Characteristic of this are the works made at the court of he German emperor Maximilian I. (1486-1519) One of the most important patrons of art in the sixteenth century. The Theuerdank, the Weisskunig and Freydal were a trilogy highlighting Maximilian's life. Besides this their was a great esteem for scholars and scientists. A great work from the mid 16th century is the Portrait of Dr Georg Roggenback by Hanns Lautensack. Portrayed is a proud man with his doctor's hat on his head and a roll of paper in his hand. Behind him more books and an hourglass. His coat of arms is on the wall. The objects that accompany the portrayed tell us more about the person then we expect. Often a clear examination and clear thinking is needed to understand the picture.

In the selection is also an portrait made by Wierix in the third quarter of the 16th century. The French chancellor Michel de l'hopital is shown with a document in his hand. The engraved architectural picture frame draws the attention. The scull and bones surrounded by two angels are a bit morbid. A portrait shows life and many pictures have vanitas symbols in it.
 

The next portrait of he painter Hans Bol is engraved by Goltzius . The cherubs drawing and looking at the world with a magnifying glass give an indication of the occupation of our landscape painter, as also do the tools for painting (pallet) and engraving (etching water and metal pins) middle right. In the bottom section we find again the skull with bones. The upside down torches here indicate that the portrait was published after the portrayed deceased.


Joan Collaert signed for some exquisite portraits of counts of Flanders in a very medieval atmosphere. Tow hand coloured examples are available.

One of the absolute highlights of the art of portrait engraving was the Iconography by Sir Anthony Van Dyck. It was conceived as one large group of prints showing famous artists, rulers and military men who were important at the time of the second quarter of the 17th century. It is striking how many famous painters where present in this massive work.

The interaction between the artists is also very interesting. Van Dyck etched the portrait of Paul Pontius who himself also engraved many portraits for this series. On the other hand als Van Dyck and his wife make part of the portrayed.

Most of the engravings are made after gray painted sketches made by Van Dyck, others are after already existing oil paintings by the master. The first fifteen works catalogued by Maquoy-Hendrickx are etchings started by Van Dyck himself. They are made in pure etching and in the early states not more then a detailed head and only some outlines for the clothing and background.

Particularly these works bring us so close to the genius quality of the master. Never was more spontaneity and fresh originality achieved. In some cases the initial started print in etching technique was finish in engraving by one of the prominent printmakers engaged by Van Dyck for this project.

See for instance the two states of the portrait of Guillaume de Vos.

The highlight of the selection I added to the site is probably the first state of the portrait of Josse de Momper, also called Jodocus de Momper as I remember him the best and who signed for the design of some memorable series of landscape prints I will discuss on a later time.