The ancient prints - Engravings

The ASSUNTA
Etching and engraving engraving, mm. 627x440
"Petrus Paul Rubbens pinxit. S. à Bolswert sculpsit "(bottom left).
Inscriptions: "R. P. GVARDIANO FF. MINORVM REG: OBS: ANTVERPIAE, CETERISQVE EIVSDEM CONVENTVS
ALVMNIS (FORMER GENIUS ORDINIS SERAPHICI) FERVIDIS HONORIS PARTHENII ZELATORIBVS:
HANC OF THE PARENTIS GLORIOSE IN / CAELVM ASCENDENTIS EFFIGIEM IN DEBITAE OBSERVANTIAE,
SYMBOLVM MARTINVS VANDEN ENDEN D.C.Q. ".
The Dutuit and the Wijngaert pointed out that the engraver was inspired by the Vienna Assumption (Kunsthistorisches
Museum, n. 314) and to that of the Royal Museums of Fine Arts in Brussels, n. 166, both painted before 1620.
The two works were the first in the Jesuit church of Antwerp and the second in that of the Discalced Carmelites
of Brussels. The Vienna Assumption served as a model especially for the upper part, that of Brussels for the part
lower. There are, however, some variations, first in the format of the table, rectangular and not centered, and then in the presence
two apostles on the extreme right, to which the engraver gave greater breadth. As the incision appears unitary in the execution,
despite its double origin, it is likely that the artist used a model designed or painted.
There are some variations of this engraving, one with the address "Gillis Hendricx excudit / Antverpiae Cum" at the bottom right.
privilege "the other with lower right the address" Gasp. Huberti excudit Antverpiae Cum privilege ".