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