manfred sellink philips galle - VU-DARE Home
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used in Galle s little known and rare series; compare Franz<br />
1965, pp. 42-45. On theVredeman deVries series of wells,<br />
see Mielke 1967, p. 47, no. XXI and De Groot 1988, pp.<br />
126-127.The untraced letterpress dedicanon to Melchior<br />
Lorck to which Mielke refers, can be found on the verso<br />
of the first sheet in the series in Antwerp (Museum<br />
Plantin-Moretus) and the Metropolitan Museum in New<br />
York; this dedication is dated 1574 and not 1573, as is<br />
assumed. On the Floris/Cleve personifications, see below<br />
(note 89).<br />
78. The Acta apastolomm, the series of Sibyls and<br />
David, hoc est vinutis are discussed in detail in chapter 4.<br />
On De rerum usu et ahusu - published by Galle and Plantin<br />
under the name of Bernard Furmcrus instead of the ban<br />
ished Coornhert, probably to avoid possible problems<br />
with authorities -, seeVoet 1980-83, vol. 2, pp. 971-973,<br />
no. 1228; Mauquoy-Hendrickx 1978-83, vol 3, pp. 482-<br />
484, nos. 482-484 and, in particular, Puhlmann 1992.<br />
79. These aspects of Galle s Haarlem period are<br />
discussed extensively in chapter 4.<br />
80. The first systematic analysis of the methods of<br />
production of a sixteenth-century print-shop is Timothy<br />
Riggs's study of Hieronymus Cock (Riggs 1971), which<br />
is still one of the basic studies in this field. Recendy other<br />
studies on the 'business of prints' (for this phrase see<br />
Orenstein 1992) have supplemented the traditional<br />
emphasis on the artistic merits of prmtmakers. Regarding<br />
Netherlandish publishers in the late sixteenth century, the<br />
most important monographic studies are Orenstein 1996<br />
(Hendrick Hondlus) arid Sénéchal 1987 (the Sadeler fam<br />
ily). An excellent survey of (mainly Northern)<br />
Netherlandish publishers in the period 1580 to 1620, can<br />
be found in Orenstein 1993-94.This latter study provides<br />
a very useful summary of the methods of production of<br />
a print-shop (pp. 167-174), also touching upon the grow<br />
ing need for division of labour.Thc tendency towards spe<br />
cialization around 1600 is briefly discussed in Schôller<br />
1991; a most informative essay in this respect is Depauw<br />
1996-97, gathering information on illustrated books from<br />
the Plantin-archives. Unfortunately die print trade in the<br />
Netherlands in this period has, probably due to a near<br />
complete lack of archival documents, barely been stud<br />
ied.The fascinating study of die Parisian market for prints<br />
in seventeenth century by Marianne Grivel (Grivel 1986,<br />
also see Montagu 1987) does, however, provide many use<br />
fill leads. The same goes, regarding Italian prints in the<br />
Notes Chapter 1<br />
156<br />
seventeenth century, for Consagra 1988. The taste for<br />
prints, seen from the collectors point of view, has received<br />
much more attention; compare chapter 2, notes 129-132.<br />
81. The difference in payment between engravers<br />
and designers is essentially caused by the much longer<br />
time it took incise a copperplate. There were, however,<br />
odier variables like size and quality which determined<br />
prices that were paid. Compare Depauw 1996-97, p. 75.<br />
82. Stradanus and DeVos are discussed in detail in<br />
chapter 4, with full bibliographic references. On<br />
Blocklandt, see jost 1960 and chapter 4; the production<br />
of Hans Bol is elucidated in several studies by H.G. Franz,<br />
also see Luijten 1993-94, p. 301 for further references; on<br />
the oeuvre of Ghecraerts, see the incomplete and inaccu<br />
rate Hodnett 1971; on Yredeman de Vries, sec Mielke<br />
1967, a catalogue of prints after his design, compiled by<br />
Peter Fuhring,is to appear in two volumes of the Hollstem<br />
series in 1997. As IljaVeldman has convincingly argued,<br />
Philips Galle himself mainly designed prints and print<br />
series in die case of iconographically intricate and inno<br />
vative subjects; seeVeldman 1991. Even in the autumn of<br />
his career, for instance, he was the designer of an elabo<br />
rate series of personifications entitled Prosopographia (com<br />
pare chapter 4).<br />
83. On the engraving, see Bartsch 1803-21, vol.<br />
9. p. 512, no. 2; Hollstein (German), vol. 2, p. 60, no. 3;<br />
ibid, vol. 22,p. 227, no. 1 ,TIB. 56, p. 314,no. 84 and Fischer<br />
1962, p. 18.The verses in the margin were composed by<br />
Victor Ghysclinck, a Flemish humanist from the circle of<br />
Plantin; see below, note 93. On Lorck "s stay in Antwerp,<br />
see Fischer 1962, pp. 38-40.This particular engraving was<br />
most apparently made after a design made by Lorck<br />
together with his pupil Nicolaus Andrea, who had fol<br />
lowed his master to Flanders.The engraving Instability of<br />
Fortune includes both the signature of Lorck as inventor,<br />
as well as the twice repeated monogram of Andrea. Further<br />
testimonies to the friendship between Galle and Lorck<br />
are a letter by the Danish artist to Abraham Ortels<br />
(Hamburg, 10 October 1574, see Hessels 1887, pp. 123-<br />
124) and the above dedication by Galle to Lorck in his<br />
series Wells of 1574 (see note 77).<br />
84. "Abrah. Ortelius,/ sibi et amicis/ fieri cur-<br />
abat", engraved in cartouche in margin right. On the<br />
engraving - of which only the rare first state includes the<br />
date 1574 - see: Hollstein, vol. 3, p. 268,no. 116; ibid., vol.