17th Century Pair Of Etchings By Theodoor Van Thunlden From Rubens, Antwerp 1642

"Arch dedicated to Hercules" and "Arch dedicated to Bellerophon"
Splendid and very rare etchings belonging to a suite of subjects executed for the preparations of the "Celebrations for the entry into Antwerp of the Cardinal-Infante Ferdinando of Habsburg-Spain on 17 April 1635".
The sketches for the decorations were all drawn by Sir Peter Paul Rubens and the execution of the etchings was entrusted to Van Thulden.
Bottom left: P.P. Rubens. Bottom right: G. Gervatius (who was commissioned to bring together the illustrations of the arches in a special volume) and Van Thulden.
Laid paper with watermark - copper imprint - margins - excellent condition.
At the end of 1634 Peter Paul Rubens (1577-1640) was invited to make a series of drawings to decorate the city of Antwerp on the occasion of the solemn entry of the infant cardinal Ferdinand of Habsburg (1609-1641) who, after his death of Archduchess Isabella Clara Eugenia (1633), Spanish governor of the southern Netherlands, had been elected as his successor. Generally in these circumstances, the itinerary was articulated through a series of stations and the city - in its main urban hubs - was adorned with decorations and ephemeral apparatuses which, without solution of continuity, covered the facades of the palaces, churches and convents facing the parade axis of the celebratory itinerary, testifying to the participatory role of the various public and private institutions that took part in the feast1. As had happened for the entrances of Charles V in 1520, of Philip II in 1549 and of the archdukes Albert and Isabella in 1599, also in this case, on 17 April 1635, the most important streets and squares of Antwerp were enriched with arrangements: temporary altars, four scenarios, a portico and large triumphal arches built in wood, over twenty meters height, decorated with paintings, sculptures and allegorical scenes. The references to the ancient alluded in this case to the greatness of the Habsburgs and to the merits of Ferdinand for the victory obtained over the Protestant armies of Sweden and their German allies. The choice to use the triumphal arch has its roots in the "city of the popes" and must be read as a connection with the triumphal and modern arches, with Rome and with the "possession" ceremony, placing the emphasis on its centuries-old use . In the elaboration of the drawings and sketches Rubens proved to be a true connoisseur of architecture, but what is most surprising about the artist is the casual use of architectural language and fidelity to sixteenth-century Roman models. In order for the memory of these works to be perpetuated over time, some artists were commissioned to etch the ephemeral apparatuses and, under the guidance of the painter Theodor van Thulden (1606-1669), transposed Rubens' drawings into splendid illustrations. The prints – due to the skill of the carving, the quality and the clear and sure stroke of the composition – were brought together by Jean Gaspard Gevaerts in the volume entitled Pompa Introitus Honori Serenissimi Principis Ferdinandi Austriaci Hispaniarum Infantis..., published in Antwerp in 1642. Unfortunately the characters most involved in the project (we are referring to Rubens and Cardinal Ferdinando) died before the book was published. However, the delay is not attributable to Theodor van Thulden, who had been commissioned to do the engravings (already delivered), but to Gevaerts who continued the drafting of the text, increasing its volume beyond the initial programme. Since the cardinal-infant had died in 1641 and the work was printed in 1642, the councilors of the city of Antwerp decreed that the dedication of the book bear the date 1641 (as it appears in the colophon) in such a way that the work was not dedicated to an already deceased character.
Dimensions of the unframed etchings:
Arch of Hercules: cm 37,5x54
Arch of Bellerofont: cm 38x54
The measurements of each framed print are indicated in the summary.
Please note: the authorization to export these objects from the Italian Ministry of Culture takes about six weeks.

Condition report:

Good. Wear consistent with age and use.