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

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

Renaissance Art and the Bible: Original Prints and Drawings
Adam and Eve / Noah / Lot and his Daughters / Joseph / Samson / Jephthah and his Daughter
David / Judith / Esther / Susanna and the Elders / The Story of Job
De Vos Old Testament Women 1 / De Vos Old Testament Women 2 / De Vos New Testament Women
The Virgin Mary / Mary Magdalen / The Woman taken in adultery
Maundy Thursday / The Crucifixion / The Lamentation / The Resurrection

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 each 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 criticism 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 making prints after similar designers: Polidoro da Caravaggio, Cornelis van Haarlem, and an elaborate variant 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, The Times of Day [see under Allegories], The Five Senses, The Seven Planets, and even The 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.
Jan Saenredam (Dutch, c. 1565-1607), Apollo presiding over the arts of government (B. 76; H. 53 ii). Engraving after Abraham Bloemart c. 1600. Rich early impression on laid paper. Saenredam was one of Goltzius' most important masters and worked closely with him, creating a major body of work. Image size: 253x176mm. Price: SOLD.
Jan Saenredam (Dutch, c. 1565-1607), Venus on her Couch as Cupid Fills his Quiver with Arrows (TIB 4: 51). Signed "HG inuentor" below Cupid's bow underneath the bowl of fruit. In the corners (starting top left and moving clockwise, we see putti symbolizing the four elements (fire, air, earth, and water), suggesting that, as the Beatles would later rediscover, love is all there is and that to fit into the natural world we must venture into the realm in which Cupid fires his darts at everyone while Venus smiles benignly at one of the two little amors within the scene. This is the state illustrated in The Illustrated Bartsch, vol. 4, p. 367; it is in fact the only state mentioned. Like ours, it shows "CIVisscher" (Claes Jansz. Visscher, 1550-1612) as the publisher, hence giving the work a late 16th- or early 17th-century printing date. Image size: 214x284mm). Price: $3750.

Appearances to the contrary, the work is rectangular.
Jan Saenredam (Dutch, c. 1565-1607), Venus embracing Cupid (B. 68). 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." 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 excud." Trimmed just inside the platemark. Provenance: stamped signature verso of E. Fabricius (Lugt 847a) and an unknown collector's mark with "Kupferstich Sammlung" (Engraving Collection) on the circumference of a circle and decorative monogram in center. Image size: 223x153mm. Price: SOLD.
Jan Saenredam (Dutch, c. 1565-1607), , Athena (Bartsch 56). Engraving after Hendrik Goltzius. Signed in the plate upper left: "I Saendredam sculp." Signed in the plate lower left: "HG Inue." Signed in the inscription lower right "CIVisscher" (Claes Jansz. Visscher, 1550-1612) publisher, hence giving the work a late 16th- or early 17th-century printing date. Ours is a very good impression trimmed outside the platemark. Together with Venus and Cupid (B. 57) and Juno (B. 58) these images depicted the temperments of the goddesses, here Athena, triumphant in the arts as well as in battle, is shown with her shield (bearing Medusa's severed head to astonish all those who look on it), and her owl. Very rare as a complete set of three and sold only as a set. Image size: 206x140mm. Price for the set of three: $7500.
Jan Saenredam (Dutch, c. 1565-1607), , 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. Image size: 205x141mm. Price for the set of three: $7500.
Jan Saenredam (Dutch, c. 1565-1607), , Juno (Bartsch 58). Engraving after Hendrik Goltzius. Signed in the plate upper left: "HG Inuent / I Saendredam " Ours is a very good impression trimmed inside the platemark; the top left and right corners have been lost and the missing lines replaced with lines drawn in ink. Together with Athena (B. 56) and Venus and Cupid (B. 57) these images depicted the temperments of the goddesses, here vengeful Juno, whose wrath is proclaimed in Virgil's Aeneid as the cause of pius Aeneas' hardships. Very rare as a complete set of three and sold only as a set. Image size: 208x142mm. 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 very good impression (except for the light horizontal crease running through Venus's breasts) with rich blacks and strong light areas on laid paper with small margins outside the platemark. Image size: 155x208mm. Price: $3750.

There is an impression of this engraving in the British Museum, but not in the National Gallery of Art in Wasington D.C. This apparently a rare print.
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: SOLD.

There is an impression of this engraaving in the British Museum, but not in the National Gallery of Art in Wasington D.C. This apparently a rare print.
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.
A Marriage Founded on Wealth, Which is the Work of the Devil (Bartsch 85), Engraving after Goltzius, c. 1600. Very good impression on laid paper of this rather moralistic Rich early impression on laid paper of this archetypical moralistic Dutch Mannerist print. Inscribed "2" lower left. This is the second of the Three Kinds of Marriage (the other two are A Marriage Founded Solely on Pleasure (see above) and A Marriage Founded Solely on Pure and Chaste Love). Thread margins. Image size: 223x156mm. Price: $3250.

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