French, 16th century, male.
Active in Paris in 1573.
Painter, engraver, print publisher.
Marolles says that Thomas Belot was a painter. A print exists by him, made in Laon and dated 1566, entitled Image Representing the Triumphant Victory of Our Saviour and Lord Jesus Christ...
Italian, 16th century, male.
Active in Venice.
Painter, engraver (wood), print publisher.
In 1546, having returned from a pilgrimage to the Holy Land, Domenico dalle Greche produced paintings from the sketches that he had brought back. His principal work is a series of 12 engravings on wood of ...
French, 16th century, male.
Active in Paris.
Painter, print publisher, engraver.
Le Blond engraved a number of religious subjects.
Flemish School, 16th century, male.
Born 1528, in Antwerp; died 25 July 1580.
Engraver (wood), draughtsman, printer, print publisher. Cards.
This artist was the son of Matthias van de Putte. He worked in Mechelen and in Antwerp.
French, 16th century, male.
Born between 1540 and 1545, in Beauvais; died 5 March 1603, in Paris.
Painter, engraver, writer, print publisher. Portraits.
Jean Rabel was the father of Daniel Rabel. He was engaged as the master painter of the Pont St-Michel. Rabel was a talented artist who, according to l'Estoile, was a leading portraitist (Malherbe even dedicated a sonnet to him and his work). His body of engravings consists primarily of religious themes and portraits, including those of ...
Flemish School, 16th century, male.
Active also in Germany and England.
Born 1550, in Brussels; died August 1600, in Venice.
Draughtsman, engraver (burin), print dealer.
Jean Sadeler I's father was an inlaid metal worker and Jean was trained for this profession. However, he devoted himself at an early age to the study of the human figure. When he was about 20 he began to engrave on copper and in 1572 he was admitted as a master to the guild of St Luke. It has been said that he travelled in Germany and worked in Cologne from 1580 to 1587. The facts, or at least the dates, may not be correct, because according the guild archives, Gillis Sadeler was a pupil of his in 1585. In 1587 he is referred to in Frankfurt, and in 1589 in Munich, where Duke William II of Bavaria granted him a pension of 200 gold florins. He went to Rome in 1593 or 1595, and finally to Venice. During these travels he engraved a large number of plates and his overall output was considerable....
Anonymous collection of in-depth typologies, based on the idea that every event in the New Testament was presaged by an event in the Old Testament ( see Typological cycles ). The Speculum humanae salvationis appeared first in manuscript form, then as Block-book s and later as incunabula. Chief among possible sources for the text is Ludolphus of Saxony (c. 1300–77), with Conradus of Altzheim, Vincent of Beauvais, Henricus Suso and Nicholas of Lyra among others also suggested authors. Like copies of the earlier Biblia pauperum, tituli and captions identify events and figures, however the Speculum humanae salvationis augments these pictures with a text that explains the illustrations. Between the early 14th century and the end of the 15th, several hundred copies, nearly all illustrated, were produced and translated from the original Latin into German, French, English, Dutch and Czech.
Typically the manuscripts include a Prologue and Prohemium, of text only; followed by forty-two chapters with four miniatures atop four text columns each of twenty-five lines; closing with three chapters with eight miniatures devoted to the Seven Stations of the Passion, the Seven Sorrows and the Seven Joys of Mary, these last three chapters not being typological. Some manuscripts omit opening texts or the final three chapters. Each opening provides a meditative, typological diptych of four images and clarifying text, for example Christ and the Last Supper as the first image, followed by Moses and the Miracle of Manna; Moses and Passover; Abraham blessed by Melchisedek. The first image contains gospel citations; the last three have captions indicating their relationship to the first....
German, 15th century, male.
Active in Germany and in the Netherlands from 1447 to 1483.
Died after 1501.
Draughtsman, engraver (wood), printer, print publisher.
Little is known about this artist. Some biographers include him among the Dutch engravers, but his nickname Giovanni di Westfalia (John of Westfalia) used by some Italian writers would seem to indicate that he was German. Whatever the case, it should be remembered that in the Middle Ages the Rhine was the main trading route between the Netherlands and southern Germany and that print sellers, booksellers, goldsmiths and engravers all frequented the fairs and markets of the towns bordering the Rhine and those in upper Alsace at the mouth of the river. Veldenaer must have been one such trader and the mere fact that he lived in a number of German towns may have earned him his Italian nickname. Nor is it clear if he was personally responsible for the drawings and woodcuts illustrating the works that he published. He was in Cologne in ...
