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