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VU Research Portal Philips Galle (1537-1612): engraver and print publisher in Haarlem and Antwerp Sellink, M.S. 1997 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Sellink, M. S. (1997). Philips Galle (1537-1612): engraver and print publisher in Haarlem and Antwerp. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 08. Oct. 2021 MANFRED SELLINK PHILIPS GALLE (1537-1612) ENGRAVER AND PRINT PUBLISHER IN HAARLEM AND ANTWERP li NOTES/APPENDICES Notes Introduction 1. &igg5 1971, For further references on our knowledge of Netherlandish printmaking m general and Philips Galle in particular, see chapter 1, notes 32-33 and chapter 4, note 1. 2. Van den Bemden 1863. My research of a print acquired by the Rijksprentenkabinet in 1985 resulted in ail article on the collaboration between the Galle family and Johannes Stradanus on an abortive attempt to pro• duce a series of engraved illustrations for Dante's Divina Commedia (Seliink 1987) 3. It was, however, facilitated by the opportuni• ty provided in 1986/87 to edit the Illustrated Bartsch- volume on Philips Galle compiled by Arno Dolders (TIB. 56). Dolders kindly gave me access to all the information he had gathered on Galle until then. 4. See chapter 1, passim. 5. See, for example, Denucc 1912-13, Delen 1932, Delen 1934-35 and Voet 1980-83- Karen Bowen and I hope to write (and publish) several studies on die relationship between the Cfficina Plantiniana znd the Galle family in the near future- 6. In the year 2000 a large exhibition on Philips Galle will be organized by the BoijmansVan Beuningen Museum in Rotterdam and the printroom of die Veste Coburg.The catalogue, which will be written in collab• oration with the Coburg curator Christiane Wiebel, shall provide more information on aspects of style and tech• nique in the Galle workshop. 7. Holistcin is: EW.H. Hollstein et a!., Dutch and Flemish etchings, engravings and woodcuts, ca, 1450-1700, in progress,Arnsterdam 1949---...-; New Holistcin is: The New Hollstein; Dutch and Flemish etchings, engravings and wood• cuts, 1450-1700, in progress, Amsterdam & Roosendaal 1993- Two volumes of the New Hollstein series are now planned to be devoted to Philips Galle, and, strong• ly related to the subject of this book, three other volumes will be dedicated to Johannes Stradanus. To both of these projects I will contribute as a guest editor. In the fall of 1998 the publishers Sound &Vision will also issue a revised edition of my dissertation in their new series Studies in I\ints and Printmaking. 8„ These words were written by Paulus de Kempenaer in 1617; see chapter l,note 129. 146 Notes Chapter 1 *. Quoted from Guicciardini 1567; see note 1. p. 140. The English translation is quoted from Veldman 1977a, p. 99. On Galle s friendship and collaboration with 1. "Dirick Volcaerts Core[n]-hert et Filippo Junius, also see chapters 2 and 4. On Junius s Batavia* also Galle amendue d'Harlem eccelle[n]tissimi intagliatori see Vermaseren 1949. Guicciardmi 1567, p. 101 In the enlarged Dutch translation of 1612 this reads; "Dierick Volckaertsen 5. i!Ik moet van Koornhert ook, en van Galle Corenhert, ende Philips Galle, beyde van Haerlem, uyt- meest, gewagen/ Gewisslijck Galle mag niet over sijn ges• nemende gheschickt m coper re steken Guicciardini lagen,/ Sijn yser was te eel, sijn printen sijn't wel waerd,/ 1612, p. 82. This historiographical overview makes no En door geleerde luy en hunne snee vermaerd "Then fol• claim at all to be complete, it is only intended as a short, lows the Latm quotation from Junius, restated by Ampzing introductory survey of the reputation of Philips Galle until in Dutch:"Daer sijn noch twee lichten vande Plaet-snee- the second half of the nineteenth century. A short review konste overig, Dirk Volkertszen van Amsterdam, een man of the literature after 1850 can he found in note 33. On van groot verstand, maer ongeluckig, ende Philips Galle Goltzius's portrait of Philips Galle, see Seliink 1991-92, van Haerlem, desen sijnen meester verre overtreffende: pp, 154-155. die [Coornhert] heeft de konste onderlaten, die hy met lof aengevangen hadde, in desen [Galle] wast de ere van 2„ "Divick Volcaerts e Filippo Galle, amendue de konst met de jaeren op," Ampzing 1628, p. 359. d'Arlem, e Luca Leidem con mold altri, chi tutti sono stati Ampzing also translates the Latin verses underneath Galles in Italia a irnparare e disegnare le cose antichi p[er] portrait of Janus Dousa: "Die Hollands Graven t'saern, en tornarsene, si come hanno fatto la piu parte, a casa ook Erasmus wesen,/ En 't uwe lunius gesneden heeft eccjeilentiJ/Yasari 1878-85, vol. 7, p. 589.These last words voor desen,/ Die heeft het mijne mee in koper uytge- are the source of the traditional, hut most probably wrong, druckt,/ Ik houde dat my dat met weymg is geluckt." supposition that Philips Galle travelled to Italy (also see These lines of verse were written by Dousa himself and below) .Vasari misquotes Guicciardini who ends his list of prasse Galles earlier portraits of Erasmus, Junius and the painters with the remark that nearly(!) all - compare counts of Holland. On the relevance of these references Vasari s misleading words "chi turn sono stati in Italia" - to Galle s portraits, see chapter 2. Dousa s portrait itself is of them had gone to Italy to study classical art. described in appendix 2E, no. 46a. 3. "Cresciutogli al fine maggiormente 1'ammo 6. " op dit toneel [the art of engraving] ver- ha fatto sei Libri di disegni, che tuttavia s'intagliano in toone[n] sich eerst Dirck Cornhart en Phlips Gallus. Anversa per mano di Filippo Gale eccellente intagliatore," Beyde dese recommandeert Had. Junius in zijn Batavia, then follows the list of preparatory drawings kept by die hij noemt lichte van de konst niet een caustice daer 4 Stradanus. See Borghini 1967, pp. 583-584; also see chap• t vier by quam3 maer daer in kopere platen met een ter 4, note 158. Borghini s words are summarized, for averechts graveer-yser gesneden wort, en snij en alder- instance, in the eighteenth century by jean Baptist hande beeldekens, en historie van alle materie. Dese Dirck Descanips,in his biography ofStradanus;Descamps 1753= Cöorrxhart was van Amsterdam, een man van groot ver- 64, vol l,p. 160. stant en couragie, maer ongeluckigh in sijn doen; het was hem al tegen, dit was de meester van Phlips Gallus, maer 4. "Resta[n]t duo lumina artis non proprie dese was haest boven sijn meester, help Godt met hoe encausticae, ut quida[m] putant, sed quae in laminis aeries groot verschil, dat oock niet wonder was dewijl d'eene et quovis e metaJlo ducrilibus, averse coeli scalprique trac- de konst die hy met eere aen ghevangen hadde liet varen, tu pingit iconas historiasque omnes, quas illitu atramenti d*ander dagelijcks toenam in de konst ghelijck wasdom, cuiusdam encaustici, imo colorum quorumvis adversis dese heeft verscheyde conterfeytsels gesneden, dat Douza lamellae in gypseis tabulis chartis 've reddu[n]t. II sunt oock erkent, wiens uytbeeldinge Phlips Gallus in 't koper Theudericus Volcardus Amstelrodamaeus divino homo gesneden dfonsterfTelijckheyt toe-geheylicht heeft " then ingenio, sed fati adversi,et Philippus Gallaeus Harlemaeus follows the translation of the verses underneath Galle s magistro illo, dij imrnortales, quanto superior; nisi quod portrait of Dousa: "Die Graven van het lant, die soo inchoatam cum laude artem ille intermislt; in hoc cum beroemde man,/ Gebroeyt uyt Rotterdam [Erasmus], en surgente aetate etiam arris gloria gliscit." Junius 1588 lunium treffen kan,/ Dees heeft oock my gemeen, 't is 147 Notes Chapter 1 Gallus die !t my deedt,/ Die Douzum heeft gebeeit, ick 12. Sweerts 1613, p. 83. On the epitaph itself, also wil wel dat ghy !t weet." Schrevelius 1648, p. 376; also see see note 34. Veldman 1977a, p. 107. 13. Galle is however, conspicuously lacking from 7. "Maer Cornhertius terstont daer nae door Vesalius Andreas's influential biobibhographieal survey of swaerder affeïren te rugghe geroepe[n] sijnde, heeft de 1623 ;cf. Andreas 1623 and subsequent later editions. conste die hy met lofaenghevangen hadde vrocchnaeghe- laten, ende heeft zijnen Discipelen, onder de welcke 14. Sweerts 1628, p. 642; "Philippus Gallaeus Philippus Gallens gheweest is, dien lacten oerlenen." Batavus, Harlemensis, Calcographus insignis, de R.epub, Pontanus 1614, p. 287. The English translation is quoted literaria, et arte pictoria opt, meritus,mihi familiarissimus, from Veldman 1977a, pp, 55-56. B. Anam Montanum, Ortelium, Plantinurn, Moretum umce coluit. Praecipua artis eius monumenta haec sunt: 8. Van Mander 1994, vol. 1, pp. 322-323 ..." ("Philips Galle, from Holland, born in Haarlem, an (Vredeman de Vries), pp. 328-329 (Stradanus) and pp. 389- excellent engraver and of great merit to the republic of 390 (Goltzius).
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    Omslagillustratie: Maarten Luther, Condemnatio doctrinalis librorum Martini Lutheri, per quosdam Magistros nostros Lovanienses & Colonienses, facta. Responsio Lutheriana ad eandem condemnationem [Doctrinaire veroordeling van de boeken van Maarten Luther, uitgesproken door zekere theologen van Leuven en Keulen. Wederwoord van Luther op deze veroordeling], Wittenberg: Melchior Lotter, 1520. ( © KU Leuven, Universiteitsbibliotheek, Handschriften en Kostbare Werken, CaaA815) Religie, hervorming en controverse in de zestiende-eeuwse Nederlanden In memoriam Jan Roegiers (1944-2013) Vlaams-Nederlandse Vereniging voor Nieuwe Geschiedenis Publicaties van de Vlaams-Nederlandse Vereniging voor Nieuwe Geschiedenis 1. Adel en macht. Politiek, cultuur en economie, Guido Marnef en René Vermeir (red.), Maastricht, Shaker Publishing 2004. 2. Tussen Munster & Aken. De Nederlandse Republiek als grote mogendheid (1648-1748), Simon Groenveld, Maurits Ebben en Raymond Fagel (red.), Maastricht, Shaker Publishing 2005. 3. Oorlog & Samenleving in de Nieuwe Tijd, Raymond Fagel en David Onnekink (red.), Maastricht, Shaker Publishing 2005. 4. Staatsvorming onder Bourgondiërs en Habsburgers. Theorie en praktijk, Jac Geurts en Hugo de Schepper (red.), Maastricht, Shaker Publishing 2006. 5. Hoge rechtspraak in de Oude Nederlanden, Hugo de Schepper en René Vermeir (red.), Maastricht, Shaker Publishing 2006. 6 De Scheldedelta als verbinding en scheiding tussen Noord en Zuid, 1500-1800, Maurits Ebben en Simon Groenveld (red.), Maastricht, Shaker Publishing 2007. 7 Filips
  • 350 Jaar Academie Voor Schone Kunsten in Antwerpen

    350 Jaar Academie Voor Schone Kunsten in Antwerpen

    350 jaar Academie voor Schone Kunsten in Antwerpen Academie tussen toekomst en traditie Tot voor kort werden kunstacademies nogal meewarig bekeken Niet alleen de overheid legt de academie nieuwe eisen op. De door de actoren van de hedendaagse kunstwereld. De heden- snel evoluerende en zich globaal uitbreidende kunstmarkt stelt daagse kunst leek zich voorgoed bevrijd te hebben van de acade- de academie voor grote uitdagingen. Europa en de V.S. hebben mische ballast en van klassieke vaardigheden als tekenen, boet- hun culturele monopolie al een tijd geleden moeten afstaan. seren en schilderen. Sommige kunstscholen straalden bovendien De impact van de snelle technologische ontwikkelingen op de een nogal zelfgenoegzaam en behoudsgezind karakter uit. De maatschappij neemt zienderogen toe. In tijden van besparingen snelle artistieke ontwikkelingen van de jaren zestig en zeventig en bezuinigingen wordt kunst wel eens als elitair en luxueus be- leken aan hen voorbij gegaan te zijn. Ze leken zich te koesteren in schouwd. Dient een academie die kan terugblikken op 350 jaar hun ‘splendid isolation’. En, zo werd in de kunstwereld wel eens geschiedenis zich te laten leiden door de omstandigheden of kan geopperd, kunst valt toch niet aan te leren? ze zich permitteren haar eigen plaats te bepalen? Moet ze een Sinds het begin van de 21ste eeuw is daar echter verandering rots in de branding zijn, of een schip op zee? Kan de gedurende in gekomen. De hedendaagse kunstpraktijk had in de jaren ne- eeuwen opgebouwde expertise daarbij op een relevante wijze in- gentig meer oog gekregen voor interactie, onderzoek en didacti- gezet worden of vormt ze eerder een ballast? Heeft de academie sche processen.