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Message:: [QUOTE="Ex Libris, post: 10259916, member: 14916"]In my previous post, I introduced the early 18th-century Bible in my collection, which contains several fascinating engravings. One of the most intriguing illustrations is a Crucifixion scene, engraved by Cornelis van Queborn after a design by Hendrick van Balen. This engraving, however, is more than just a beautiful devotional image—it provides a unique glimpse into the history of early modern printmaking. [ATTACH=full]514102[/ATTACH] Upon closer inspection, I discovered that my engraving is a later edition of an <a href="https://sammlungen.uni-goettingen.de/objekt/record_kuniweb_1470407/" target="_blank" class="externalLink ProxyLink" data-proxy-href="https://sammlungen.uni-goettingen.de/objekt/record_kuniweb_1470407/" rel="nofollow">earlier print</a>. The original engraving was published in 1617, as indicated on the first version. However, my copy bears the date 1697 and includes the name of the publisher I. de Ram, who was active in Antwerp in the late 17th century. To illustrate the differences, I have compared both versions side by side (see image below). The changes are subtle but significant: <ul> <li>The date has been altered from 1617 to 1697.</li> <li>The publisher's name has been added in the later edition, replacing the original "excudit" (published by) credit of Van Queborn.</li> </ul>[ATTACH=full]514104[/ATTACH] This suggests that the original copper plate from 1617 was reused and modified for a later edition. Such practices were common in early modern printmaking—engraved plates were expensive, and publishers often acquired and reworked them to meet continued demand. The fact that this Crucifixion scene was reissued 80 years later indicates its enduring devotional value.[/QUOTE]

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