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from 1596/7, where they had a shop. In 1604 Rafael returned to Munich, where he remained for most of the rest of his life, of which the last record comes in 1622. Jan's son Marcus, or Marco, remained in Italy as a publisher and artist, though there may be confusion between his work and that of his
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Jan was in
Antwerp by 1572; it was then the centre of the printmaking world, with hugely productive workshops producing work for publishers with excellent distribution arrangements throughout Europe. In that year he became a master of the artists'
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148:). Rafael I was the father of Rafael II (1584 - 1627 or 1632, both Antwerp), Jan II (c. 1588 - 1665 or later) and Filips (c. 1600, active to 1650). Aegidius II was the father of Tobias, who was active from 1670-75 in
86:, the style of family members is very similar, and their work often hard to tell apart in the absence of a signature or date, or evidence of location. Altogether at least ten Sadelers worked as engravers, in the
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and other Prague artists were important in disseminating the style of
Rudolfine Mannerism across Europe, especially Germany and the Netherlands. He also painted, although no works certainly by him survive.
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185:, Frankfurt-am-main, Munich without settling for long, before they went to Italy in 1593, where Jan may have died. They first went, accompanied by their nephew Aegidius II, to
252:(1593), then back to Munich with his uncles Jan and Rafael in 1594, travelling with them to Verona, and probably Venice (1595–97). After a trip (apparently alone) to
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Three of their best-known prints after the
Bassani are known as the "Sadeler kitchen scenes". They show respectively Christ in the house of Mary and Martha, at
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engraver; the best of the dynasty. After moving to
Cologne in childhood (c. 1579), then Munich (c. 1588), he trained in Antwerp, and went to Italy, working in
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His early works were mostly religious prints after
Northern painters, several in sets. In Italy he added Northern painters working in Italy, such as
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scattered all the
Antwerp artists across Northern Europe, and after the siege of Antwerp in 1585 Jan and Rafael worked in several German cities -
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133:- 1628 or 1632). Another Sadeler, Marcus or Marco, was a printer and perhaps publisher who was working in
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in the later 16th and 17th centuries, as both artists and publishers. As with other dynasties such as the
173:. His younger brother Rafael I joined him there, and they continued to work closely together, moving to
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in c. 1586-87, and is presumed to be a member of the family, though it is not known where he fits in.
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105:(Jan I and Rafael I), that were important in spreading the reputation and style of these artists.
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144:, active 1614 to after 1650). Aegidius I was the father of Aegidius II (c. 1570 Antwerp - 1629
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Grove Art Online, the various articles on the family & its members. Accessed 13 July 2009
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Much of their best work was high quality reproductive prints of contemporary artists such as
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121:. Jan de Saeyelleer or Sadeleer had three sons, all usually called "Sadeler": Jan I (1550
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he moved to Prague in 1597, where spent the rest of his life, mostly employed by
Emperor
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Jan I was the father of Justus (ca. 1572 Antwerp - c. 1620) and Marcus
Christoph (b.
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The general verdict, see for example Hind and the
British Museum (external links)
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Christopher
Plantin and Engraved Book Illustrations in Sixteenth-Century Europe
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125:- 1600 Brussels or possibly Venice), Aegidius I (c. 1555 Brussels - c. 1609
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642:, Houghton Mifflin Co. 1923 (in USA), reprinted Dover Publications, 1963
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Bowen, Karen L. (2022). "The Sadelers: From Printmakers to Booksellers".
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608:- short biographies, with long lists of works for Plantin, and mentions
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in about 1579, but continuing to visit Antwerp. The disruptions of the
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were the largest, and probably the most successful of the dynasties of
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Bowen, Karen L., 'The Sadelers: From Printmakers to Booksellers', in
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All from Getty, who have a page for each of the 10 main Sadelers
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drawings in the Imperial collection. He collaborated with
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Bury, 232, ULAN & British museum biographical details.
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The Sadelers were descended from "chasers," engravers of
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online database has 805 items by or after the family
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Brussels according to ULAN, Venice? from Bowen, 348
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671:, Metropolitan Museum of Art/Princeton, 1971,
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260:. He lived for some time in the house of
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370:. Aegidius Sadeler II, engraving after
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588:, Cambridge University Press, 2008,
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194:presumed relation the older Marcus.
619:, Vol. 39, No. 4, 2022, pp. 379-395
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454:Christianson, John Robert (2000).
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624:The Print in Italy, 1550-1620
457:British Museum (see link) and
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221:marriage of Peleus and Thetis
654:Union List of Artists' Names
223:, Jan Sadeler, c. 1580–1600
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156:Jan Sadeler I and Rafael I
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325:Symbola Divina et Humana
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715:Renaissance engravers
372:Bartholomeus Spranger
262:Bartholomeus Spranger
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705:Artists from Antwerp
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45:Raphael Sadeler, in
236:(sometimes written
229:Aegidius Sadeler II
171:Christopher Plantin
163:Guild of Saint Luke
88:Spanish Netherlands
84:Van de Passe family
652:Getty Foundation,
246:Northern Mannerist
90:, Germany, Italy,
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58:Het Gulden Cabinet
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47:Het Gulden Cabinet
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36:Het Gulden Cabinet
710:Flemish engravers
669:Prints and People
602:978-0-521-85276-0
387:Michael the Brave
204:Dives and Lazarus
167:Antwerp Cathedral
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16:(Redirected from
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269:Vladislav Hall
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416:(4): 379–395.
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364:Christ and
321:emblem book
76:printmaking
18:Jan Sadeler
699:Categories
579:References
495:Bowen, 348
473:2013-05-04
426:Mayor, 417
305:Tintoretto
109:The family
349:Rudolf II
345:Engraving
285:Paul Bril
258:Rudolf II
72:engravers
123:Brussels
80:Wierixes
331:Gallery
309:Barocci
297:Raphael
238:Egidius
189:, then
175:Cologne
135:Haarlem
131:Antwerp
117:, from
92:Bohemia
69:Flemish
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657:online
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610:passim
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293:Titian
254:Naples
242:Gilles
201:, and
199:Emmaus
191:Venice
187:Verona
150:Vienna
146:Prague
142:Munich
115:armour
558:Grove
395:Notes
313:Dürer
240:, or
183:Mainz
119:Aalst
34:, in
673:ISBN
644:ISBN
628:ISBN
598:ISBN
590:ISBN
462:ISBN
287:and
250:Rome
219:The
82:and
63:The
347:of
271:in
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20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
