manfred sellink philips galle - VU-DARE Home
manfred sellink philips galle - VU-DARE Home
manfred sellink philips galle - VU-DARE Home
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
183. On Theodoor Galles stock of copperplates,<br />
see the death estate of his widow Catherina Moretus in<br />
1636; see Dermce 1.927 and Duverger 1984, vol. 1/4, pp.<br />
17-36. Several plates were not originally from the Galle<br />
workshop, but were acquired after 1601 from the estate-<br />
ofVolcxken Diericx,the widow of Hieronymus Cock; see<br />
Duverger 1984, vol. 1/1, p. 24.<br />
184. The lasting popularity and influence of late<br />
sixteenth-century Netherlandish prints in the seven<br />
teenth century, would be well worth a thorough study.<br />
See several remarks and references in the historiographi-<br />
cal survey in the beginning of this chapter; also see many<br />
perceptive remarks in the separate entries in De Jongh<br />
1997.<br />
185. Compare the first edition by Philips Galle;<br />
chapter 4, fig. 8, with further references. In contrast to his<br />
father Theodoor, Johannes Galle does not seem to have<br />
been very active as an engraver himself. He concentrated<br />
on the trade of prints. It would be worthwhile to make a<br />
study of the relations between Johannes Galle and the<br />
Visscher family, who often reprinted plates from the stock<br />
of their Antwerp colleagues. The estate of Johannes Galles<br />
death estate in 1676 has not yet been published, but will<br />
be included in a forthcoming volume of Duverger 1984.<br />
It apparently contained no less than 82.000 prints and<br />
copperplates;Van Hcurck 1930,p. 71 .According to a print<br />
ed advertisement a sale of the estate was planned on 15<br />
February 1677, the catalogue was to be acquired from<br />
Nicolaes Visscher in Amsterdam. A later advertisement,<br />
dated February 18, informed the public that the sale was<br />
delayed until March 8.1 kindly thank Chris Schuckman<br />
for showing me copies of these advertisements. 1 have,<br />
unfortunately, been unable to trace the original adver<br />
tisements, nor have I found the sales catalogue.<br />
186. On the relations between Philips Galle and<br />
the Plantin Press, see note 97. Many aspects of the col<br />
laboration between the Galle workshop and the<br />
Moretuses in the seventeenth century are discussed in<br />
Imhof 1996-97, passim.<br />
187. Cornells Galle was recorded as a 'meesters-<br />
soon 5<br />
in 1610; see Van Lerius 1864-76, vol. 1, p. 464. He<br />
had his first (registered) apprentice in 1613 (one Jasper<br />
Batens; ibid. vol. 1, p. 497), indicating that he was by then<br />
running his own workshop.<br />
Notes Chapter 1<br />
166<br />
188. On Cornells Galles engravings made in Italy<br />
on behalf of his father, see chapter 4. Hollstcins list of<br />
engravings of Cornells Galle I is even more inaccurate<br />
than those of his father and brother, especially due to the<br />
fact that he has entirely confused works by the respective<br />
generations Cornells I, Cornells II and Cornells Galle HI.<br />
189. On Cornells II and III, see Van den Bemden<br />
1863, pp. 42-50.<br />
190. Nearly all of Philips Galles pupils became<br />
important engravers in Antwerp with a workshop of their<br />
own. Several of them became, like their former master,<br />
dean of the guild of St. Luke, generally an indication of<br />
their standing amongst colleagues; these were Theodoor<br />
Galle in 1 610Johann.es Collaert in 1612, Karel de Mallery<br />
in 1621-22 Jean Baptiste Barbé in 1627-28 and Johannes<br />
Galle in 1638-39.<br />
191. On collecting in the sixteenth and seventeenth<br />
century, see chapter 2, notes 129-132.<br />
192. See, to mention just a few examples: Boschloo<br />
1993 (copies in frescos in Bologna);Bosters 1989 (the use<br />
of engravings in borders of maps); Boulay 1960 and<br />
Micheaux 1972 (on copies in French faience); Fabri 1982,<br />
Thirion '1965 andThirion 1967 (regarding copies in fur<br />
niture of the seventeenth century); Cole 1993 and<br />
Husband 1995 (on the use of prints in painted glass),<br />
193. See, again just to quote a few examples: Zerner<br />
1983, passim, on the diffusion through engravings in gen<br />
eral; Wijngaert 1943 andjermes, on the use Jesuits made<br />
of Antwerp prints during their missions in the Far East;<br />
Sims 1983 (on the influence of Antwerp prints on Persian<br />
miniatures); IJzcrman 1926, on the trade of prints with<br />
Dutch India; Braat 1980, on the sixteentii-century ship<br />
ment of prints found in Nova Zembla.