Galle - The Holy Trinity Galle - The Holy Trinity
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  •  Galle - The Holy Trinity
  •  Galle - The Holy Trinity
  •  Galle - The Holy Trinity
  •  Galle - The Holy Trinity
  •  Galle - The Holy Trinity

Galle - The Holy Trinity

Item Code: m326

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Philips Galle - THE HOLY TRINITY
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Engraver: Philips Galle
Date: 1574

New Hollstein (Dutch & Flemish) 222 (Philips Galle)
Hollstein 680 (after Maarten de Vos

The Trinity in top part, angels in lower part, surrounded by putti carrying the instruments of christ's passion; after Maarten de Vos.

Signed and dated in lower right corner: "Martinus de / Vos Inuentor. / Philippus Galleas fecit" and "1574".

After a drawing made in 1573, now in Vienna.

A large print in good impression.
Remarginned and with a perfectly closed small near the right margin.

Perfect appearance for such a large print.

Additional Information

SKU m326
Picture Size 42,80 x 33,50 cm
Specification Print
technic Engraving
Artist Phillips Galle
period 16th Century
School Flemish
subject Religious
rating ****

PHILIPS GALLE (1537 - 1612)

Galle PhillipsBorn in Haarlem, died in Antwerp. Flemish engraver, print dealer, publisher, writer and historian.

He was one of the most important and influential printmakers during the second half of the sixteenth century, with a list of over 2,500 prints published between 1563 and 1606. His massive output encompassed portraits, religious and allegorical subjects.

Trained by the Haaarlem humanist Dirck Volckertsz. Coornhert, Ph. Galle began his career working in the studio of the engraver/publisher Hieronymus Cock who published Galle’s first prints in 1557 and for whom he worked for many years. During that time, he established a leading reputation for a series of works after Heemskerck.

In 1563, he began his own print publishing business in Haarlem, moving the business to larger premises in Antwerp in 1570, where he modelled his studio on those of Cock and of Christoph Plantin.

Besides engraving his own compositions, Ph. Galle worked with print designers such as Anthonie Blocklandt, Hans Bol, Marten De Vos and Johannes Stradanus. He employed many engravers to assist him, notably The Wierix Brothers, Adriaen and Johannes Collaert, Crispijn De Passe, Johannes Sadeler and Gerard Van Groeningen. Later, he employed his sons Theodoor (who effectively ran the family business from 1600) and Cornelis.


Marten de VOS (1532-1603)


Antwerp This important Flemish painter, had an enormous impact second half 16th century. flemish painter and draughtsman. together with the brothers ambrosius francken i and frans francken i, he ranks among the most important painters of altarpieces in antwerp during the 1590s. due, in part, to the counter-reformation, there was a renewed demand for altarpieces to replace those lost during iconoclastic riots in 1566 or the reformist movement of 1581. de vos produced works for, among others, the old crossbowmen, the brabant coiners, the antonites, the wine merchants and the guild of st luke. the importance of these works would seem to suggest that, after the deaths of pieter bruegel i in 1569 and frans floris in 1570, de vos was considered, with some justification, the most important figure painter in antwerp before rubens. he was also a prolific draughtsman, especially during the first half of the 1580s, when the calvinists were in power in antwerp. during this period he provided numerous designs for print publishers, such as peeter baltens, frans van beusecom, the widow of hieronymus cock, adriaen collaert, phillip galle, willem van haecht, eduard van hoeswinkel, gerard de jode, hans van luyck and johannes baptista vrints. this increased activity is probably indicative of the economic recession and a dwindling market for paintings (especially of religious themes). a total of some 1600 prints were produced after designs by de vos, an output three times that of maarten van heemskerck. de vos’s drawings have been praised (see mielke) for their lively, industrious and generally positive character, frequently with romantic italianate landscapes in the background. his obvious proficiency is counterbalanced, however, by a degree of routine formularization.

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