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61 "Men vindtse oock te coopeThantwerpen op
de nieu Borse by Geraert de Jode" ("one will also find
them for sale in Antwerp, at Gerard de Jode's on the new
Bourse"). A thorough study on De jode and his succes­
sors is clearly a desideratum in the history of Antwerp
printmaking. As far is known this is the only document
direcdy relating Philips Galle to Gerard de jode regard­
ing the trade in prints, although their names do appear
together on such other documents as an official certifi­
cate testifying in favour of an art dealer; Denucé 1912-
13, vol. 2, p. 266. In his Thesaurus, a compilation of Old
and New Testament subjects into one album, De Jode
would later also include several series that were original­
ly published by Galle; compare chapter 4, note 57. As the
plates of most of these series - judging by the 1636-inven-
tory of the Galle workshop (see note 100) - did remain
in the possession of the Galle family, this seems to suggest
that De Jode could either have leased* the copperplates
and printed them in his own workshop, or could have
bought a large number of printed impressions from Philips
Galle. Also see note 113 on the apparendy not uncom­
mon practice of leasing 5
plates to other publishers.
62. In 1569 Galle produced a large number of
(dated) prints in Haarlem, leaving little time for migra­
tion of his family and his print-shop; cp. chapter 4, note
40. In contrast to all preceding years, there are no dated
works by the Galle workshop from 1570. On 23 May1570,
Galle was present as godfather at the baptism of Jeanne
de Jode - daughter of Gerard de Jode - in die Antwerp
Cathedral; Génord 1859-60, p.114 and p, 196, note 1.
Furthermore, the engraver was enlisted as a new member
of the Antwerp guild of St. Luke in 1570: "Philips Galle,
cooperesnidere." Galle only became a'poorter' - an offi­
cial citizen - of Antwerp on 20 July 1571. He was, though,
already mentioned in the city records of 23 February of
the same year, not having turned up to pay the charges
due for obtaining his citizenship. On these data - all strong­
ly suggesting that Galle settled in Antwerp in the first half
of 1570 - see Van Lerius 1864-76, vol. 1, p. 240.
63. On Plantin and his circle, seeVoet 1969-72;
the importance of Cock s workshop is elucidated in Riggs
1971. On the history of Antwerp printmaking in the six­
teenth century the standard study is still Delen 1934-35,
despite a recent and only partially successful attempt to
write a general survey on Antwerp and Haarlem engrav­
ing (Riggs 1993). One eagerly awaits Jan van der Stocks
announced history of Antwerp printmaking until 1585
Notes Chapter 1
154
(Van der Stock 1997).
64. On the economic situation in Flanders in the
third quarter of the sixteenth century, compare AGN, vol.
6, pp. 86-97. A general survey of Antwerp in this period
- with essays on specific topics like art, humanism, etc-
can be found in Bousse 1975 and Van der Stock 1993,
65. Compare chapter 4.
66. There are two documents with different dates
for Cock's death: an archival document stating that he died
on 3 October 1570, and a preparatory drawing by Cornells
Flor is for the printrnakers tomb with the date 30
November, Nothing at all is documented on his sickbed
or on the cause of his death. Compare Riggs 1971, p. 31
Cock may possibly have been ill for some period; from
1566 onwards the number of dated prints issued by his
print-shop declined, even down to nihil in 1569. In 1570,
the year of his death, Aux quaím venís again published at
least 5 works with a total of 25 plates; cp. Riggs 1971, pp.
44-45.
67. Compare appendix IB.
68. Diericx died on 23 December 1600, On the
death estate ofVolcxken Diericx - including a detailed list
of all engraved copperplates - see Duverger 1984, vol. 1 /1,
pp. 17-36.
69. OnVolcxken Diericx and her continuation of
Aux quatre vents, see Riggs 1971, p. 55 and especially De
Pauw-deVeen 1975.In the sixteenth and seventeenth cen­
turies it was far from uncommon for widows of publish­
ers to continue the business of their late husbands, often
with an imprint such as"apud viduam "Insome cases,
such as Plantin s widow Jeanne Riviere, this was only a
formal construction, while others (in the latter case Jan
Moretus) were actually in charge. In other instances, like
Volcxken Diericx and the widow of Gerard dejode, these
women did indeed run the print-shop on their own.
70. On these Heemskerck prints, see the index of
publishers in the New Hollstein, Maarten van
Heemskerck, vol. 2, p. 270, That the plates remained in
possession ofVolcxken Diericx can be certified by the fact
that they were all listed in the inventory of her death estate
(see note 68). It is highly improbable that Philips Galle
only issued the prints after having acquired them in 1601