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Last updated: 1/25/2017
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Netherlandish Printmakers 16th-17th Centuries: Jan Saenredam (Dutch, c. 1565-1607):
New Testament Subject

Saenredam Old Testament Subjects / Saenredam New Testament / Saenredam Mythological
Saenredam History and Allegory

North Italian Illuminated Manuscript / Italian Old Master Drawings: An Overview / Italian School, 16th-Century Drawings
Michelangelo Buonarotti (After) / Raphael / Giulio Romano / Perino del Vaga / Marcantonio Raimondi / Parmigianino
Titian (after) / Andrea Schiavone / Tintoretto / Veronese / Taddeo Zuccaro / Federico Zuccaro / Alessandro Casolani
Jacopo Palma il Giovane / Cherubino Alberti / Luca Cambiaso / Annibale Carracci / Ludovico Carracci

Italian School, 17th-Century Drawings / Bolognese School / Giovanni Baglione / Matteo Rosselli / Ercole Bazzicaluva
Baldassare Franceschini called Il Volterrano / Pier Francesco Mazzuccelli, il Morazzone / Odoardo Fialetti / Simone Cantarini
Domenichino / Francesco Albani / Giovanni Lanfranco / Guercino / Pier Francesco Mola / Antonio Busca

Italian School Printmakers, 15th-17th Centuries: Venetian School, c. 1497 / Raphael School / Giovanni Jacopo Caraglio
Marcantonio Raimondi / The Master of the Die / Anea Vico / Agostino Veneziano / Nicholas Beatrizet
Michelangelo Buonarotti (After) / Giulio Bonasone / Giovanni Battista Franco /Girolamo Fagiuoli / Cherubino Alberti
Titian (after) / Tintoretto (after) / Parmigianino / Giorgio Ghisi / Diana Scultori / Annibale Carracci / Ludovico Carracci
Agostino Carracci / Simone Cantarini / Elisabetta Sirani / Gerolamo Scarsello

Netherlandish School 15th-17th-Century Drawings / Flemish School, 17th-Century
Bernaert van Orley / Lucas van Leyden / Maarten de Vos / Jan Baptiste de Wael / Abraham Bloemaert
Peter Paul Rubens / Philipp Sadeler / Nicolaes Maes / Rembrandt School

Netherlandish Printmakers 16th-17th Centuries: Lucas van Leyden, Maarten van Heemskerck, Cornelis Cort
Philips Galle, Abraham de Bruyn, Hans (Jan) Collaert, Adriaen Collaert, Karel de Mallery, Theodore Galle, Hendrik Goltzius
Julius Goltzius, Jacob Matham, Jan Sanraedam, Maarten de Vos, Jan Sadeler, Aegidius Sadeler, Raphael Sadeler
Crispin de Passe, Magdalena de Passe, Wierix Brothers, Rembrandt, Rembrandt School, Jan Lievens, Jan Joris van Vliet,
Ferdinand Bol, Govert Flinck

German Drawings: Hans Sebald Beham / Virgil Solis / Hans von Aachen / Johann Heinrich Roos
German 16th century printmakers: Heinrich Aldegrever, Jost Amman, Hans Sebald Beham, Hans Brosamer, Hans Burgkmair,
Lucas Cranach, Albrecht Durer, Albrecht Durer (After), Hans Holbein (After), Hopfer Brothers, Georg Pencz, Hans Schäufelein,
Virgil Solis, Wolfgang Stuber.

French Drawings: Charles de La Fosse / Etienne Parrocel / François Boucher / Jean-François de Neufforge / Mouricault
French printmakers: School of Fontainebleau / Etienne Delaunne / Rene Boyvin /Thomas de Leu / Jean Cousin the Younger
Jacques Callot / Abraham Bosse / Sebastien Bourdon / Claude Gelle "le Lorraine" / Jean LePautre
Claudine Bouzonnet Stella / Antonette Bouzonnet Stella / Gabriel Perelle

19th-Century Drawings / 20th-Century Drawings
Saenredam was born in Zaandam, c. 1565. Orphaned in childhood, he was raised by an uncle, Pieter de Jongh, a bailiff in Assendelft. Though brought up for a life of farm labour and handiwork, he turned to drawing and in time attained some success as a mapmaker. With the help of a local lawyer, he entered the circle of Hendrick Goltzius relatively late in life, in 1589, and worked for short periods with both Goltzius and Jacques de Gheyn II. Saenredam was one of Goltzius' most important masters and worked closely with him, creating a major body of work. According to both de Bie and Schrevelius, there was some rivalry between each of these masters and Saenredam, who quickly absorbed what they had to offer him. About 1595 Saenredam returned to Assendelft, where he married and where his son Pieter, who later became famous for his paintings of the interiors of churches, was born. He died in Assendelft in 1607.

In Graven Images: The Rise of Professional Printmakers in Antwerp and Haarlem, 1540-1640, ed. Timothy Riggs and Larry Silver (Evanston: Mary and Leigh Block Gallery, Northwestern University, 1993), Riggs describes Saenredam's "most characteristic engraving style" as "similar to Goltzius' but more delicate, with silver tones and silky textures," as exemplified in The Expulsion from Eden after Abraham Bloemaert and The Foolish Virgins (both of which are illustrated in Graven Images and both of which will be found in the pages devoted to Saenredam on our website). Silver, in a chapter on "Goltzius as Evolutionary Reproductive Engraver," suggests that "the most important engraver after Goltzius was Jan Saenredam. . . . Saenredam began as Goltzius' apprentice and produced his first engravings in 1589 but he soon left after Goltzius criticsm to work with his fellow apprentice de Gheyn in Amsterdam for a couple of years. he then set up his own production shop for prints after Goltzius and other, younger designers, especially Bloemaert. . . . Saenredam followed the Goltzius lead in mking prints after similar designers: Polidoro da Caravaggio, Corneis van Haarlem, and an elaborate varian of his own on Goltzius' beached whale. Saenredam, too, promoted the Lucas van Leyden revival in his prints. He made engravings in 1600 after two surviving Lucas drawings: Jael and Judith. . . . " Silver points out that Saenredam's work after Goltzius (B. 40-103) extended for almost a full decade, and frequently included cycles, particularly allegories of the Four Seasons, Times of Day [see under Allegories], Five Senses, Seven Planets, and even Three Kinds of Marriage [see under Allegories]. In addition, Saenredam also frequently produced images of mythic deities after Goltzius, sometimes with an emblematic or allegorical message.

Selected Bibliography: K. G. Boon, Hollstein's Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450-1700, vol. 23: Jan Saenredam to Roelandt Savery (Amsterdam: Van Gendt, 1980); Volume 4 of The Illustrated Bartsch gives the works of Goltzius' studio and followers, Matham, Saenredam, and Jan Muller, and illustrates all of Saenredam's works.
Women of the New Testament: Mary Magdalen (Bartsch 45). Engraving after Hendrik Goltzius. Signed in the plate top right: "HGoltzius inuent. I Saendredam sculp"; numbered 2 lower left above inscription. Ours is a very good but later impression published by G. Valck (1626-1720) and with his name inscribed bottom center in the inscription. Trimmed outside the platemark. This was part of a set formerly owned by the Philadelphia Museum of Art. Image size: 189x135mm. Price: $2250.
Women of the New Testament: The Samaritan Woman at the Well (Bartsch 46 i/iii). Engraving after Hendrik Goltzius. Signed in the plate on the top of the well: "HGoltzius inuent. I Saendredam sculpt"; numbered 2 lower left above inscription. Ours is a beautiful impression of the first state of three trimmed inside the platemark. Provenance: B. P. Ge[nt] No. 46 in pencil verso, unidentified collector's mark verso crown over an interlinked EL monogram verso and with the stamp of Charles M. Lea, whose collection was donated to the Philadelphia Museum of Art with their crossed out collection number verso. Image size: 186x134mm. Price: $2750.
Women of the New Testament: The Woman taken in adultery (Bartsch 47 i/iii). Engraving after Hendrik Goltzius. Signed in the plate at the base of the column lower right: "HGoltzius inuentor I Saendredam sculpt." Ours is a beautiful impression of the first state of three trimmed just inside the platemark. In the background, Jesus ignores the woman's accusers and writes on the ground. Provenance: B. P. Ge[nt] No. 47 in pencil verso, unidentified collector's mark verso crown over an interlinked EL monogram verso and with the stamp of Charles M. Lea, whose collection was donated to the Philadelphia Museum of Art with their crossed out collection number verso. Image size: 188x137mm. Price: $2750.
Women of the New Testament: The Woman of Cana (Bartsch 48). Engraving after Hendrik Goltzius. Signed in the plate upper right: "HGoltzius inuentor I Saendredam sculpt." Ours is a beautiful impression of the first state of three trimmed just inside the platemark. In the background, the woman kneels before Jesus and asks that he heal her child, who is saved by her faith. The beautifully executed dogs lower right both symbolize faith and refer to her reply to Jesus when he tells her that the children must be fed before strangers and she replies that the dogs are still allowed to beg for scraps at the table (as she does in asking for a miraculous cure). The dogs are fully visible in the print, if not in our photo. Provenance: B. P. Ge[nt] No. 48 in pencil verso, unidentified collector's mark verso crown over an interlinked EL monogram verso and with the crossed out collection number of the Philadelphia Museum of Art verso. Image size: 191x137mm. Price: $2750.
Women of the New Testament: The Woman with an issue of blood (Bartsch 49 i/iii). Engraving after Hendrik Goltzius. Signed in the plate lower right: "HGoltzius inuent. I Saendredam sculpt." Ours is a beautiful impression of the first state of three trimmed just inside the platemark. This was part of a set formerly owned by the Philadelphia Museum of Art. Image size: 193x136mm. Price: $2750.
Women of the New Testament: The Woman with an issue of blood (Bartsch 49 ii/iii). Engraving after Hendrik Goltzius. Signed in the plate lower right: "HGoltzius inuent. I Saendredam sculpt." Ours is a very good impression of the second state of three, published c. 1616 by Goltzius' former assistant Robert de Baudous and signed in the plate beneath the inscripton, "Robb. de baudous excudit." Trimmed just outside the platemark. This was part of a set formerly owned by the Philadelphia Museum of Art with their crossed out collection number of verso. Image size: 193x136mm. Price: $2250.
From the Wise and Foolish Virgins: The Foolish Virgins Dancing and Enjoying Temporal Pleasures (Bartsch 3, Hollstein 29). Original engraving, 1606, signed in the plate lower right center: "I Saendredam fe." Ours is a beautiful impression of this delightful visualization of Jesus' parable about those who are prepared for the coming of God and those who are not using the imagery of the Song of Songs. The Foolish virgins are sampling wine and hanging out with drunks. The one in the center has her feet resting on a book inscribed "Biblia Sacra." In the left rear, a handsome young man is trying to undress one of the virgins while in the right foreground a semi-naked young man is enjoying the embraces of a young woman who has suffered a clothing malfunction leaving her breast exposed in near proximity to his mouth. Trimmed just inside the platemark and lacking the inscription at bottom. With the collector's stamp of Charles M. Lea, whose collection was donated to the Philadelphia Museum of Art with their crossed out collection number verso. Image size: 249x356mm. Price: $4000.

Our photograph does not do justice to the sharp silver gray tonality of this impression.
Jan Saenredam, AFTER, From The Wise and Foolish Virgins: The Wise Virgins Go with Their Lamps Lit, and are Received by the Bridegroom (Bartsch 5, Hollstein 11, reverse copy). Engraving after Jan Saenredam, after 1605. Beautiful impression with large margins on laid paper. At right, one of the wise virgins rejects the request of the foolish virgins for the loan of her oil. Trimmed outside the platemark with an old vertical centerfold. Published (and engraved?) by Niclaes [Claes] Jansz. Visscher (Amsterdam c. 1587-1660). Visscher kept the works of the Northern Mannerists before the public eye by reissuing them and, when necessary, having copies made of them. Image size: 252x337mm. Price: $1450.

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