Best known for his portrait engravings, Pieter de Jode II was a member of a family of engravers working primarily in Antwerp in the 16th and 17th centuries. Born in Antwerp in 1606, he was baptized on November 24 of that year. He learned engraving from his father, Pieter de Jode I (ca. 1563-1634), who was the son of Gerard de Jode (1517-1591), an engraver, cartographer and publisher. Pieter I’s brother Cornelis (1568-1600) was also an engraver and publisher. Pieter II was admitted to the artists’ Guild of St. Luke during the Guild’s year 1628-29 as a master engraver. In the early 1630s he and his father worked in Paris as reproductive engravers. Pieter II had returned to Antwerp by 1634-35, when Mattheus Borrekens (ca. 1615-1670) became his student. In 1635 de Jode married Elizabeth Loemans (d. 1642), the daughter of the Antwerp engraver Aernout Loemans (active 1632-1661). Their son Arnold (1638-1667) was baptized on March 10, 1638; he would go on to be an engraver as well. At some point during the 1630s both Pieter I and Pieter II were among the engravers hired by Anthony Van Dyck (1559-1641) and the publisher Martinus van den Enden (1605-after 1654) to cut engravings after paintings and drawings by Van Dyck to create a set of eighty portraits, now known as the Iconography. Pieter I created two prints and Pieter II initially created ten, some of the best in the series. With later publishers of the series Pieter II engraved eight more plates after Van Dyck, and his son Arnold made one. (Eventually the set included two hundred portraits.) Pieter II also engraved religious scenes after Van Dyck, and others after Peter Paul Rubens (1577-1640). He went on to make prints after many of the leading Flemish and Dutch artists of the day and Italian masters. De Jode engraved other sets of portraits, two of which were published by Joannes Meyssens (1612-1670): 24 plates for Les Effigies des Souverains Princes et Ducs de Brabant (Holl. 181-204) and 131 plates for The Dignitaries at the Peace-Conference of Munster, 1648 (Holl, 385-515). Another book, Theatrum Pontificium, Imperatorum. . . . (Holl. 205-384) contained 180 portraits. In all more than five hundred plates are attributed to him. In addition to creating engravings, de Jode also dealt in paintings and prints made by others. The inventory after his wife’s death in 1642 indicates they were relatively prosperous. The archives of Antwerp contain references to his commercial dealings and disputes. De Jode remarried in 1648 to Clara van den Enden, the sister or daughter of the publisher Martinus van den Enden; she died around 1653. De Jode remained active in his later years. His last print is dated to 1674; scholars believe he died shortly thereafter, perhaps in England. (TNB 2/2013) Selected bibliography: Duverger, Erik and Danielle Maufort. “The De Jode Family,” in Depauw, Carl and Ger Luijten. Anthony van Dyck as a printmaker, pp. 376-379. Exhibition catalog. Antwerp: Antwerpen Open, 1999.