manfred sellink philips galle - VU-DARE Home

taken over the control of the workshop. Karel de Mallery
married Gathering Galle on 10 January 1598, see appen­
dix 1 A. After his marriage De Mallery left Antwerp and
settled down in Paris, where he worked until 1621; see
Thieme/Becker, vol 23, p. 596 and Grivel 1986, p. 138.
162. Hoilstein,vol. 11,p. 160,no. Ill (nymphs) and
nos. 115-120 (sericulture, also see Van Puyvelde 1942, pp.
24-25).The only other major series signed by De Mallery
is the Allegory oj human vanity after Ambrosios Francken
(1590/95), see chapter 4, note 95.
163. "Conveni etiam rursus Gallaeum qui honeste
respondit se habere filios et discípulos quos ipse jam
senescens neeessario debet docere eorumque manus velu-
ti ducere"; Plantin 1883-1918, vol 8/9, p. 122.The last
dated engravings certainly incised by Galle himself are the
plates of his drawing book Instruction etfondements of 1589
(see chapter 3), Also from his hand are the plates of the
undated Prosopographia (see chapter 4), published around
1590. Both series are innovative of subject and rather
ambitious in its intellectual aims and this may have been
the reason that Philips Galle was interested in engraving
these prints himself
164. The fact that Colbert set up his own work­
shop around 1593/94 can be gathered from the 'liggeren'
(records) of the guild of St. Luke of the year 1594, where
two youngsters (Kerstiaen CnijfFand Francoys de Riemer)
are mentioned as apprentices of Adriaen Collaert; Van
Lerius 1864-76, vol. I, p. 380. Of course this does not
imply that Collaert immediately stopped working on
behalf of Galle, although no dated works after 1593 with
the signature of Galle are known to me; also see chapter
4, note 190. Only a few years earlier, in 1589, both Adriaen
and Johannes Collaert were mentioned in the same guild
records direcdy following Philips Galle, suggesting that
the two young engravers were also formally considered
to belong to the Galle workshop;Van Lerius 1864-76, vol. 1,
p. 341. On Cornells Galles departure to Italy, see below.
165. The history of Antwerp printmaking after
1585 still remains to be written; compare various remarks
in Sellink 1996-97 .The shift from Antwerp and the grow­
ing importance of print publishers in the Northern
Netherlands is discussed in Orenstein 1995b. Also see
Orenstein 1993-94.
166. On the (religious) works by De Vos and
Stradanus after 1585, see chapter 4.
Notes Chapter Í
164
167. For examples of these designers, see chapter
4, note 95 (Francken); Hollstcin, vol. 4, p. 207, nos. 559-
570 (De Momper); chapter 4, notes 228-229 (Pietersz.),
Hollstein, vol. 21, p.43, nos. 13-20 (De Hoey).
168. On Galle s relation with Italian print design­
ers, with the exclusion of Stradanus, sec chapter 4, note
232 and further.
169. See TIB. 56, pp. 337-344, nos. 89:1-8, Meijer
1979,Smolderen 1977 and Buchanan 1990a and 1990b.
170. On the project, and its historical context, see
Sellink 1987. Besides the two illustrated engravings of
Lucifer and Count Ugolino - both of which, in contrast
to my earlier statements in Sellink 1987, were first pub­
lished by Philips Galle and then by his sonsTheodoor and
Galle respectively - the elder Galle also issued a portrait
of Dante surrounded by views of Hell, Purgatory and
Heaven.
171. On this series, see Luij ten 1996, pp. 140-142.
172. See Bonelli 1959 and Dumon 1977, pp. 95-99.
173. Hollstein, vol. 7, p. 87 5 nos. 410-430. It is
remarkable that many of the engravings from the Nova
reperia have frequently been illustrated and, on some occa­
sions, discussed in a (art)historical context separately, while
the intriguing concept of the entire series has, to the best
of my knowledge, not been subject of study. As several
other important series designed by Stradanus, the Nova
reperia is dedicated to the Florentine scholar Luigi
Alamanni. On several preparatory drawings for the series,
see Heusinger 1987, pp. 79-82.
174. The few new maps Galle issued are oflit.de
merit, such as an engraved view of the Forum Vulcani after
Stradanus - dated 1587 and later used in a travel report
by Franciscus Schott (Cockx-Indestegc 1968-94, vol 1,
p. 352, no. 4307) - and a view of Pozzuoli, also engraved
after Stradanus and dated 1587 (Hollstein, vol. 7, p. 80, no.
422. According to an auction catalogue of the beginning
of the century - Amsterdam, Frederik Mullers, 10
December 1906, no. 1317 - Philips Galle in 1601 pub­
lished an edition of the famous set of etched landscapes
after the so-called Master of the Small Landscapes. I have
not found such an edition.There may be confusion with
an edition by Theodoor Galle, also dated 1601; Bierens
de Haan 1948, pp. 216-217. This important set of land