Philippe GALLE

Authentic original engraving executed with burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the end of the 16th or very beginning of the 17th century.
Artists' signatures in the plate.
Latin caption in the lower part of the engraving.
Manuscript translation in an old hand beneath the plate mark: "Le chasseur prend les petits du tigre et met dans des trappes des miroirs qui représentent les petits qu'il a enlevés. Cette bête stupide croyant les voir effectivement, entre dans les filets et hurle, étant prise." ["The hunter takes the tiger cubs and places mirrors in traps that represent the cubs he has taken. This foolish beast, believing it actually sees them, enters the nets and howls, being caught."].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper glued to the edges on the verso, otherwise fine condition of preservation for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting from his father, and following his father's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the Clement VII room in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced copperplate engraving, drawing, the trade of engravings, publishing and writing. He trained under Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which would be frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispin de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp engraving production. Philippe Galle created some of his most admirable works on projects by Pieter Bruegel the Elder (The Alchemist, 1558), Jan van der Straet, Franz Floris (The Daughters of Lot) and Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).
Adrian Collaert, born in Antwerp in 1565 and died in 1618, was part of a great family of engravers. Trained in the workshop of his father-in-law Philippe Galle, he began with copperplate engraving before specializing in burin work.

Authentic original engraving executed in burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures in the plate.
Latin legend in the lower part of the engraving.
Manuscript translation in old handwriting under the plate mark: "Des chasseurs par le commandement du roi de France cherchent beaucoup de fientes de cerfs et donnent les crottes des jeunes cerfs aux chiens afin que par l'odeur ils apprennent à connaitre l'âge des cerfs.." ["Hunters by command of the king of France search for much deer dung and give the droppings of young deer to the dogs so that by scent they learn to know the age of the deer"].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper pasted to the edges on the reverse, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, is a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting from his father, and following his father's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a free master in the guild of Antwerp painters. He then began a journey through Europe: in France, then in Italy, where he first stayed in Venice, before settling in Florence. He worked there for Cosimo I de' Medici and collaborated with Giorgio Vasari for the decoration of the Studiolo of Francesco I de' Medici, and for that of the Clement VII hall of the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of great Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, is a Flemish engraver, member of a famous family of engravers. He practiced copper engraving, drawing, engraving commerce, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which was frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispin de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp engraving production. Philippe Galle created some of his most admirable works on projects by Pieter Bruegel the Elder (The Alchemist, 1558), Jan van der Straet, Franz Floris (Lot's Daughters) and Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).

Authentic original engraving executed with burin after a 16th-century drawing by Johannes Stradanus.
Impression on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures within the plate.
Latin caption in the lower portion of the engraving.
Manuscript translation in old handwriting below the plate mark: "On dit que la Barbarie produit de très bons chameaux que chassent les soldats de la marine pressés par la faim. Cette viande quoique très dure les rassasie." ["It is said that Barbary produces very good camels which are hunted by sailors pressed by hunger. This meat, although very tough, satisfies them."].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper pasted along the edges on the reverse, otherwise fine condition for this very rare engraving.
Johannes Stradanus, called Giovanni Stradano or Jan van der Straet, is a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was admitted as master to the guild of Antwerp painters. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the Clement VII room in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decorations planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, is a Flemish engraver, member of a famous family of engravers. He practiced copperplate engraving, drawing, print dealing, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which was frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispin de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp print production. Philippe Galle created some of his most admirable works based on designs by Pieter Bruegel the Elder (The Alchemist, 1558), by Jan van der Straet, by Franz Floris (The Daughters of Lot) and by Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).
Adrian Collaert, born in Antwerp in 1565 and died in 1618, was part of a great family of engravers. Trained in the workshop of his father-in-law Philippe Galle, he began with copperplate engraving before specializing in burin work.

Authentic original engraving executed with burin after a 16th-century drawing by Johannes Stradanus.
Impression on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures within the plate.
Latin caption in the lower portion of the engraving.
Manuscript translation in old handwriting below the plate mark: "Souvent un chasseur tombe sans prendre garde dans des cavernes ou des grottes couvertes d'herbes par dessus d'où ses compagnons ne peuvent le retirer, mais il meurt malheureusement et demeure la pature des serpents qui y sont et des hydres" ["Often a hunter falls unawares into caverns or grottoes covered with grass above, from which his companions cannot retrieve him, but he dies miserably and remains food for the serpents and hydras dwelling there"].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper pasted along the edges on the reverse, otherwise fine condition for this very rare engraving.
Johannes Stradanus, called Giovanni Stradano or Jan van der Straet, is a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was admitted as master to the guild of Antwerp painters. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the Clement VII room in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decorations planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, is a Flemish engraver, member of a famous family of engravers. He practiced copperplate engraving, drawing, print dealing, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which was frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispin de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp print production. Philippe Galle created some of his most admirable works based on designs by Pieter Bruegel the Elder (The Alchemist, 1558), by Jan van der Straet, by Franz Floris (The Daughters of Lot) and by Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).
Adrian Collaert, born in Antwerp in 1565 and died in 1618, was part of a great family of engravers. Trained in the workshop of his father-in-law Philippe Galle, he began with copperplate engraving before specializing in burin work.

Authentic original engraving executed with burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or early 17th century.
Artists' signatures in the plate.
Latin legend in the lower portion of the engraving.
Manuscript translation in old handwriting below the plate mark: "Le désert d'Appulie nourrit de couleuvres les grues et aussi les cigognes attaquent leurs nichées. Elles engagent le combat avec vigueur de leurs becs et les mordent. Le spectacle est très divertissant pour les colons" ["The desert of Apulia feeds cranes with snakes and also storks attack their broods. They engage in combat vigorously with their beaks and bite them. The spectacle is very entertaining for the colonists"].
Watermark visible by transparency.
The margins of the engraving have been reinforced with small pieces of old laid paper glued to the edges on the verso, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following his father's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the Clement VII hall in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under Giorgio Vasari's direction, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced copper engraving, drawing, the print trade, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he had his own workshop, which would be frequented by his sons, Theodoor and Cornelis, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispijn de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp engraving production. Philippe Galle created some of his most admirable works on designs by Pieter Bruegel the Elder (The Alchemist, 1558), Jan van der Straet, Frans Floris (The Daughters of Lot) and Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).

Authentic original engraving executed with burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or early 17th century.
Artists' signatures in the plate.
Latin legend in the lower portion of the engraving.
Manuscript translation in old handwriting below the plate mark: "En Italie les vipères se plaisent à se cacher dans les marais. Quand elles entendent un chien aboyer, elles sortent des buissons. On les saisit alors avec une fourche et on les met dans un sac avec une pince. Elles sont préparées comme remède pharmaceutique" ["In Italy vipers enjoy hiding in marshes. When they hear a dog barking, they come out of the bushes. They are then seized with a fork and put in a bag with tongs. They are prepared as pharmaceutical remedy"].
Watermark visible by transparency.
The margins of the engraving have been reinforced with small pieces of old laid paper glued to the edges on the verso, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following his father's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the Clement VII hall in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under Giorgio Vasari's direction, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced copper engraving, drawing, the print trade, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he had his own workshop, which would be frequented by his sons, Theodoor and Cornelis, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispijn de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp engraving production. Philippe Galle created some of his most admirable works on designs by Pieter Bruegel the Elder (The Alchemist, 1558), Jan van der Straet, Frans Floris (The Daughters of Lot) and Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).

Authentic original engraving executed in burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures in the plate.
Latin caption in the lower part of the engraving.
Manuscript translation in old handwriting below the plate mark: "Le bubale est une espèce de boeuf cruel et féroce. Les chasseurs pour le prendre le lassent en faisant courir et aboyer des chiens après lui, qui le mordent, jusqu'à ce qu'il tombe, n'en pouvant plus" ["The bubale is a species of cruel and ferocious ox. Hunters to catch it lasso it by making dogs run and bark after it, which bite it, until it falls, exhausted"].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper glued to the edges on the verso, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was admitted as master to the Antwerp painters' guild. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the hall of Clement VII in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced copperplate engraving, drawing, print dealing, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which was frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispijn de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp print production. Philippe Galle created some of his most admirable works on designs by Pieter Bruegel the Elder (The Alchemist, 1558), by Jan van der Straet, by Franz Floris (The Daughters of Lot) and by Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).
Adrian Collaert, born in Antwerp in 1565 and died in 1618, was part of a great family of engravers. Trained in the workshop of his father-in-law Philippe Galle, he began with copperplate engraving before specializing in burin.

Authentic original engraving executed in burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures in the plate.
Latin caption in the lower part of the engraving.
Manuscript translation in old handwriting below the plate mark: "Ceux qui s'occupent à surprendre les lions dans des filets portent une torche de la main gauche et un bouclier de la droite pour se garantir du feu: les lions fuyant les flammes, se jettent dans les filets qu'on lui a tendu." ["Those who busy themselves with surprising lions in nets carry a torch in the left hand and a shield in the right to protect themselves from fire: the lions fleeing the flames throw themselves into the nets that have been set for them."].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper glued to the edges on the verso, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was admitted as master to the Antwerp painters' guild. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the hall of Clement VII in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced copperplate engraving, drawing, print dealing, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which was frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispijn de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp print production. Philippe Galle created some of his most admirable works on designs by Pieter Bruegel the Elder (The Alchemist, 1558), by Jan van der Straet, by Franz Floris (The Daughters of Lot) and by Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).

Authentic original engraving executed in burin after a 16th-century painting by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or early 17th century.
Artists' signatures in the plate.
Latin caption in the lower part of the engraving.
Manuscript translation in old handwriting below the plate mark: "Ainsi les canards attachés sur le fleuve chantent, pendant que ceux qui surviennent sont blessés d'un coup de feu et charpillent leurs plumes sur le fleuve" ["Thus the ducks attached on the river sing, while those that come are wounded by gunshot and scatter their feathers on the river"].
Watermark visible by transparency.
The engraving has been mounted and restored with small pieces of old laid paper glued to the edges on the reverse, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting from his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He then began a journey across Europe: in France, then in Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari for the decoration of the Studiolo of Francesco I de' Medici, and for that of the hall of Clement VII in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of the great Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced engraving on copper, drawing, the commerce of engravings, publishing and writing. He trained under Hieronymus Cock, in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which would be frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispin de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp engraving production. Philippe Galle created some of his most admirable works based on projects by Pieter Bruegel the Elder (The Alchemist, 1558), by Jan van der Straet, by Franz Floris (The Daughters of Lot) and by Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).

THE FIRST EDITION OF THIS VERY RARE COLLECTION OF ENGRAVINGS, comprising two complete full-length series of marine gods and nymphs, published by Philippe Galle in Antwerp. There are a total of 34 plates overall, each 167 by 217 mm., engraved, numbered and titled in the copper plate, as well as two engraved titles. The first series of male gods, entitled Semideorum marinorum amnicorumque sigillariae imagines perelegantes in picturae statuariaeque artis tyronum usum was executed in 1586; while the second series, Nimpharum oceanitidum ephydridum potamidum naiadum lynadumque icons in gratiam picturae studiosae inventutis deliniatae sculptae et editae a philip. Gallaeo, devoted to female divinities, appeared the following year – 1587. A collection entitled Nimpharum icones did appear in 1583, but contains only 17 plates. The final engravings of the Nimpharum bear the signatures of Hiero Wierix and Ioann. Collaert.
 
Bound in contemporary Flemish vellum, ink title to head of spine. Contemporary annotations to the versos of some plates noting the identities of the figures represented. A few tiny wormholes to covers and endpapers, but not serious.
 
Philippe Galle (1537-1612), scion of an engraving dynasty, was one of the most important engravers and publishers of the Dutch school in the second half of the 16^th century. A student from 1556 onwards of the erudite humanist Dirck Volkertsz Coornhert (1522-1590) in Haarlem, he succeeded Coornhert as the engraver for the works of Maarten van Heemskerck (1498-1574). The following year, he joined Jerome Cock (1518-1570), a printer, print dealer and publisher of artistic books,  in Antwerp. Galle in turn succeeded Cock as well, establishing himself as one of the principal engravers of his contemporary Pieter Breughel the Elder (1525-1569). At the centre of the engraving trade in Antwerp, Galle’s students included Hendrick Goltzius (1558-1617) and Crispin de Passe the Elder (1564-1637).
 
This fine collection of allegories showing the principle deities of the oceans, seas, rivers and streams, was – from a stylistic perspective – like a remarkable synthesis of Nordic naturalism and Italian Mannerism.
 
A journey through Germany, France, and Italy in 1560-61 was no doubt one of the sources of these eclectic influences. The qualities of the muscles of the females figures, reminiscent of Michelangelo, as well as the elongation of the figures (worthy of one of Parmigiano’s Madonnas) are testimony of the influence of the Italian High Renaissance and the beginnings of Mannerism. The expressiveness of the faces and complexions of the figures, in the tradition of Schongauer or Dürer, have a quality almost of Verismo, very much representing for their part a German aesthetic.
His acuity and concern for the realistic representation of the body and facial expressions are linked to Galle’s work as a portrait painter; he engraved from life portraits of a number of his Humanist contemporaries, among them Vesalius, Erasmus, Guillaume Budé and Thomas More. He was also noted as one of the first makers of a collection of portraits of learned men of the 16^th century.
Throughout both sets of engravings, made up, by turns, of figures inherited from Classical mythology and personifications of various different European waterways, Galle manages to maintain a subtle play of facial features. From the Mediterranean flanks of the Nile (Nilus) to the northern banks of the Thames (Tamesis), the artist shows the diversity of the figures, each seeming to oscillate between Classical idealisation and Realist individualism.
The topographical or mythological iconography places each character within their myth or geographical environment – with an obelisk, pyramid and crocodile for the Nile, Neptune (Neptunus) with his trident, Charon’s boat traversing the Styx, Nereus (Nereus) surrounded by his daughters the Nereids, Lerne with its Hydra, Glaucos (Glaucus) contemplating Scylla, or Acis melting into the sea under Galatea’s gaze…
 
Galle’s collection is to be placed within the context of the development of allegorical scenes in 16^th century art, particularly in the field of emblem books, the Aldine Hieroglyphica of Horapollonius of 1505, and the Iconologia of Cesare Ripa (1593).
 
There is a copy of the two collections of plates that make up the present work in Cambridge (but without a detailed description); the Nipharum icones is recorded in Netherlandish books by Andrew Pettegree and Malcolm Walsby. There is also a copy in Passau, one in the BNF, one in the National Library of Spain and one in the University Library at Erfurt. The University of Liége, which also has a copy, mentions only twelve engravings.
The other copies we have been able to locate only have the male suite and are held at the Cultura Fonds Library in Dilbeek, the British Library, and the Bodleian. The Metropolitan Museum in New York, the British Museum and the Rijksmueum hold only a few plates taken from the two series.
 
An extremely rare copy containing both complete sets of engravings, with engraved titles and wide margins in a contemporary Flemish binding.