Portret van Sigismund Philo Schelhammer 1657 - 1707

Curator: Here at the Rijksmuseum, we have "Portret van Sigismund Philo Schelhammer," an intaglio print made sometime between 1657 and 1707 by Hendrik Bary. It’s a baroque portrait. Editor: My initial impression is of something quite austere, perhaps somber. The meticulous engraving gives it an almost photographic realism, yet there's a stillness that feels decidedly…staged. It’s the kind of piece that makes me want to analyze the ink, the paper stock, and the physical process behind it. Curator: Well, the sitter, Sigismund Philo Schelhammer, was a theologian, which probably explains the book he is holding, maybe representing his vocation or his devotion to scripture and study. And he looks every bit the part. Notice how the oval frame and Latin inscription contribute to the sense of authority. Editor: That ruff, though—so stiff and impractical. You just know that level of formality comes at a material cost. It must have taken specialized labor to produce such ornate, almost suffocating, garments, reflecting the social stratification of the time. Also, what about Bary’s workshop? Was it a solo effort, or were there apprentices involved in the repetitive work? Curator: I see the ruff more as symbolic: a halo, almost, framing his learned face. And note the gaze: steady, knowing. Bary uses shadow and line to convey intellect and piety—visual cues meant to inspire reverence, if not outright respect. Editor: Revering the product obscures the work. Engravings like this were often commissioned for distribution. Think about how many copies were pulled, the wear and tear on the printing plates, the distribution networks. These portraits became commodities themselves. The religious aspect just gives a nice veneer. Curator: Still, don’t you think Bary manages to imbue the image with a sense of lasting importance, capturing not just Schelhammer's likeness, but also the essence of his calling? A testament to faith, preserved through image. Editor: Perhaps. But I’m also thinking about the physical trace left by the engraver's tools, the exploitation of labor that afforded elites like Schelhammer such prominence. Each line carries both artistic intention and material consequence. Curator: An interesting point to consider! It makes me consider all the layers present, visible and not, within even a seemingly simple portrait. Editor: Absolutely, viewing artwork from all the perspectives keeps it vital.