 @article {lepape_les_2010,
	title = {Les {\'e}diteurs de la rue Montorgueil et les gravures flamandes: la production des Mathoni{\`e}re},
	journal = {In Monte Artium : Journal of the Royal Library of Belgium},
	volume = {3},
	year = {2010},
	note = {<p>Actes du colloque {\guillemotleft}\&nbsp;Du trait de plume au coup de pinceau : gravures d{\textquoteright}invention et de reproduction en Europe au XVII<sup>e</sup> si{\`e}cle. Journ{\'e}e d{\textquoteright}{\'e}tude, Bruxelles, Biblioth{\`e}que royale de Belgique\&nbsp;{\guillemotright}, 27 novembre 2009 (Ann Diels {\'e}d.)</p>},
	month = {jan},
	pages = {17{\textendash}33},
	abstract = {<p>Periods of political and religious instability often caused migrations of craftspeople and artists, as happened in the southern Netherlands during the last two decades of the 16 th century. A number of Antwerp engravers began to settle in Paris on the {\{?Rive\}} Gauche?. They introduced the technique of the burin, which would soon be embraced by Parisian print and book publishers, who were used to work with woodcutters. Among them, we can mention Nicolas and Michel de Mathoni{\`e}re, sons of the woodcut publisher Denis de Mathoni{\`e}re. While Michel continued to edit woodcuts like his father, Nicolas saw the opportunities of burin engraving and decided to contribute to the diffusion of the ?flemish? prints in Paris at the end of the 16 th century till the 1630s. He collaborated intensively with the Antwerp engraver Justus Sadeler, who was residing in Venice. Beside, he co-operated with engravers with Flemish roots, who lived and worked in the French capital. During his career, Nicolas de Mathoni{\`e}re had engraved copies made after prints by ?flemish? and ?dutch? artists: e.g. Hieronymus Wierix and Crispijn de Passe. De Mathoni{\`e}re also republished ? like his colleagues from the southern Netherlands ? Antwerp prints of the 16 th century.</p>},
	url = {http://dx.doi.org/10.1484/J.IMA.1.102077},
	author = {S{\'e}verine Lepape}
}
