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Last updated: 6/23/2019
Home / Gallery Tour 1 / Old Master Drawings and Prints / Gallery Tour 2 / Artists
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Netherlandish Printmakers 16th-17th Centuries: Jan Saenredam (Dutch, c. 1565-1607):
Old Testament Subjects

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 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.
Adam and Eve before the Tree (Bartsch 14, first state). Engraving after Abraham Bloemaert. A very good impression with Arms of Austria Durring watermark, with good margins. Slight flaws. Signed in the plate. Image size: 275x200mm. Price: Please call or email for current pricing information.
The Fall of Man (Bartsch 35). Engraving after Cornelis Cornelisz van Haarlem, c. 1600. A very good impression with Coat of Arms watermark. Signed in the plate. Image size: 270x220. Price: Please call or email for current pricing information.
The Expulsion from Paradise (Bartsch 16). Engraving after Abraham Bloemaert. Signed in the plate: "A. Bloemaert inuen. I. Saenredam sculp." With the number 4 lower right. THe top right corner has been trimmed away in the branches of the tree. Horizontal fold going across print just below the middle of the engraving, passing through Eve's thighs and Adam's back. There is an abraded spot bottom left in the inscription. Image size: 277x195mm. Price: Please call or email for current pricing information.
Jeroboam eaten by dogs (Bartsch 21). Engraving after Abraham Bloemart, c. 1600. Good impression on laid paper. Nearly invisible crease across center; good margins. Signed in the plate. In the background we see carried out the other part of Abijah's prophecy that those who die in the country would be eaten by birds of the air just as those who died in the city are eaten by dogs. Plate 2 of a series on the Prophets Ahias and Elijah. Image size: 267x193mm. Price: Please call or email for current pricing information.
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: Please call or email for current pricing information.
Judith and the Head of Holofernes (B. 108 first state). Engraving after Lucas van Leyden, before 1598. Very good impression on laid paper. Signed in the plate lower left . A good impression on laid paper with thread margins. Goltzius sparked a revival of Lucas van Leyden. Saenredam was one of Goltzius' most important masters and worked closely with him, creating a major body of work. in the Dutch Mannerist tradition. Image size: 263x207mm. Price: Please call or email for current pricing information.
Susanna and the Elders (B. 42 first state). Engraving after Hendrik Goltzius before 1598. Rich early impression on laid paper. Trimmed within platemark, Small paper losses top left and top center. Signed in the plate: "HGoltzius inv. Saenredam sculptor." Saenredam was one of Goltzius' most important masters and worked closely with him, creating a major body of work. Coat of arms watermark. Image size: 227x164mm. Price: Please call or email for current pricing information.
Jael and Sisera (Bartsch 107 iii). Engraving after Lucas van Leyden, 1600. Good impression on laid paper. Signed in the plate. Small paper loss top right, repaired tear top. Trimmed on or within the plate. Good impression on laid paper. Image size: 285x210mm. Price: Please call or email for current pricing information.

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