Print Quarterly Publications
Print Prices in Antwerp: Rubens and his Contemporaries
Author(s): Karen L. Bowen
Source: Print Quarterly, Vol. 34, No. 3 (SEPTEMBER 2017), pp. 282-297
Published by: Print Quarterly Publications
Stable URL: https://www.jstor.org/stable/45137302
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Print Prices in Antwerp
Rubens and his Contemporaries
Karen L. Bowen
When trying to ascertain what printmakers charged
for their works in the late sixteenth and early seventeenth
centuries we are usually limited to inventory valuations
of prints, rare surviving stock lists, or occasional
isolated records of print sales. While it is possible in
some cases to identify which image is being sold, the
prints are more often referred to in bulk or described
too imprecisely to be identified with certainty. Such is
the case in Gerdien Wuestman's 1998 study of seventeenth-century
prices for prints after Peter Paul Rubens
(I577 - 1 640), primarily from the northern Netherlands.1
The problem also afflicts numerous seventeenthcentury
inventories as well as sales of prints from the
southern Netherlands around the turn of the seventeenth
century.2 In all cases, one is usually left trying to
infer general patterns of distribution and prices from
disparate, exceptional examples.
The business records of the Plantin-Moretus press
of Antwerp - one of the leading book publishing and
printing businesses in Europe in the early modern period
- provide an unexpected opportunity to formulate
a more extensive, consistently documented overview of
the print market in Antwerp in the sixteenth and seventeenth
centuries. This is possible because the managers
of the press periodically sold prints and maps in
addition to the books that made them famous. Through
their documentation we can reconstruct the purchasing
trends of particular clients and identify common or uncommon
acquisitions. Furthermore, the sale of individual
prints can be traced and their prices evaluated.
Although an account of such dealings by the press's
founder, Christopher Plantin (1520-89), has already
been published, little is known of the role played by his
successors, the Moretuses, in this area.3 This is of parI.
G. Wuestman, 'Prijzen van Rubensgrafiek in de zeventiende
eeuw', Delineavit et Sculpńt, xix, 1998, pp. 1-7.
2. E. Duverger's series Antwerpse kunstinventarissen uit de zeventiende eeuw ,
Brussels, 1984-2009, available online via the Getty Search Gateway;
J. van Grieken, 'Establishing and Marketing a Publisher's
List', Hieronymus Cock: The Renaissance in Print, Brussels, 2013, pp.
22-29; and A. Diels, 'De insolvente boedelkamer van de
Antwerpse prenthandelaar Jan-Baptist Vrients', Delineavit et Sculpńt,
xxi, 2000, pp. 1-22.
ticular importance when one considers that early seventeenth-century
Antwerp was still home to numerous
renowned artists and printmakers. Although the immediate
and immense popularity of prints after Rubens
and Anthony van Dyck (1599-1641) is known, it also becomes
clear that sundry local and international buyers
purchased large quantities of smaller devotional images.
These latter items were mainly produced by
printmakers in Antwerp, some of whom, such as Cornelis
Galle I (1576-1650), his son Cornelius II (1615-78)
and their ateliers, are traditionally better known for
their work after Rubens.4
While research on this broader topic is ongoing, the
present article focuses on the sale of individual prints
after van Dyck, Jacob Jordaens (1593-1678) and
Rubens between 1632 and 1640, from the first
recorded purchase of individual prints to the year of
Rubens's death. One earlier shipment of 'printen van
Rubbens', sent to a Capuchin monastery in Geldern
in 1627, ls known but it is not clear which prints were
sent.5 Forty-one purchased prints - most of these after
Rubens, with several others after van Dyck or Jordaens
- are considered here, as well as five orders placed for
Rubens's Palazzi di Genova (palaces of Genoa), the first
volume of which was written, illustrated and published
by the artist in Antwerp in 1622; the second volume
may well have been published later and without
Rubens's direct involvement. Each sale is transcribed
in the accompanying Appendix and the prints are
identified whenever possible.
These orders were placed by six individuals: Hieronymus
van Winghe (1559-1637?), a canon from
Tournai, and five booksellers, specifically Jan Leonard
(active c. 1619-71) and Guillaume Vierpont (active c.
3. A.J.J. Delen, 'ChristofFel Plantin als prentenhandelaar', De Gulden
Passer, n. s. X, 1932, pp. 1-24, and, for essentially the same text in
French: A.J.J. Delen, Histoire de la gravure dans les anciens Pays-Bas
et dans les provinces belges des origines jusqu'à la fin du XVIIIe siècle, Part
II, Paris and Brussels, 1935, pp. 149-70.
4. A. K. L. Thijs, Antwerpen intemationaal uitgeverscentrum van devotieprenten,
iyde-i8de eeuw - Miscellanea Neerlandka, vil, Leuven, 1993.
5. Museum Plantin-Moretus Archive (herealter MPM Arch.) 234,
Journal 162 7, fol. i42v.
PRINT QUARTERLY, XXXIV, 2017, 3
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PRINT PRICES IN ANTWERP: RUBENS AND HIS CONTEMPORARIES 283
1628-43) from Brussels, Jan Ouwerx (active c. 1616-45)
from liège, Caspar Forster (1574-1652) from Danzig
and Humphrey Robinson (active 1624-70) from London.
Leonard, Vierpont and Ouwerx were long-standing
clients of the Plantin-Moretus press who regularly
bought modest quantities of books.6 While these orders
included illustrated texts and Leonard also periodically
purchased various maps, they rarely bought prints such
as these. Consequently, it seems most likely that
Leonard's two purchases in 1632 of Rubens's Battle of
the Amazons , Vierpont's isolated 1635 purchase of
Rubens's companion portraits of Philip IV and his wife
(figs. 207 and 208) and Ouwerx's solitary purchase in
1636 of a print of the Crucifixion after van Dyck were all
most likely made at the request of specific clients.
Similar conclusions can be drawn from the purchases
by Forster, who started work as a bookseller in
1617 and benefited from contacts with the Polish court.7
His dealings with the Moretuses, however, were concentrated
between 1636 and 1645, when his son Georg
began assisting him with his business. In this period,
Forster systematically placed exceptionally large orders
for illustrated books, including periodic purchases of
Rubens's Palazzi di Genova , for shipment to Danzig,
from where they were presumably distributed further.8
The number of copies bought and the relative cost of
each precludes them from being destined for his own
personali library. Most likely there was a recurring demand
for this work among his clients, as Forster indicated
himself when he first asked about Rubens's
Palazzi in 1637 on behalf of an unnamed high-ranking
church official.9
Robinson was a major player in the London book
trade, known not only for his diverse publications but
also as an important importer of books from the Continent.10
His dealings with the Moretuses were limited
to between 1631 and 1640 and usually consisted of large
orders of books for shipment back to England." While
he rarely requested prints after Flemish masters, when
he did so in November 1640 he took several impressions
of each image. This suggests that he was not placing
an order for one particular client, but was testing
the interest in such prints among his clients generally.
6. For their transactions see the folios listed in the indices to MPM
Arch. 132, Grand livre, 161 8- 162g; 133, Grand livre, 162g- 1655; and
321, Grand livre, 1655-1671.
7. I. Heitjan, 'Kaspar und Georg Förster, Buchhändler und Verleger
zu Danzig im 17. Jahrhundert', Archiv ßir Geschickte des Buchwesens ,
xv, 1975, cols. 337-434-
8. MPM Arch. 133, op. cit., fols. 209, 262 and 282.
9. MPM Arch. 82, Correspondence , p. 73, Forster refers to a 'primas' in
'. . . promisi enim primati cuidam . . . '.
10. H. R. Plomer, A Dictionary of the Booksellers and Printers who were at
Among those who purchased prints after Flemish
masters from the Moretuses, van Winghe is the only private
collector. A wealthy individual with diverse interests,
van Winghe had periodically ordered a variety of
books from the Moretuses in the 1610s and 1630s. For
his print purchases, he had most likely relied upon the
established Antwerp engraver and print dealer
Theodore Galle, a relative of the Moretuses, up until
Galle's death in 1633. He may have subsequently turned
to Galle's widow, Catherina Moretus, until her death in
1 636. 12 In 1637, while van Winghe was amending his
will, he placed four detailed orders for prints with the
Moretuses (for one such order, see fig. 209). 13 These orders
are unusual among the Moretuses' records for their
focus on prodigious works by well-known, contemporary
Flemish artists and for their specificity.
Consequently, while van Winghe's purchases may
not be as representative of the Moretuses' business
dealings as the orders placed by booksellers, they may
well indicate the types of prints that interested knowledgeable
collectors at this time and the prices they were
willing to pay. The additional, exceptional orders for
comparable prints placed by the Moretuses' conventional
bookseller clients remain valuable for the extra
information they provide, particularly in terms of how
one should interpret the prices noted. For example, the
sales to the foreigners Forster and Robinson document
the long-standing practice in the Moretuses' accounts
of not discounting special items like prints, even when
the regular books, noted separately in the same record,
were subject to a general discount. Moreover, longstanding
local clients were typically charged the best
(lowest) price, without any mark-up. Thus, when the
prices such clients paid generally agree with those
charged to van Winghe, they probably represent a
common, bottom-end resale value.
The question arises as to which types of prints these
buyers sought. Aside from Forster 's five orders of
Rubens's Palazzi di Genova and Leonard's purchases of
Rubens's multi-sheet portrayal of the Battle of the Amazons,
impressions of 39 individual single-sheet prints
were bought, of which the vast majority, 22, featured
designs by Rubens, while just five were after Jordaens
work in England, Scotland and Ireland from 1641 to 1667 , London, 1907,
pp. 155-56; and J. Roberts, 'The Latin Trade', The Cambridge History
of the Book in Britain, IV, Cambridge, 2002, p. 163.
ii. MPM Arch. 753, Libraires étrangers, 1625-1658, fol. 121; and 754, Libraires
étrangers, 1658-1656, fol. 65.
12. K. L. Bowen, 'Hieronymus van Winghe and Collecting Prints
from the Southern Netherlands in the Early Seventeenth Century',
Curieux d'estampes: Collections et collectionneurs de gravures en Europe
(1500-1815), forthcoming.
13. Fig. 209 is taken from MPM Arch. 245, Journal 1657, fol. i39r.
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284 PRINT PRICES IN ANTWERP: RUBENS AND HIS CONTEMPORARIES
207. Paulus Pontius after Peter Paul Rubens, Philip IV, 1632, engraving, 447 x 333 mm (Antwerp, Museum Plantin-Moretus,
Print Room).
and three after van Dyck. The remaining nine prints,
all of which were bought by van Winghe in addition to
prints after Rubens, Jordaens and van Dyck, are isolated
examples of other contemporary artists' work. Indeed,
the majority of the 39 prints ordered appear to
date from the 1630s. Only three - all engravings after
Rubens that van Winghe purchased on 7 October 1637
- clearly date prior to 1630, namely: St Michael Fighting
the Rebel Angel by Lucas Vorsterman I (1595-c. 1675)
from 1621, the Pentecost of 1627 by Paulus Pontius (1603-
14. Fig. 212 is inv. S. 7462, an impression of the second state, with
only Elsheimer cited in the inscription on the plate and not
58) and the Assumption of the Virgin of 1624, also by Pontius.
Just a few others, like the etching Turkish Prìnce on
Horseback by Pieter Soutman (c. 1597-1657) after
Rubens which van Winghe purchased on 2 September
1637, may have been completed in the 1620s (fig. 2 12). 14
Moreover, these dated purchases provide a useful terminus
ante quern for numerous other images, in particular
the engravings by Marinus Robyn van der Goes
(c. 1606-39) and several others by Schelte A. Bolswert
(c. 1586-1659).
Soutman or Rubens.
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PRINT PRICES IN ANTWERP: RUBENS AND HIS CONTEMPORARIES 285
208. Paulus Pontius after Peter Paul Rubens, Elisabeth de Bourbon , 1632, engraving, 446 x 336 mm (Antwerp, Museum
Plantin-Moretus, Print Room).
Although the prints requested are remarkably diverse,
ranging from contemporary portraits and genre
to mythological figures and religious subjects, this last
group is by far the largest. Comprising a few images of
saints in addition to numerous scenes from the life of
Christ and of the Virgin, specific subjects were rarely
ordered more than once. Consequendy, the three distinct
sales of prints of the Crucifixion , two of which were
after van Dyck, stand out. One of the latter was sold to
Ouwerx in 1636 without any reference to an engraver,
15. For prints after van Dyck, see J. van der Waals, Prenten in de Gouden
Eeuw: Van Kunst tot Kastpapier, Rotterdam, 2006, pp. 102-03, nos.
although he paid the same exceptionally high price of
48 stuivers that was charged a year later to van Winghe
when he bought Bolswert's rendition of this subject
after van Dyck (fig. 210). Whether or not Ouwerx purchased
the same engraving as van Winghe, the fact that
two of the three Crucifixions sold by the More tuses in
this period were after van Dyck suggests that the latter's
conception of the subject was especially popular, if not
yet iconic.15
Despite the predominance in these orders of three
143-44. My thanks to Nadine Orenstein for this reference.
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286 PRINT PRICES IN ANTWERP: RUBENS AND HIS CONTEMPORARIES
209. Sale of Seven Woodcuts by Christoffeljegher after Peter Paul Rubens to Hieronymus van Winghe, 12 September 1637
(Antwerp, Museum Plantin-Moretus).
famous designers - Rubens, Jordaens and van Dyck a
striking variety of printmakers is represented. The
three who recur the most are: ChristofFelJegher (1596c.
1653), with seven woodcuts after Rubens, purchased
on 12 September 1637 by van Winghe (fig. 209), Pontius,
with five engravings after Rubens, and Bolswert,
with possibly as many as six engravings after diverse
designers. One cannot, however, simply conclude that
images executed by Jegher, Pontius and Bolswert were
more popular than comparable images by other printmakers.
As Rubens's clear preference for Jegher for
woodcut renditions of his compositions makes clear, the
choice of the printmaker often lay with the designer.
It appears that numerous factors, ranging from the designer,
the subject and the print medium, to size and, presumably,
quality of the impression, were considered when
determining the price of individual impressions. This becomes
evident when examining Tables 1-3, in which all
of the prints listed in the Appendix that could be identified
with reasonable certainty are arranged according to
their monetary value and then, within a given value, according
to size. The most expensive prints (all engravings)
are listed in Table 1. It is not surprising that Vorsterman's
six-sheet rendition of Rubens's Battle of the Amazons tops
the chart at 70 stuivers. Of the remaining single-sheet images,
the 48 stuivers charged for van Dyck's Crucifixion, at
least one of which (if not both) was engraved by Bolswert,
lead the rest by far.
But what were these prints worth in real terms? For
16. E. Scholliers, 'Peilingen naar de conjunctuur en de koopkrachť,
Antwerpen in de XVIIde eeuw , Antwerp, 1989, p. 155. For examples
comparison, in the late 1630s a master mason in
Antwerp was paid 24 stuivers for a full summer day's
work, while a small book of hours printed by the Plantin-Moretus
press with woodcut illustrations cost fourteen
stuivers.16 Consequently, the price of this one print
after van Dyck was equivalent to two full days of work
by a local mason and was worth more than three of the
Moretuses' small books of hours. There is an exceptionally
large difference of twelve to eighteen stuivers between
this particular image by van Dyck and the next
six most expensive prints - all engravings of religious
subjects. Valued between 30 and 36 stuivers per image
these prints consist of five engravings after Rubens by
three distinct artists, in addition to the only other image
after van Dyck sold by the Moretuses: an engraving of
Christ Crowned with Thorns , also by Bolswert. The twelve
stuivers difference in price between Bolswert's two engravings
after van Dyck may be due to the relative popularity
of the two subjects, the quality of the impressions
concerned and their relative size, as Bolswert's engraving
of the Crucifixion is significandy larger than the other
print: about 630 by 445 mm as compared to approximately
590 by 430 mm.
Table 2 comprises nine engravings that sold for 18 to
25 stuivers per print, the equivalent of one day's wage,
or less, for a mason. This group consists of exceptionally
large engravings after Jordaens (fig. 211), in addition to
prints after Rubens. The subjects here are also more varied,
with an unspecified rendition of Rubens's Lion Hunt
of book prices in this period, see MPM Manuscript 39, Catalogue
des éditions plantiniennes 1590-1651, folios dated 1636-39.
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PRINT PRICES IN ANTWERP: RUBENS AND HIS CONTEMPORARIES 287
210. Schelte à Bolswert after Anthony van Dyck, Christ on the Cross , c. 1630-35, engraving, 629 x 445 mm (Antwerp, Museum
Plantin-Moretus, Print Room).
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288 PRINT PRICES IN ANTWERP: RUBENS AND HIS CONTEMPORARIES
211. Marinus Robyn van der Goes after Jacob Jordaens, Martyrdom of St Apollonia, c. 1630-37, engraving, 656 x 468 mm
(Amsterdam, Rijksprentenkabinet).
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PRINT PRICES IN ANTWERP: RUBENS AND HIS CONTEMPORARIES 289
and two mythological subjects after Jordaens, as well as
diverse religious images. A wide range of engravers is
represented here, including most of those who made the
more expensive prints listed in Table 1. In Table 3, the
print prices range from fifteen stuivers to just one stuiver
per impression. The subjects here are far more disparate
than in either of the preceding groups. They comprise
both conventional and less common religious images, in
addition to mythological subjects and portraits ranging
from regal to ostentatiously vulgar.
A full range of contemporary printmaking techniques
is also evident in this final group, Table 3. The
few etchings ordered by van Winghe on 2 September
1637 are the least expensive prints by far at one to four
stuivers per print (see, for example, fig. 212). At the
upper end stand Jegher's remarkably large woodcut of
the Rest on the Flight into Egypt (fig. 213) and the last few
engravings after Rubens in this sample. In between, at
six to twelve stuivers per print, are several additional
woodcuts by Jegher after Rubens, as well as a few engravings
after other designers.
As a comparison of Tables 1-3 makes clear, among
prints after van Dyck, Rubens and Jordaens, the
medium and the relative size of the image were considered
when determining the print's value. The most
sought-after engravings cost two to three times more
than the large, popular woodcuts after Rubens, while
etchings, even when made after designs by Rubens, cost
less than any of the cited woodcuts by Jegher. Within a
given medium, the general principle of charging more
the larger the image apparently prevailed. This relationship,
however, was not absolute, as Rubens's Raising of
Lazarus engraved by Boëtius Bolswert (c. 1580-1633;
Table 1) and, in particular, Jordaens's Martyrdom of St
Apollonia engraved by van der Goes (Table 2) make
clear. For, despite being the largest prints in this sample,
these sold for three-quarters to less than half of what was
charged for van Dyck's Crucifixion. While some of this
price difference might be accounted for by the relative
quality of the impressions, preferences for specific designers
and subjects most likely also played a role.
The question remains as to what extent the prices
charged by the Moretuses reflect common market
prices for these images versus their own potentially
marked-up charges. Their dealings in single-sheet
prints after Rubens shed some light on this. Among
17. MPM Arch. 249 ¡Journal 1641 , fol. I34v (23 October 1641).
18. Duverger, op. cit., IV, 1989 pp. 345-47, with a partial transcription.
19. P. Génard, 'De Natlatenschap vain P. P. Rubens [or] La Succession
de P. P. Rubens', in Antwerpsch archievenblad [or] Bulletin des
Archives d'Anvers, n, Antwerp, 1865, pp. 69-179, including references
to Moermans's activities on pp. 87, 94-96, 128, 141 and 147-48,
such sales are two orders for the Adoration of the Magi engraved
by Nicolaes Lauwers (1600-52; fig. 214). One
impression was bought by van Winghe on 7 October
1637 for 30 stuivers and three years later, on 10 November
1640, the London bookseller Robinson purchased
three impressions of the same print at 34 stuivers per
print. The use in both sales records of the word Entrantes',
taken from the start of the lettering on the
Lauwers print (none of the other prints of this subject
after Rubens has this inscription), confirms that both
men purchased impressions of the same print. The
marked increase in selling price over three years may
indicate the relative quality of the impressions sold, or
it may reflect an increased demand for potentially ever
scarcer (original?) impressions following Rubens's death
earlier in 1640. Or it may suggest a shift in the Moretuses'
own assessment of the market for such works and
their decision (at least in the case of this one foreign
bookseller) to add to their own profit margin.
A concluding consideration of the Moretuses' sale
of Rubens's Palazzi di Genova confirms that at least on
one occasion they did add varying profit margins. The
Moretuses' initial sale of this work to Forster in 1637
was noted, like all their other contemporaneous sales
of prints after Rubens, without any reference to their
supplier. Their accounts from 1641, however, reveal
that they purchased copies of this publication from the
painter Jacques Moermans (1602-53), w^o is identified
as a 'marchand des images' on one occasion.17 In his
final testament from 27 May 1640 Rubens had declared
that Moermans, along with Frans Snyders (1579-1657)
and Jan Wildens (c. 1585-1653), should oversee the sale
of various unspecified works of art left in his estate.18
Records clearly document Moermans's sale of prints
and drawings for Rubens and his widow, but also, on
at least one occasion, payments to others to have new
impressions of unspecified prints pulled for 'Advocaet
Rubens', which may refer to Rubens's son Albert, who
had studied law.19
In 1641 Moermans consistently charged three florins
ten stuivers for the first part of the Palazzi di Genova , five
florins ten stuivers for the second, and the simple sum
of these two amounts (nine florins) for a 'complete' set
of the two volumes.20 When dealing with foreign booksellers,
the Moretuses generally resold these volumes at
a slightly higher, but variable rate. Specifically, while
especially p. 96. Some of these records are also transcribed in Duverger,
op. cit., V, 1991, pp. 263-84. Moermans's services are also
mentioned in A. Diels, The Shadow of Rubens: Print Publishing in if1Century
Antwerp, London and Turnhout, 2009, p. 165.
20. MPM Arch. 249, Journal 1641, fols. 85r (18 July 1641), 134" (23 October
1641) and i65v (23 December 1641).
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2go PRINT PRICES IN ANTWERP: RUBENS AND HIS CONTEMPORARIES
212. Pieter Soutman after Pieter Paul Rubens after Adam Elsheimer, Turkish Pńnce on Horseback , c. 1620-25, etching, 325 x 226
mm (London, British Museum).
Forster and Christophorus Schedelius (or Krzysztof
Schedel) from Cracow (active c. 1634-62) usually paid
nine florins ten stuivers for two volumes, Jan Everdsen
van Doom from Utrecht (active 1611-43) paid as much
as ten florins for them.21 In 1642, however, Leonard was
treated to a simple resale at Moermans's original nine
florins price.22 This makes clear that, depending upon
the client, the Moretuses would occasionally include a
profit margin of five to ten per cent in their resale
prices. They may have been similarly subjective when
21. MPM Arch. 249 ¡Journal 1641 , fol. 14' (9 February 1641) for the sale
to van Doom; fols. I35v-i36v (26 October 1641) for the sale to
Schedelius; and fols. i66r-i6yr (24 December 1641) for a sale to
selling single-sheet prints after Rubens and his contemporaries,
which would, for example, account for the
price difference in their sales of Lauwers's print of the
Adoration of the Magi.
A sale of prints to Forster in November 1642 may be
of even greater significance when evaluating trends in
the prices charged for prints after Rubens.23 In this
case, yet another copy of the two volumes of the Palazzi
di Genova , now at Moermans's base price of nine florins
per set, introduces a list of ten prints that are identified
Forster, in addition to those noted in the Appendix.
22. MPM Arch. 250 .Journal 1642 , fol. io8v (5 July 1642).
23. MPM Arch. 250, Journal 1642, fols. igiv-i92r (29 November 1642).
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PRINT PRICES IN ANTWERP: RUBENS AND HIS CONTEMPORARIES 291
213. Ghristoffel Jegher after Peter Paul Rubens, Rest on the Flight into Egypt , c. 1633-36, woodcut, 475 x 598 mm (Antwerp,
Museum Plantin-Moretus, Print Room).
solely by their subject, without any reference to the
artists involved or an inscription identifying precisely
which rendition of the subject was sent. It is only the
price of these images - 30 stuivers per print on average
- that suggests that they may also be prints after
Rubens. The simple flat rate of one and a half florins
(the equivalent of 30 stuivers) applied to eight of the ten
prints listed, however, is in striking contrast with the
subtle price differentiation evident among the various
prints listed in Tables 1-3, in which only one of the 23
prints after Rubens actually sold for exactly 30 stuivers.
Thus, this sale, made a little more than two years following
Rubens's death, may confirm the start, at least
within this market for prints after Flemish masters, of
a more generic valuation.
This case study of the Moretuses's dealings in prints
demonstrates the immense advantage of analysing data
from such an extensive, carefully kept set of business
records. At first glance, individual sales document both
the personal whims of specific local collectors, as well
as the international appeal of prints by esteemed contemporary
Flemish artists. In addition, this information
supports basic conclusions concerning the importance
of artists, subjects, print technique and the size of the
images for determining print prices, as well as the relative
affordability of such images. But, the sum of these
sales records, noted within a single, well-documented
accounting system, also provides a fruitful broader perspective
for studies of print prices. The example highlighted
here of the speed with which contemporary
market prices charged during Rubens's lifetime might
shift just a couple years following his death, itself represents
a valuable point of departure for future, more
extensive discussions of the trade in prints.
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292 PRINT PRICES IN ANTWERP: RUBENS AND HIS CONTEMPORARIES
Appendix
Transcription of sales of prints after van Dyck, Jordaens and Rubens, arranged alphabetically according to buyer for the
period 1632 to 1640. The currency cited is the Brabant florin or guilder, abbreviated as 'fl.', which equals 20 patars or stuivers,
abbreviated as 'st.' Amounts originally listed in florins and stuivers have also been reduced to a single amount per print in stuivers.
CASPAR FORSTER, BOOKSELLER IN DANZIG
1 August 1637 (MPM Arch 245 , Journal 1637 , fols.
120v-121r): a large order of books worth fl. 994 st. 10,
with the Rubens edition:
'1 Palazzi de Genova de Rubberts' [i Palazzi di Genova
by Rubens] fl. 5 st. o [= 100 st.]
This is most likely the first part of Rubens's Palazzi di Genova ,
namely, the Palazzi Antichi , which comprises 72 plates with
plans and elevations attributed to the engraver Nicolaes
Ryckemans (active 1616-36), after drawings collected by
Rubens of villas and palaces built in the latter sixteenth century
in or near Genoa. This volume must have been completed
by 4 May 1622, when the Moretuses charged Rubens
5 fl. for binding a copy of it.24 The second part, the Palazzi
Moderni , with 67 plates with plans and elevations of an additional
diverse selection of buildings constructed between 1540
and 1620, may not have been completed until 1640, when
sales of the second part, in addition to sales of the two volumes
together at nearly double the price noted here, appear
for the first time in the Moretus's accounts, as noted below.
Literature: H. Rott, Palazzi di Genova: Architectural Drawings and
Engravings = Corpus Rubenianum Ludwig Burchard , Part XXII,
translated by M. Robertson, London and Turnhout, 2002,
pp. 17-20.
22 March 1640 (MPM Arch. 248: Journal 1640 , fols.
39v- 41v): a large order of books worth more than fl.
1864, in addition to other illustrated works by other
publishers for fl. 89 st. 8, and the following editions
from Rubens for fl. 36 st. 5:
'2 Palazzi de Genoa complet' [2 Palazzi di Genova, complete]
fl. 19 st. o [= 380 st.] [= 190 st. per set]
'3
[- 345 st-] [- "5 st. per 2nd vol.]
See the first sale to Forster for the identification of this pub-
lication.
23 June 1640 (MPM Arch. 248: Journal 1640 , fol.
89r): a large order of books worth more than fl. 400,
and the edition from Rubens for fl. 9 st. 10:
'1 Palazzi di Genoa Parte 1 a et 2a fo netto' [1 Palazzi di
Genova ist and 2nd vols., together] fl. 9 st. 10 [= 190 st. per set]
See the first sale to Forster for the identification of this pub-
lication.
25 August 1640 (MPM Arch. 248: Journal 1640 , fol.
119v): a large order of books worth approximately fl.
486, and the editions from Rubens for fl. 28 st. 4:
'3 Palazzi di Genoa complet 2 voll.' [3 Palazzi di Genova,
complete 2 vols.] fl. 28 st. 4 [=564 st.] [= 188 st. per set]
24. MPM Arch. 22% Journal 1622 , fol. 6ov (4 May 1622): 'Petrus Paulus
See the first sale to Forster for the identification of this pub-
lication.
JAN LEONARD, BOOKSELLER IN BRUSSELS
27 October 1632 (MPM Arch. 240: Journal 1632 , fol.
157v): an order of several books for fl. 20 st. 8, and
the print:
'1 Guerres de Amasones f Rubens nto' [1 Battle of the
Amazons P net] fl. 3 st. 10 [= 70 st.]
This is most likely Lucas Vorsterman I after Rubens, The Battle
of the Amazons, 1623, six engraved plates, 423 x 364 to 428
X 420 mm. Literature: G. Schuckman, Hollstein's Dutch &
Flemish Etchings , Engravings and Woodcuts 1 450-1 700, edited by
D. de Hoop Scheffer, Roosendaal, 1993, xliii (hereafter Hollstein,
xliii), pp. 96-97, no. 100.
5 November 1632 (MPM Arch. 240: Journal 1632 ,
fol. 157v): an order of several books for fl. 27 st. 6, and
the print:
'1 La Bataille des Amasones netto' [i Battle of the Amazons
net] fl. 3 st. 10 [= 70 st.]
This is most likely the same print as above, Vorsterman after
Rubens, The Battle of the Amazons.
JAN OUWERX, BOOKSELLER IN LIÈGE
11 September 1636 (MPM Arch. 244: Journal 1636 ,
fol. 129v): an order of several books for fl. 9 st. 18, and
the print:
'1 Crucefix van Dyck' [1 Crucifixion by van Dyck] fl. 2 st.
8 [= 48 st.]
This cannot be identified exactly. For van Dyck' s various
prints of the Crucifixion , see S. Turner, The New Hollstein Dutch
& Flemish Etchings, Engavings and Woodcuts 1 450-1700: Anthony
van Dyck, edited by Carl Depauw, Rotterdam, 2002 (hereafter
New Hollstein van Dyck), Part VII, pp. 68-115, nos. 524-35.
HUMPHRY ROBINSON, BOOKSELLER IN LONDON
10 November 1640 (MPM Arch. 248: Journal 1640 , fol.
155r): a large order of books worth approximately fl.
211 , followed by a few works by other publishers for fl.
10 st. 2, as well as the following prints for fl. 14 st. 19:
'9 figures de Rubens ascavoir' [9 figures by Rubens,
namely]
'3 Lazare Veni foras' [3 'Lazare veni foras'] fl. 5 st. 2 [=
102 st.] [= 34 st. per print]
Boëtius Adamsz. Bolswert after Rubens, Raising of Lazarus, c.
1620-33, engraving, 650 x 495 mm, is the only known rendition
of this subject after Rubens with the inscription 'Lazare
veni foras'. Literature: F. W. H. Hollstein, Dutch and Flemish
Etchings, Engravings and Woodcuts ca. 1450-1700, Amsterdam,
Rubens debet binsel van Palazzi di genová f dore ... fl. 5
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PRINT PRICES IN ANTWERP: RUBENS AND HIS CONTEMPORARIES 293
214. Nicolaes Lauwers after Peter Paul Rubens, Adoration of the Magi, c. 1630-35, engraving, 606 x 450 mm (Antwerp, Museum
Plantin-Moretus, Print Room).
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294 PRINT PRICES IN ANTWERP: RUBENS AND HIS CONTEMPORARIES
[1950], III (hereafter Hollstein, III), p. 61, no. 6.
'3 Tres Reges intrantes' [3 Three kings 'intrantes'] fl. 5 st.
2 [= 102 st.] [= 34 st. per print]
Nicolaes Lauwers after P. P. Rubens, Adoration of the Magi, c.
1 630-35, engraving, 606 x 450 mm (fig. 214), is the only known
rendition of this subject after Rubens with an inscription beginning
with 'Intrantes'. Literature: F. W. H. Hollstein, Dutch
and Flemish Etchings, Engravings and Woodcuts ca. 1 450-1 700, Amsterdam,
[1953], X (hereafter Hollstein, x), p. 41, no. 1.
'3 Pugna Leonum' [3 Fighting lions] fl. 3 st. 15 [= 75 st.]
[= 25 st. per print]
This may refer to any of the prints made after Rubens's compositions
of lion hunts, see, for example, those listed in M. E.
Dutuit, Manuel de l'amateur d'estampes , vi = Ecoles ßamande et hollandaise,
lil, Paris and London, 1885 (hereafter Dutuit, Vi), pp.
244-48, nos. 1-4, 22 and 25.
GUILLAUME VIERPONT, BOOKSELLER IN BRUSSELS
7 February 1635 (MPM Arch. 243 , Journal 1635, fol.
16v): the prints:
'1 Effigies vanden Coninch van Spanien met syn huysvrouw
van Rubens & Pontius' [1 portrait of the king of Spain and his
wife, by Rubens and Pontius] fl. 1 st. 8 [= 28 st.]
Companion pieces, Paulus Pontius after Peter Paul Rubens,
Philip IV, 1632, engraving, 447 x 333 mm, and Elisabeth de Bourbon,
1632, engraving, 446 x 336 mm (figs. 207 and 208). Literature:
I. M. Veldman and D. de Hoop Scheffer, Hollstein's
Dutch and Flemish Etchings, Engravings and Woodcuts ca. / 450-1700,
edited by K. G. Boon, Amsterdam, 1976, XVII (hereafter Hollstein,
xvii), pp. 171 and 187, nos. 73 and 109.
HIERONYMUS VAN WINGHE, CANON IN TOURNAI
13 August 1637 (MPM Arch. 245: Journal 1637, fol.
127v): the following prints for a total of fl. 4 st. 17:
'1 figure van Apolonia f van Jordaens' [1 figure of Apollonia
in folio by Jordaens] fl. 1 st. 2 [= st. 22]
Marinus Robyn van der Goes after Jacob Jordaens, Martyrdom
of St Apollonia, c. 1630-37, engraving, 656 x 468 mm (fig. 211).
Literature: F. W. H. Hollstein, Dutch and Flemish Etchings, Engravings
and Woodcuts ca. 1 450-1700, Amsterdam, [1954], XI
(hereafter Hollstein, xi), p. 170, no. 10.
'1 Argus f van Jordaens' [1 figure of Argus in folio by Jordaens]
st. 18
This is most likely Schelte Adamsz. Bolswert after Jacob Jordaens,
Mercury and Argus, c. 1630-37, engraving, 420 x 522 mm.
Literature: Hollstein, III, op. cit., p. 85, no. 284.
'1 kersnacht van Jordaens' [1 Nativity by Jordaens] st. 18
This is most likely Pieter de Jode II after Jacob Jordaens, Adoration
of the Shepherds, c. 1628-37, engraving, 436 x 537 mm.
On 2 September 1637 van Winghe purchased another engraving
of this subject after Jordaens, at a slightly lower price
and where the printmaker is identified as Marinus Robyn van
der Goes (see below). Literature: F. W. H. Hollstein, Dutch
and Flemish Etchings, Engravings and Woodcuts ca. / 450-1700, Amsterdam,
[1953], IX (hereafter Hollstein, IX), p. 210, no. 2.
'1 Effigies van Picolomini 40 van Segers' [1 portrait of Piccolomini]
st. 6
Lucas Vorsterman I after Gerard Seghers, Portrait of Ottavio
Piccolomini, c. 1634-37, engraving, 240 x 177 mm. Literature:
Hollstein, XLIII, op. cit., p. 207, no. 196.
'1 Mariae belt van Quellinus Bolswarts' [1 image of the
Virgin by Quellinus and Bolswert] st. 12
This may refer to Schelte Adamsz. Bolswert after Erasmus Quellinus
I, Virgin and Child, c. 1600-37, engraving, 429 x 318 mm. Literature:
Hollstein, III, op. cit., p. 77, no. 171.
'3 conterfeijssel van Prins Cardinal Reyne mere @ Hertog
van Nieuborgh van Jode gesneden' [3 portraits: of the Prince
Cardinal (Ferdinand of Austria), the Queen Mother (Marie
de Medici), and the Duke of Neuburg (Wolfgang Wilhelm of
Neuburg), engraved by de Jode] st. 3 [= i st. per print]
Given that these portraits were grouped together, it is likely
that they were of comparable scale, technique and price,
namely, a mere 1 st. each. Although there are too many prints
of the first two individuals to identify these images with certainty,
the portrait of the Duke of Neuburg is most likely Pieter
de Jode II, Wolfgang Wilhelm of Neuburg, engraving and etching,
139 x 100 mm. An impression of this print is in the Germanische
Nationalmuseum, Nuremberg, Paul Wolfgang
Merkel'sche Familienstiftung, inv. MP 26375a, Kapsel no. 321.
'1 Marien belt van Quellinus, p Does' [1 image of the Virgin
by Quellinus and Does] st. 6
This may refer to Antony van der Does after Erasmus Quellinus
I, Virgin and Child in a Landscape, c. 1619-37, engraving, 283
x 212 mm. Literature: F. W. H. Hollstein, Dutch and Flemish
Etchings, Engravings and Woodcuts ca. 1 450-1 700, Amsterdam,
['951]) v> P- 245, no. 3.
'1 Belegerin van Breda f [1 siege of Breda in folio] st. 12
Too inexpensive for a book, this record is not specific enough
to be linked with one of the numerous images of this battle.
2 September 1637 (MPM Arch. 245: Journal 1637,
fol. 135v): the following prints for a total of fl. 2
st.l7Y2:
'1 Crooninghe van ons L. Heere van Dijck Bolsw.' [1
Christ crowned with thorns by van Dyck and Bolswert] fl. 1
st. 1 6 [= st. 36]
Schelte Adamsz. Bolswert after Anthony van Dyck, Christ
Crowned with Thorns , c. 1630-35, engraving, 589 x 430 mm.
Literature: New Hollstein van Dyck, op. cit., Part VII, p. 34,
no. 521.
'1 Kersnaght van Jordaens sculpt. Marino' [1 Nativity by
Jordaens engraved be Marino] st. 12
Marinus Robyn van der Goes after Jacob Jordaens, Adoration
of the Shepherds, c. 1620-37, engraving, 465 x 382 mm. On 13
August 1637 van Winghe had bought another engraving of
this subject after Jordaens at a slightly higher price, but without
any reference to a specific printmaker (see above). Literature:
Hollstein, XI, op. cit., p. 169, no. 1.
'1 Turcksche Ruyterye gebeten, Adam Elshamer' [1 Turkish
knight, etched, Adam Elsheimer] st. 4
Pieter Soutman after P. P. Rubens's drawing after Adam
Elsheimer, Turkish Pànce on Horseback, c. 1620-25, etching, 325
x 226 mm (fig. 212). Literature: G. S. Keys and C. de Hoop
Scheffer, Hollstein's Dutch and Flemish Etchings, Engravings and
Woodcuts ca. 1 450-1 700, edited by K.G. Boon, Amsterdam,
1983, xxvii, p. 230, no. 16, state II.
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PRINT PRICES IN ANTWERP: RUBENS AND HIS CONTEMPORARIES 295
'i Bischops myteringe gebeten, Rubeny' [i Bishop mitre,
etched, Rubens] st. 4
Although this may refer to an etching after one of Rubens's
paintings of the Martyrdom of St Livinius (or St Lieven), there
are no known prints that match this record in terms of dating
and technique. See Dutuit, VI, op. cit., p. 123, no. 36, which
post-dates this record.
'1 Tronie gapende gebeten van Peeter Breugel' [Yawning
man, etched after Pieter Brueghel] st. 1 V2
This is most likely an anonymous artist after Pieter Brueghel
I (formerly attributed to Lucas Vorsterman I), Yawning Peasant,
etching, 208 x 207 mm. Literature: Hollstein, in, op. cit., p.
312, no. 278; rejected as a work by Lucas Vorsterman I in
Hollstein, XLIII, op. cit., p. 243, no. 130.
12 September 1637 (MPM Arch. 245: Journal 1637 ,
fol. 139r; fig. 209): the following prints for a total of £1.
3 st. 7:
'A Monsr. Hieronymus de Winghe Chanoine a Tournai,
beiden van Rubbens in hout gesneden ... van Christoffel
Jegers' [To Mr Hieronymus van Winghe, canon at Tournai,
images by Rubens cut in wood ... by Christoffel Jegher]
'1 Maria met Engelen int wouť [1 Virgin with angels in
the woods] st. 15
Christoffel Jegher after Peter Paul Rubens, Rest on the Flight
into Egypt, c. 1633-36, woodcut, 475 x 598 mm (fig. 213). Literature:
Hollstein, EX, op. cit., p. 182, no. 4.
'1 Susanna' [1 Susanna] st. 12
Christoffel Jegher after Peter Paul Rubens, Susanna and the Elders,
c. 1633-36, woodcut, 443 x 573 mm. Literature: Hollstein,
EX, op. cit., p. 181, no i.
'1 Hercules' [1 Hercules] st. 10
Christoffel Jegher after Peter Paul Rubens, Hercules and the
Hydra , c. 1633-36, woodcut, 600 x 357 mm. Literature: Hollstein,
EX, op. cit., p. 187, no. 15.
'1 Satyrs met eenen dronckaert' [1 Satyrs with a drunkard]
st. 8
Christoffel Jegher after Peter Paul Rubens, The Drunken
Silenus , c. 1630, woodcut, 440 x 333 mm. Literature: Hollstein,
IX, op. cit., p. 188, no. 16.
'1 Tentatie van Christus' [1 Temptation of Christ] st. 8
Christoffel Jegher after Peter Paul Rubens, The Temptation of
Christ, 1633, woodcut, 325 x 435 mm. Literature: Hollstein,
EX, op. cit., p. 184, no. 6.
'1 Crooninghe van Maria' [1 Coronation of the Virgin] st. 8
Christoffel Jegher after Peter Paul Rubens, Coronation of the
Vvrgm, 1633, woodcut, 340 x 445 mm. Literature: Hollstein,
EX, op. cit., p. 186, no. 10.
'1 St. Jan met Christus' [1 St John with Christ] st. 6
Christoffel Jegher after Peter Paul Rubens, The Infant Christ and
the Infant John the Baptist, c. 1632-36, woodcut, 339 x 452 mm.
Literature: Hollstein, IX, op. cit., p. 183, no. 5.
7 October 1637 (MPM Arch. 245: Journal 1637 , fol.
152r): the following prints for a total of fl. 14 st. 2:
'1 Crucifix van van Dijck sculpt. Bolswert' [1 Crucifixion
by van Dyck, engraved by Bolswert] fl. 2 st. 8 [= st. 48]
Schelte Adamsz. Bolswert after Anthony van Dyck, Christ on
the Cross c. 1630-35, engraving, 629 x 45 mm (fig. 210). Literature:
New Hollstein van Dyck, Part VII, op. cit., p. 101, no.
534'1
Drij Coninghen van Lauwers Rub. filtrantes in dom.'
[1 Three Kings by Lauwers, Rubens, 'filtrantes in dom'] fl. 1
st. 10 [= st. 30]
Nicolaes Lauwers after Peter Paul Rubens, Adoration of the
Magi, c. 1630-35, engraving, 606 x 450 mm (fig. 214). Literature:
Hollstein, x, op. cit., p. 41, no. 1
'1 Vlught in Egijpten, Marinus Rub. Joseph Consurg.' [1
Flight into Egypt, Marinus, Rubens 'Joseph Consurg.'] st. 18
Marinus Robyn van der Goes after Peter Paul Rubens, Flight
into Egypt, c. 1620-37, engraving, 376 x 458 mm. Literature:
Hollstein, XI, op. cit., p. 169, no. 4.
'1 Crucifix sonder Moordenaers Pontius, Rub. Clamans'
[1 Crucifixion without the murderers, Pontius, Rubens, 'Clamans']
fl. i [= st. 20]
Paulus Pontius after Peter Paul Rubens, Christ on the Cross,
1631, engraving, 605 x 383 mm. Literature: Hollstein, XVII,
op. cit., p. 150, no. ii.
'1 Val van Lucifer. Voesterman Rub.' [1 Fall of Lucifer,
Vorsterman, Rubens] fl. 1 st. 4 [= st. 24]
Lucas Vorsterman I after Peter Paul Rubens, St Michael Fighting
the Rebel Angels, 1621, engraving, 565 x 435 mm. Literature:
Hollstein, xliii, op. cit., p. 88, no. 92.
'1 Assumptio. Pontius. Rub.' [1 Assumption, Pontius,
Rubens] fl. 1 st. 16 [= st. 36]
Paulus Pontius after Peter Paul Rubens, Assumption of the Virgin,
1624, engraving, 640 x 438 mm. Literature: Hollstein, XVII,
op. cit., p. 156, no. 26.
'1 Pentecostes. Pontius. Rub. animis illabere' [1 Pentecost,
Pontius, Rubens 'animis illabere'] fl. 1 st. 16 [= st. 36]
Paulus Pontius after Peter Paul Rubens, Pentecost, 1627, en~
graving, 595 x 423 mm. Literature: Hollstein, XVII, op. cit.,
p. 153, no. 19.
'1 S. Pauli bekeeringhe Bolswert. Rub.' [1 Conversion of
St Paul, Bolswert, Rubens] fl. 1 st. 4 [= st. 24]
Schelte Adamsz. Bolswert after Peter Paul Rubens, The Conversion
of St Paul, c. 1630-37, engraving, 447 x 598 mm. Literature:
Hollstein, III, op. cit., p. 80, no. 196.
'1 S. Anna met Maria. Bolswert. Rub. Audi filia' [1 St
Anne with the Virgin, Bolswert, Rubens, 'Audi filia'] st. 15
Schelte Adamsz. Bolswert after Peter Paul Rubens, The Education
of the Virgin, c. 1630-37, engraving and etching, 446 x
327 mm. Literature: Hollstein, III, op. cit., p. 83, no. 260.
'1 Philemon en Baucis. Lauwers [Bolswert crossed out]
Jordaens Accubuer' [1 Philemon and Baucis, Lauwers, Jordaens,
'Accubuer'] fl. 1 st. 2 [= st. 22]
Nicolaes Lauwers after Jacob Jordaens, Jupiter and Mercury in the
Home of Philemon and Baucis, c. 1630, engraving, 484 x 554 mm.
Literature: Hollstein, x, op. cit., p. 41, no. 17.
'1 Helena sittende. Voestermans. Veroner.' [1 Seated
Helen, Vorsterman, Veronese] st. 9
Lucas Vorsterman I, after Paolo Caliari, called Veronese, St
Helena , Mother of Constantine the Great , engraving, 350 x 242 mm.
Literature: Hollstein, xliii, op. cit., p. 79, no. 81.
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296 PRINT PRICES IN ANTWERP: RUBENS AND HIS CONTEMPORARIES
Table 1: Prints sold for 30 stuivers or more
Price Subject Designer Printmaker Medium Size in mm Buyer
70 st. Battle of the Amazons Rubens L. Vorsterman I engraving 6 sheets:
423 X 364 to J. Leonard
428 X 420 1632
48 st. Crucifixion Van Dyck engraving unknown J. Ouwerx
1636
48 st. Crucifixion Van Dyck S. Bolswert engraving 629 x 445 H. Winghe
•637
36 st. Assumption of the Virgin Rubens P. Pontius engraving 640 x 438 H. Winghe
>637
36 st. Pentecost Rubens P. Pontius engraving 595 x 423 H. Winghe
1637
36 st. Christ Crowned with Thorns Van Dyck S. Bolswert engraving 589 x 430 H. Winghe
1637
34 st. Raising of Lazarus Rubens B. Bolswert engraving 650 x 495 H. Robinson
1640
34 st. Adoration of the Magi Rubens N. Lauwers engraving 606x450 H.Robinson
1640
30 st. Adoration of the Magi Rubens N. Lauwers engraving 606 x 450 H. Winghe
•637
Table 2: Prints sold for 18-25 stuivers
Price Subject Designer Printmaker Medium Size in mm Buyer
25 st. Fighting Lions Rubens unknown H. Robinson
1640
24 st. Conversion of St Paul Rubens S. Bolswert engraving 447 x 598 H. Winghe
1637
24 st. St Michael Fighting the Rubens L. Vorsterman I engraving 565x435 H. Winghe
Rebel Angels 163722 st. Martyrdom of St Apollonia Jordaens M. R. van engraving 656x468 H. Winghe
der Goes 1637
22 st. Jupiter and Mercury with Jordaens N. Lauwers engraving 484 x 554 H. Winghe
Philemon and Baucus 1637
20 st. Crucifixion Rubens P. Pontius engraving 605 x 383 H. Winghe
1637
18 st. Adoration of the Shepherds Jordaens P. de Jode II engraving 436 x 537 H. Winghe
1637
18 st. Mercury and Argus Jordaens S. Bolswert engraving 420x522 H. Winghe
1637
18 st. Flight into Egypt Rubens M. R. van engraving 376 x 458 H. Winghe
der Goes 1637
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PRINT PRICES IN ANTWERP: RUBENS AND HIS CONTEMPORARIES 297
Table 3: Prints sold for 1-15 stuivers
Price Subject Designer Printmaker Medium Size in mm Buyer
15 st. Rest on the Flight into Egypt Rubens C.Jegher woodcut 475 x 59& H. Winghe
*637
15 st. Education of the Virgin Rubens S. Bolswert engraving 446 x 327 H. Winghe
rô37
14 st. Philip IV Rubens P. Pontius engraving 447 x 333 G. Vierpont
1635
14 st. Elisabeth de Bourbon Rubens P. Pontius engraving 446 x 336 G. Vierpont
1635
12 st. Susanna and the Elders Rubens C.Jegher woodcut 443 x 573 H. Winghe
1637
12 st. Adoration of the Shepherds Jordaens M. R. van engraving 465 x 382 H. Winghe
der Goes 1637
12 st. Virgin Quellinus S.? Bolswert engraving 429 x 318 H. Winghe
i637
iost. Hercules Rubens C.Jegher woodcut 600x357 H. Winghe
'637
9 st. St Helena, Mother of Veronese L. Vorsterman I engraving 350x242 H. Winghe
Constantine 16378 st. Coronation of the Virgin Rubens C.Jegher woodcut 340x445 H. Winghe
1637
8 st. Drunken Silenus Rubens C.Jegher woodcut 440 x 333 H. Winghe
1637
8 st. Temptation of Christ Rubens C.Jegher woodcut 325x435 H. Winghe
'637
6 st. Infants Christ and St John Rubens C.Jegher woodcut 339x452 H. Winghe
■637
6 st. Virgin Quellinus A. van der Does engraving 283x212 H. Winghe
*637
6 st. Ottavio Piccolomini G. Seghers L. Vorsterman I engraving 240 x 177 H. Winghe
1637
4 st. Turkish Prìnce on Horseback Rubens and P. Soutman etching 325 x 226 H. Winghe
Elsheimer 1637
4 st. Martyrdom of a Bishop Rubens etching unknown H. Winghe
'637
1.5 st. Yawning Peasant P.Brueghel etching 208x207 H. Winghe
1637
i st. Duke Wolfgang Wilhelm P. de Jode II engraving 139 x 100 H. Winghe
of Neuburg and etching 1637
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