Emanuel von Baeyer
London

The Fall of the Damned 1642



Jonas Suyderhoef
1613 – Haarlem – 1686

Etching and engraving with two plates after Peter Paul Rubens (1577 Siegen – 1640 Antwerp).
Size of sheet: 70 x 54.5 cm. Mounted on an 18th century album sheet.

Literature: Wussin/Hymans 104 (II./IV.). Hollstein 2 (I.–II./III.).
Exh. Cat., Il tempo di Rubens, Milan 1989, cat. no. 88.

Provenance: Augustinus Arnold, 1841, (inscription verso, not in Lugt).

Very fine early impression of two plates and a separate plate for the text. The state before the address
of De Wit and the later reworking of the whole plate. A fine printing with all details clearly visible
and very fine rich parts of ink in the dark areas.

Little is known about Jonas Suyderhoef’s life, except that he was considered one of the most talented
Haarlem printmakers of the 17th century. He was an apprentice with Cornelius Visscher (1629 –
Haarlem – 1658) in the workshop of Pieter Soutman (c. 1593 – 1601 – Haarlem – 1657), and soon
gained a reputation as an independent printmaker. Known as a portraitist, he became famous for
his interpretations of paintings by Flemish artists including Peter Paul Rubens. He used the etching
technique very freely to render in black and white the colour scheme of Ruben’s paintings. His
very own skill and style became fundamental in the reproduction printmaking technique after
Rubens’ works, and contributed to Suyderhoef’s fame. Rubens’s painting, now in the Alte Pina -
kothek, Munich, is dated from 1621 (Inv. no. 320). Suyderhoef realised the print in 1642 when he was
barely 30 years old.

A perfect example of Suyderhoef’s vivid etching technique which was already admired in the
19th century.
Bartsch and Nagler both considered him as one of the major etchers of his century 1 and Wussin
names it as Suyderhoef’s masterpiece.

1. Bartsch, Introduction à l’iconographie, vol. I, p. 181; Nagler, vol.XVIII, pp. 20 ff.