 PDF University of Utrecht PhD thesis Retrieved 3 December 2021 a b Enschede 1993 p 26 a b c d e Lane 2004 p 45 Lane 2012 pp 72 73 a b Lane 2012 p 73 a b Lane 2012 a b c d Lane 2012 p 74 a b Lane 2004 p 47 a b Hoeflake 1973 p 114 Eeghen 1960 1978 p 87 Notarial deeds by Van Dijck notice of marriage baptism of his son purchase of the houses and burial record see also Van Eeghen p 277 279 282 287 288 a b c Eeghen 1960 1978 p 288 a b Enschede 1993 p 64 Enschede 1993 pp 65 66 Enschede 1993 p 88 Moxon 1676 p 4 a b Shaw 2017 p 64 Moxon 1896 p 15 Lane 2013 p 424 Lane 2012 pp 77 78 Lane 2012 p 86 Enschede 1993 pp 57 64 a b c Dreyfus 1963 pp 17 18 Mosley James Elzevir Letter Typefoundry blog Retrieved 7 November 2017 a b c Dreyfus 1963 p 16 Proeven van alle de LETTEREN die Gesneden zijn van Christoffel van Dyck National Archives Retrieved 4 July 2019 John Lane amp Mathieu Lommen ATypI Amsterdam Presentation ATypI Retrieved 12 July 2019 via YouTube a b Lane 1996 p 116 Lane 1996 pp 109 110 a b c d e Dreyfus 1963 p 17 Vervliet 2008 p 232 Vervliet 2008 p 223 Vervliet 2008 p 226 Vervliet 2008 p 339 Lane 2013 p 436 Vervliet 2008 p 348 Vervliet 2008 p 336 Vervliet 2008 p 368 Vervliet 2008 pp 236 256 Enschede 1993 p 58 Dreyfus 1963 p 18 Lane 2004 p 48 Vervliet 2008 p 342 Lane 2013 p 384 Lane 2013 p 386 Lane 2013 p 427 Hart 1900 p 166 Hart 1900 p 162 Moxon 1676 pp 3 5 Moxon 1896 pp 15 16 Enschede 1993 p 22 DTL Elzevir Dutch Type Library Retrieved 6 September 2020 Lane Lommen amp de Zoete 1998 p 292 Shaw 2017 pp 64 65 Custodia Type By Retrieved 25 June 2021 a b c Hoeflake 1973 p 115 a b Hart 1900 p 161 Ould 2013 pp 215 6 Hart 1900 pp 162 3 a b Hart 1900 p 171 Lane 2004 p 46 Jonathan Bikker Willem Drost 1 January 2005 Willem Drost 1633 1659 A Rembrandt Pupil in Amsterdam and Venice Yale University Press p 34 ISBN 0 300 10581 9 Amy Golahny Mia M Mochizuki Lisa Vergara 2006 In His Milieu Essays on Netherlandish Art in Memory of John Michael Montias Amsterdam University Press p 268 ISBN 978 90 5356 933 7 Willems Alphonse 1880 Les Elzevier histoire et annales typographiques pp lxxix lxxxvii Retrieved 19 June 2021 M M Kleerkooper De boekhandel te Amsterdam voornamelijk in de 17e eeuw deel 1 Lane 2012 p 105 Lane Lommen amp de Zoete 1998 p 300 Familiearchief Cambier In Nationaal Archief Eeghen 1960 1978 p 301 Hoeflake 1973 p 116 Lane Lommen amp de Zoete 1998 p 62 Enschede 1993 p 48 Cited literature Edit Dreyfus John ed 1963 Type Specimen Facsimiles London Bowes amp Bowes Putnam pp 16 18 Eeghen Isabella Henriette van 1960 1978 De Amsterdamse boekhandel 1680 1725 Amsterdam ISBN 9789060721315 Retrieved 14 June 2021 Enschede Johannes 1993 Lane John A ed The Enschede type specimens of 1768 and 1773 a facsimile Nachdr d Ausg 1768 ed Stichting Museum Enschede the Enschede Font Foundry Uitgeverij De Buitenkant pp 29 30 etc ISBN 9070386585 Enschede Charles 1978 Carter Harry Hellinga Lotte eds Typefoundries in the Netherlands from the fifteenth to the nineteenth century a history based mainly on material in the collection of Joh Enschede en Zonen at Haarlem 2nd ed Haarlem Stichting Museum Enschede pp 77 94 ISBN 9789070024130 Hart Horace 1900 Notes on a Century of Typography at the University Press Oxford 1693 1794 Oxford Oxford University Press Retrieved 6 September 2020 Hoeflake Netty 7 June 1973 Van Dijck A Tally of Types CUP Archive pp 113 6 ISBN 978 0 521 09786 4 Lane John A 1996 From the Grecs du Roi to the Homer Greek Two Centuries of Greek Printing Types in the Wake of Garamond In Macrakis Michael S ed Greek Letters From Tablets to Pixels PDF Oak Knoll Press ISBN 9781884718274 Lane John A Lommen Mathieu de Zoete Johan 1998 Dutch Typefounders Specimens from the Library of the KVB and other collections in the Amsterdam University Library with histories of the firms represented De Graaf Retrieved 4 August 2017 Lane John A 2004 Early Type Specimens in the Plantin Moretus Museum Oak Knoll Press pp 45 9 ISBN 9781584561392 Lane John A 2012 The Diaspora of Armenian Printing 1512 2012 Amsterdam Special Collections of the University of Amsterdam pp 70 86 211 213 ISBN 9789081926409 Lane John A 27 June 2013 The Printing Office of Gerrit Harmansz van Riemsdijck Israel Abrahamsz de Paull Abraham Olofsz Andries Pietersz Jan Claesz Groenewoudt amp Elizabeth Abrahams Wiaer c 1660 1709 Quaerendo 43 4 311 439 doi 10 1163 15700690 12341283 Middendorp Jan 2004 Dutch Type 010 Publishers pp 23 25 ISBN 978 90 6450 460 0 Moxon Joseph 1676 Regulae trium ordinum literarum typographicarum or The rules of the three orders of print letters viz The Roman Italick English capitals and small shewing how they are compounded of geometrick figures and mostly made by rule and compass useful for writing masters painters carvers masons and others that are lovers of curiosity London Joseph Moxon Retrieved 19 June 2021 Moxon Joseph 1896 de Vinne Theodore ed Moxon s Mechanick exercises or The doctrine of handy works applied to the art of printing a literal reprint in two volumes of the first edition published in the year 1683 Volume 1 New York The Typothetae of the City of New York Retrieved 19 June 2021 Ould Martyn November 2013 Gadd Ian ed History of Oxford University Press Volume I Beginnings to 1780 Oxford University Press pp 212 221 ISBN 978 0 19 955731 8 Shaw Paul 18 April 2017 Revival Type Digital Typefaces Inspired by the Past Yale University Press pp 48 61 ISBN 978 0 300 21929 6 Vervliet Hendrik D L 2008 The Palaeotypography of the French Renaissance Selected Papers on Sixteenth century Typefaces BRILL ISBN 978 90 04 16982 1 Retrieved from https en wikipedia org w index php title Christoffel van Dijck amp oldid 1120969354, wikipedia, wiki, book, books, library,

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