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116. During the tax assessments in the years 1584-
85, Galle was one of the very few printmakers who was
considered to have enough possessions to pay the sum of
2,5 guilders every month. According to Van Roey, Galle
belonged to a middle-class group of citizens who were
(reasonably) well-off; see Van Roey 1988-89, pp. 420-424
and 428; also see Marnef 1996, pp. 31-34.
117. More remarks on the chronological division
in Galle s oeuvre cm be found throughout chapter 4, which
is structured in the same way.
118. I hope that the new edition of this study in
1998 will provide more precise information on the dates
of series and prints. The many advertisements by Philips
Galle in the catalogues of the Frankfort book fairs will
hopefully provide a year ante quern for undated prints.
Unfortunately the facsimile reissues of these catalogues
came to my notice too late to be of use in detail. I kind­
ly thank Chris Schuckman for making me aware of the
importance of the Frankfurter Buchmesse for the trade of
prints.
119. On Kiliaan, see Kiliaan 1880 and Van den
Branden 1978.
120. On these designers, see note 82.
121 Goltzius's relation with Galle is discussed in
detail in chapter 4.
122. On the production of the Wierix family, see
note 86. IljaVeldman is working on a new monographic
study of Crispijn de Passe; his collaboration with Philips
Galle is discussed in chapter 4, see notes 177-178.
123. Most of the prints the Wierix brothers
engraved on behalf of Galle are undated. Style, subject and
the choice of designers of several prints and series of prints,
strongly suggest that the collaboration continued at least
until 1590; see various prints discussed in chapter 4. On
the prints produced for Philips Galle, see the indices in
Mauquoy-Hendrickx 1978-83, vol. 3/2, s.v. Galle.
124. Unfortunately virtually no research has been
done on the Colbert family, active in Antwerp from the
middle of the sixteenth century until deep into the sev­
enteenth century. Nearly all information on the various
members of the family - whose exact family relations to
Notes Chapter 1
160
one another are still unanswered is based on J.L. Sponscl s
biographies in Thieme/Becker, vol. 7, pp. 210-211. For a
recent short survey, without any additional information,
see Dictionary of Art, vol. 7, pp. 555-557 (Christine van
Mulders). In contrast to current opinions, I believe that it
is highly probable that both Adriaen (born around 1560)
and Johannes (born 1566) are sons of Hans Coliaert,
engraver in the workshop of Hieronymus Cock. Both
youngsters entered the guild of St. Luke as a masters son,
respectively in 1580 and 1585;VanLerius 1864-76, vol. 1,
p. 273 and 298. As far as is known to me, no other mas­
ter, besides the above-mentioned Hans, was registered in
the guild under the name Coliaert. At the wedding ofjusta
Galle and Adriaen Coliaert in 1586Johanncs Coliaert was
present as witness together with Philips Galle; see appen­
dix IB. This certainly implies that Johannes was close of
kin to Adriaen and was possibly acting as a replacement
for their father Hans Coliaert, who had died in 1581. Seen
in this light, a series of engravings of jewellery of 1582
(also discussed below) traditionally assumed to be
Johannes Colbert's first dated engravings, could more
plausibly be attributed to the older and more experienced
Adriaen. This series is especially interesting as it carries
the following address on the title page: "Jofhann]cs
Coliaert del./ Eius filius [his son] sculp./ P. Ga!l[a]eus
excud .".As is rightly noted by Marijnke dejong and Irene
de Groot, the fact that a later state of this title page car­
ries the inscription "A. Coliaert sculpsit." leaves little doubt
that he was indeed the engraver of the series and thus was
a son of Hans (or Johannes) Coliaert the Elder; see De
Groot 1988, pp. 57-58, no. 68.1
125. The two Coliaert brothers did not work for
Philips Galle only. Their names can be found on several
engravings published by Gerard de jode, the widow of
Hieronymus Cock and Hendrick Goltzius. Certainly this
last contact - a very unusual one in the history of Goltzius's
enterprise - must have been brought about by Philips
Galle.
126. See appendix IB.
127. The here illustrated engravings are taken from
the Divine charge to the three estates, four plates engraved by
Adriaen Coliaert after Maarten deVos around 1585/86
(Hollstein, vol. 44, pp. 249-251, nos. 1257-1260), and the
Seven planets, seven plates and a title page engraved by
Johannes Coliaert after Johannes Stradanus (Hollstein, vol.
4, p. 71, nos. 113-120).