Amsterdam: for the author, 1700 and, 1703.
Quarto: 23 x 18 cm. I. engraved t.p., A2, B4, π1, folding plate, port., 60 (I-LX) full-page engraved plates. II. Engraved t.p., engr. port., mezzotint port., 9 prelim. lvs. of letterpress, 177,  p. 50 full-page engraved plates. Main text and index collates: A-Z4. With the four additional prelims with poems, dated 1706 and 1707, noted in STNC.
Excellent, tall copies bound in contemporary Dutch vellum (soiled.) The text and plates are in excellent condition with only a few light stains to a few plates and text leaves, extreme edge of upper margin slightly toned. The folding engraved plate of the “museum” interior is in perfect condition.
Illustrations: I. “Signa antiqua”: Engraved frontispiece (with a portrait of Maria de Wilde at lower left of image), etched vignette on title by Adriaan Schoonebeek, portrait of Maria de Wilde drawn by David Hoogstraten and etched by Pieter van den Berge, large folding engraving by Maria de Wilde depicting her father’s library and collection, and 60 numbered etched plates, also by Maria de Wilde (whose portrait appears again on a figure in plate 40). II. “Gemmae Selectae”: With an added engraved title page by Schoonebeek, portrait of Jacob de Wilde by Pieter van den Berge, a second portrait (a mezzotint) by Martin Mytens, and 50 engraved plates of gems by Schoonebeek.
I. Maria de Wilde’s Catalogue of Her Father’s Collection of Antique Sculptures:
First and only edition of this privately-printed engraved anthology of the sculpture collection of the famous Amsterdam collector Jacob de Wilde (1645-1745). The engravings are the work of De Wilde’s daughter Maria (b. 1682-1729?), student of Adriaan Schoonebeek (1658-1714), a student of Romeyn de Hooghe.
In addition to engraving and painting, Maria de Wilde sang, played harpsichord, and wrote two plays. In the portrait of Maria inserted in this book, she is shown working on a painting, her right arm resting on a copy of her book. Maria's double-page image of the museum (found in this book) memorialized the visit of Tzar Peter the Great to view her father’s collections in 1697. She personally presented the Tzar with that engraving on his second visit.
The collection consisted of copper, bronze, and marble sculptures; lamps, a Roman sarcophagus and several marble busts, many of them depicted here in 60 engraved plates by his daughter Maria, whose portrait is also inserted.
The work also contains Maria’s large engraving of the “gazophylacium” (treasury) in de Wilde’s house at Keizersgracht 333. The treasury housed not only de Wilde’s collections of sculpture, gems, and coins, but also his extensive library. The engraving marks the first visit of Tzar Peter the Great to de Wilde’s home in 1697; both de Wilde and the Tzar are depicted in the image. When the Tzar returned to Amsterdam in 1716, Maria presented him with a copy of the engraving; he in turn presented her with a jewel.
“The print seems true to life, which is otherwise rarely the case with interiors of book and art collections and Wunderkammern. The image of the library in this etching resembles that of the library and the numismatic cabinet as depicted in the etched portrait of De Wilde (in the second work). A visit to De Wilde’s still existing house on Keizersgracht 333 in Amsterdam showed that the width of the layout in Maria’s print was not exaggerated: the first floor, where the library and art collection were situated according to Zacharias Conrad von Uffenbach (who visited de Wilde’s home), stretches across three large windows. Only very rarely do we find an image of a private library that can more or less compare to this one, with or without a collection of art or curiosities.”(Janssen, The Library of Jacob de Wilde, in Quaerendo 50 (2020), p. 351)
The Gem Collection:
“De Wilde’s collection of gems consisted of cameos (with images cut in relief) and intaglios (with engraved images). The latter, which could be used as seals, were also mounted in rings. The anthology from this glyptic collection appeared in 1703, with etchings by Adriaan Schoonebeek, who had left for Moscow in the middle of 1698 to enter the service of Tsar Peter the Great but who occasionally sent copperplates to Amsterdam from his new domicile. The type of stone is noted on the images. Part of De Wilde’s glyptic collection has been traced: the gems that were originally held in the Koninklijk Penningkabinet (the Royal Numismatic Cabinet), were transferred to the Rijksmuseum van Oudheden (National Museum of Antiquities) in Leiden in 2013. Among them is an intaglio gem with an image of Hercules (1st century CE), for De Wilde an allusion to his device of the wild man. It has also been established with respect to the age of the gems that many date from the fifteenth, sixteenth or seventeenth centuries; some are downright forgeries.”(Janssen, The Library of Jacob de Wilde, in Quaerendo 50 (2020), p. 347)
On plate 38, the female figure on the left-hand side of the image somewhat resembles Maria de Wilde. The two gems on plate 40 are so-called Gnostic “abraxas stones”.
I. Grinke 61; Murray I, p. 38 & III, p. 272; STCN 842380264 (11 copies); Tavernier, Russia and the Low Countries: an international bibliography 3178; Delpire, Cabinets de curiosités: collections: collectionneurs (Librairie Paul Jammes, 1997), 384; Marinus Antony Wes, Classics in Russia 1700-1855: between two bronze horsemen, p. 13ff. Two different portraits were issued. The other is captioned "Maria de Wilde Iac. filia aetatis suae XVII." and signed: "P. vanden Berge fec. et L.M.Q. huic opellae adjunxit." II. Hollstein XXVI; STCN 224273248 (8 copies); De wereld binnen handbereik, Nederlandse kunst- en rariteitenverzamelingen, 1585-1735, 201 & 202 (for De Wilde also 203-211 and text volume pp. 278-280 & passim); not in Balsiger; Graesse VI2 p450;Hollstein XXVI; Schoonebeek p72; Thieme-Becker 30, p256; Sinkansas, Gemology, 7205; not in Balsiger. Composition of prelims of the “Gemmae Selectae Antiquae”: First quire original composed of 5 nested bifolia: 1 (e.t.p) with conjugate 10 canceled, 2 (letterpress t.p.) conjugate with 9, 3 (dedication) with conjugate 8 canceled, 4 (engr. port.) with conjugate 7 canceled, 5 (signed *2) conjugate w/6 (signed *3).