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