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Last updated: 3-3-15
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Netherlandish Printmakers 16th-17th Centuries: Jan Saenredam (Dutch, c. 1565-1607)

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

German Drawings: Hans Sebald Beham / Virgil Solis / Hans von Aachen / Joseph Heinrich Roos

French Drawings: Charles de La Fosse / Etienne Parrocel / François Boucher / Jean-François de Neufforge / Mouricault
French printmakers: 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 images from the Old Testament (click Old Testament Subjects), the New Testament (click New Testament), allegorical or moral cycles, particularly allegories of the Four Seasons, Times of Day [see under History and Allegory], Five Senses, Seven Planets, and even Three Kinds of Marriage [see under History and Allegory]. In addition, Saenredam also frequently produced images of mythic deities after Goltzius (see under Mythological, 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.
Jan Saenredam (Dutch, c. 1565-1607), Adam and Eve before the Tree (Bartsch 14, first state). Engraving after Abraham Bloemart. A very good impression with Arms of Austria Durring watermark, with good margins. Slight flaws. Signed in the plate. Image size: 275x200mm. Price: $2750.

For other Old Testament images by Saenredam, click here.
Jan Saenredam (Dutch, c. 1565-1607), Elisha reaching for the cloak of ELjah (Bartsch 23). Engraving after Abraham Bloemart, c. 1600. Good impression on laid paper. Nearly invisible crease across center; trimmed within platemark.. Signed in the plate. In the foreground, Elisha reaches for the mantle that Elijah haas let fall from the flaming chariot bearing him to heaven. Plate 4 of a series on the Prophets Ahias and Elijah. Image size: 265x192. Price: $2500.

For other Old Testament images, click here.
Jan Saenredam (Dutch, c. 1565-1607), Jael and Sisera (Bartsch 107 iii). Engraving after Lucas van Leyden, 1600. Good impression on laid paper. Signed in the platemark. Small paper loss top right, repaired tear top. Trimmed on or within the plate. Good impression on laid paper. Image size: 285x210mm. Price: $2750.

For other Old Testament images, click here.
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.

For other New Testament images, click here.
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.

For other New Testament images, click here.
Jan Saenredam (Dutch, c. 1565-1607), Venus and Cupid (B. 68). Engraving after Goltzius, c. 1600. Rich early impression on laid paper of this archetypical Dutch Mannerist print. Saenredam was one of Goltzius' most important masters and worked closely with him, creating a major body of work. Image size: 223x153mm. Price: $4250.

For other images dealing with classical mythology, click here.
Venus and Cupid (Bartsch 57). Engraving after Hendrik Goltzius. Signed in the plate upper left: "HG Inuent / I Saendredam " Ours is a very good impression trimmed outside the platemark; vertical crease running from the appple up to the top of the engraving, though not nearly so visible in person as in the photograph. Together with Athena (B. 56) and Juno (B. 58) these images depicted the temperments of the goddesses, here Venus, pleasing to gods and men, holding the golden apple awarded to her by Paris to signify her the most beautiful of the goddesses, the indirect cause of the fall of Troy, accompanied by her son Cupid, whose arrows have power even over the gods. Very rare as a complete set of three and sold only as a set (click Mythological for the other two parts of the set. Image size: 205x141mm. Price for the set of three: $7500.
Venus and Mars with Cupid (Bartsch 104). Engraving after Peter Isaacsz, 1604, signed in the plate ltop left: "Petrus Isach pinxit / Ioan Saendredam sculps. et excu. / 1604." Ours is a good impression (sharp but light) on laid paper with small margins outside the platemark. Image size: 155x208mm. Price: $3000.

For other images dealing with classical mythology, click here.
A Marriage Founded Solely on Pleasure, Presided Over by Cupid (Bartsch 84, Hollstein 104 i/iii). Engraving after Goltzius, c. 1600. Rich early impression on laid paper of this archetypical erotic Dutch Mannerist print. Signed in the plate lower left: "HGoltzius inuent. / I Saendredam sculp." This is the first of the Three Kinds of Marriage (the other two are A Marriage Fouded on Wealth, Which is the Work of the Devil) and A Marriage Founded Solely on Pure and Chaste Love, Which is Blessed by Christ. Ex-collection Jung with collector's stamp verso (not in Lugt). Trimmed within the platemark. Image size: 223x156mm. Price: $3250.

For other images dealing with classical mythology, click here.
Jan Saenredam (Dutch, c. 1565-1607), Lycurgus demonstrating the value of education (B. 7). Original engraving, 1596. A rich impression on laid paper with thread margins; some wear top right. Signed and dated in the plate: "Saenredam fecit 1596." Saenredam was one of Goltzius' most important masters and worked closely with him, creating a major body of work. The print depicts Lycurgus, the Spartan lawgiver, demonstrating the power of education via the example of two dogs taught different things and acting differently as a consequence. Image size: 200x270mm. Price: $1750.

For other images dealing with history or allegories, click here.
Night (Bartsch 94, Hollstein 100 i/iii). Engraving after Goltzius, c. 1600. Very good impression on laid paper. Signed in the plate just above the inscription: "HG. inuent", numbered 4 at the bottom left of the inscription. This is the last of the four Times of the Day. In a drawing or print hanging on the wall in the left rear, Nox speards her cloak over a man and a dog sleeping on the ground; in the foreground, a woman sleeps in her chair while behind her, another woman adjusts a blanket over her sleeping companion (these seem to be the central cople in plate 2, Evening. At the lower right, a cat stares into a fireplace. Watermark: a bird of some sort, perhaps a goose. Trimmed on or just within the platemark. There is a small stain outside the image in the right margin. Image size: 211x150mm. Price: $3000.

For other images for The Times of the Day, click here.

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