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: 10. Oct. 2021 II MANFRED SELLINK 01638 DUTT T13Q C AT T (1537-1612) PRINT PUBLISHER "^N^äl^^ER^ i VRIJE UNIVERSTEIT Philips Galle (1537-1612): engraver and print publisher in Haarlem and Antwerp ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Vrije Universiteit te Amsterdam, op gezag van de rector magnificus prof.dr.T. Sminia, in het openbaar te verdedigen ter overstaan van de promotiecommissie van de faculteit der letteren op maandag 22 september 1997 om 15.45 uur in het hoofdgebouw van de universiteit, De Boelelaan 1105 door Manfred Stefan Sellink geboren te Nijmegen Promotor: prof.dr. LM.Veldman Copromotor: prof.dr. P.A. Hecht De kwaliteitsbeoordeling van dit proefschrift door prof.dr. CL. Heesakkers, verbonden aan de Universiteit van Amsterdam en de Pdjksuniversiteit Leiden, en dr.J.P. Filedt Kok, verbonden aan het Rijksmuseum, wordt onder dankzegging vermeld. MANFRED SELLINK PHILIPS GALLE (1537-1612) ENGRAVER AND PRINT PUBLISHER IN HAARLEM AND ANTWERP i TEXT TABLE OF CONTENTS Part I Acknowledgements 9 Introduction 11 Chapter 1 "Philips Galle from Haarlem, most excellent engraver" 13 Chapter 2 " incised in copper and faithfully rendered;" Philips Galle and the origins of engraved portrait series in the Netherlands 41 Chapter 3 "As a guide to the highest learning;" an Antwerp drawing book dated 1589 69 Chapter 4 ' as our Christian inventions are more in vogue and held in higher esteem;" religious images produced by Philips Galle and his workshop 76 Dutch Summary 137 Part II Notes 146 Appendices 217 Part III Illustrations 343 List of illustrations 463 Bibliography 477 7 ACKNOWLEDGEMENTS The present study of Philips Galle is, in fact, a result of an internship in the Rijksprentenkabinet in the Rijksmuseum in 1985. In this period I received my first real training in the study of prints in general and the study of Netherlandish sixteenth-century printmaking in particular. At the risk of neglecting others who were no less important in the genesis of my dissertation, I would, therefore, like to dedicate this study to my then tutor at the Pdjksprentenkabinet Jan Piet Filedt Kok, now secondary reader of this thesis. His critical, but always concerned guidance throughout my career as a student in art history and a museum curator has been indispensable. His vast knowledge of Dutch printmaking has always been (and will always be) the criterion of the contents of my own studies in this field. The same goes for the main supervisor of my thesis, IljaVeldman. Besides her unchallenged understanding of printmaking in Haarlem and Antwerp, her wisdom and humour have been quin• tessential during the entire process of research and writing. I also warmly thank my second super• visor Peter Hecht, not only for his stubborn belief in my scholarly capacities, but even more for all his friendship and generous support during the last twelve years. From 1988 to 1990, Eddy de Jongh was the supervisor of my thesis. Due to his departure from the University of Utrecht, I was unable to finish my dissertation under his guidance. I must also thank my secondary reader Chris Heesakkers, who so kindly shared his profound insight in the world of sixteenth-century humanism and helped me with the translations of many Latin inscriptions. As an acknowledged specialist of Dutch por• traits, Rudi Ekkart was so kind as to read chapter 2 and provide me with valuable additional infor• mation on the subject of portraits of scholars. The first part of the research (1988-90), including many travels through European print- rooms and libraries, was largely made possible by a grant from the Netherlands Organization for Scientific Research (NWO).A generous second grant by NWO in the years 1995/96 made it pos• sible to leave the Boijmans Van Beuningen Museum for more than a year in order to finish my dis• sertation. I cordially thank NWO for this support, and I can only hope that the quality of the results lives up to the expectations of its board of governors. I also hope that Wim Crouwel, Johan ter Molen and Chris Dercon, the three consecutive directors of the Boijmans Van Beuningen Museum will find some remuneration for the museums generous (financial and organizational) support since 1991.1 am also grateful to my colleagues in the printroom, who, during the last two years, have so often ungrudgingly taken over duties I was originally to perform. A special word of thanks is offered to Marguerite Tuijn and Maartje de Haan, who replaced me during my absence from the Museum. During the period of my research, numerous colleagues provided me with valuable infor• mation and useful references.Without mentioning all their names, I express my gratitude to all those who showed interest in the subject of Philips Galle over the years.The same goes for the staff of the print and rare book departments of many institutions in Europe and the United States. Especially helpful were the staff of: the Rijksprentenkabinet and the library of the Rijksmuseum in Amsterdam; the Stedelijk Prentenkabinet and the archives of the Museum Plantin Moretus in Antwerp; the rare book department and the printroom of the Koninklijke Bibliotheek Albert I in Brussels; the print- 9 room of theVeste Coburg in Coburg; the printroom of the Statens Museum for Kunst in Copenhagen; the Kupferstichkabinett der Staatliche Graphische Sammlungen in Dresden; the printroom and library of the Monasterio de el Escorial; the Koninklijke Bibliotheek in The Hague; the department of prints and drawings in The British Museum in London; the department of prints and drawings ofThe Metropolitan Museum of Art in NewYork; the print department of the Bibliothèque Nationale in Paris; the UniversiteitsbibHotheek of the Utrecht University; the Graphische Sammlung Albertina and the Österreichisches Nationalbibliothek in Vienna. I can not omit a special word of thanks to Chris Schuckman and my Antwerp colleagues Karen Bowen and Dirk Imhof They have most generously shared their knowledge on many sub• jects and have on several occasions provided me with important unpublished findings Jan Bloemendal was most helpful in translating (in Dutch) all verses underneath the portraits of scholars, catalogued in appendix 2E. These translations were to a large extent made possible by a grant from the Dutch Post-Graduate School for Art History, and they will be included (in English) in the revised edition of this study in 1998. This 'commercial' edition will be published as a part of the series Studies in Prints and Printmaking by Sound & Vision Interactive in Rotterdam. I thank Ger Luijten, both as a colleague in the Rijksprentenkabinet and as an advisor to the publishers, for his sincere interest in my research over the years. I also thank Aad Hofman and Frits Garritsen of Sound & Vision Interactive for their assistance in the production of my dissertation and for their trust in my future publications on their behalf. Without the generous support of Dingenus van de Vrie, this study would have not been pro• duced in its present form. As in the case of most catalogues made by my department in the museum, he was responsible for the handsome layout. Finally, I want to thank my family and all my friends for their sympathy, encouragement and patience all along my research. Their interest and countenance has been invaluable, especially in the last two years. I hope my friends will not take it amiss, when I only mention the names of my two 'paranimfen' Erik Hinterding and Jan Konst. In 1981 we set out to study art history at Utrecht University together. Although the path of life has led us to quite different destinations, the friendship and mutual interest in each other's research have remained. For this, I thank them both. But, above all, I want to thank Carmen, Folkert - who often piled up his toys against the door of my study, waiting (in vain) for me to play with him - andTirza, who was born during the last stage of my research and has as yet not known me without Galle. Without their love, under• standing and moral support, this study of Philips Galle could not have been written. Gouda, July 2,1997 10 INTRODUCTION With a Hst of well over 2.500 prints that he published between 1563 and 1606 - not counting dif• ferent states and editions - Philips Galle (Haarlem 1537 - Antwerp 1612) was certainly one of the most prolific print publishers in Europe in the second half of the sixteenth century. His achieve• ment is even more impressive, if one considers that Galle virtually never reissued existing copper• plates.