|Artist||Adriaen Collaert after Johannes Stradanus|
|Published||Ioann. Stradanus invent. Adrian Collaert Sculp. et Ioan Galle excudit. [Antwerp, c.1580]|
|Dimensions||Image 418 x 292 mm, Plate 420 x 265 mm|
A striking sixteenth century depiction of the Last Judgement, engraved by Adriaen Collaert after a design by Jan van der Straet. Christ in Majesty occupies the prominent position at top centre, seated on a rainbow, and with his outstretched palms displaying the stigmata of the crucifixion. To his left sits John the Baptist, clad in camel skin and resting his slender wooden cruciform staff across his shoulder, while to the right of Christ sits the Virgin in prayer. The Saints are assembled around the trio, and the winged heads of the cherubim issue forth from the Heaven. Below Christ, the archangels sounds the trumpets to call the living and the dead to face their final judgement. The lower half of the print is occupied by scenes of the Resurrection. The dead, in various attitudes of confusion, dread, or religious awe, rise from their graves. Some are withered corpses, some completely skeletal, while others appear as if in the fullness of life. While some cast off their shrouds and look in anticipation at Christ above, others seek to hide their faces, cowering in their winding sheets. In the background, the Good and the Evil are separated. The virtuous ascend, watched by their fellows who hold their arms up in celebration, assisted by the seraphim who carry them aloft. To the left of the scene, the sinners are tormented by a cacophony of demons, devils, and sprites, their shoulders hunched as they wail in the shadows.
Below the scene, the inscription space contains two lines of Latin text drawn from Book 13 of Isaiah: "Ecce Dies Domini Veniet, Crudelis et Indignationis Plenus, et Irae Furorisque, Ad Ponendam Terram in Solitudinem, et Peccatores eius Conterendos de Ea" (Behold, the day of the Lord cometh, cruel both with wrath and fierce anger, to lay the land desolate: and he shall destroy the sinners thereof out of it). Below this, a further two lines of Latin text, reads: "Doctrina et pietate reverendo Patri F. Henrico Sedulio, Ordinis Minorum regularis observantiae Guardiano Antverpiano, bonarum artium elegantiariumque moecenati, Hadrianus Collartus humillime Dedicabat." (To the reverend father Fra. Henricus Sedulius, Guardian of the Friars of Antwerp, patron of elegance and the fine arts, Adrian Collaert humbly dedicates this plate to his teaching and piety). Henricus Sedulius, or Henri de Vroom van Kleef, was a Franciscan friar in Antwerp and a leading Flemish theologian best known for his biography and analysis of the teachings of St Francis of Assisi. A number of his works were published in connection with Jan Moretus, owner of the Plantin Press, whom Collaert also collaborated with from 1589 onward.
Adriaen Collaert (1560 - 1618) was a Flemish engraver and major publisher, active in Antwerp. He was a member of the Guild of St Luke, and worked with Gerard de Jode, Eduard Hoeswinckel and Hans van Luyck. His works are known for their anatomical correctness as well as its physiognomical expressiveness. Some of his original plates are engraved with a cipher.
Jan van der Straet or Giovanni Stradano, more commonly known as Stradanus (1523-1605) was a Flemish mannerist painter and designer of prints and tapestries. Born in Bruges in 1523, he received early instruction from his father, went on to train in Antwerp under Pieter Aertsen and became a master in city's Guild of St Luke in 1545. He moved to Florence where he entered the service of the Medici Dukes and Giorgio Vasari. Collaborations with Hieronymus Cock and the Galle family resulted in many of his works, such as his popular series of hunting scenes, being published as copper engravings.
Jan, or Joannes, Galle (1600-1676) was a Flemish engraver and publisher. He was the son, and apprentice, of Theodoor Galle and Catharina Moretus, making him the grandchild of both Philips Galle and Jan Moretus. He lived, worked, and died in Antwerp.
Condition: Trimmed to plate mark. Waterstains and time toning to margins. Rust spot to angel's wing below St Sebastian. Horizontal printer's creasing at centre. Blank on verso. Framed in antique frame.