Who painted Title Page to Epistolae Hoephanae, by James Howel?

Title Page to Epistolae Hoephanae, by James Howel was painted by Frederik Hendrik van den Hove in 1678.

Where can I see Title Page to Epistolae Hoephanae, by James Howel?

Title Page to Epistolae Hoephanae, by James Howel is held by National Gallery of Art.

What movement is Title Page to Epistolae Hoephanae, by James Howel?

Title Page to Epistolae Hoephanae, by James Howel is associated with Baroque.

Artwork

Title Page to Epistolae Hoephanae, by James Howel

Frederik Hendrik van den Hove , 1678

Title Page to Epistolae Hoephanae, by James Howel is an ink print by the Baroque artist Frederik Hendrik van den Hove. It dates from 1678 and is held in the collection of the National Gallery of Art.

About this work

Overview

The composition is organized into six framed miniature scenes set in two horizontal rows, with a larger central portrait anchoring the design.

The title page for *Epistolae Hoephanae* is an engraved print produced in 1678 by the Dutch artist Frederik Hendrik van den Hove. The composition is organized into six framed miniature scenes set in two horizontal rows, with a larger central portrait anchoring the design. The work functions as a decorative frontispiece for the collected letters of James Howel, indicating the scholarly nature of the volume.

Subject & Meaning

The six small vignettes present a variety of allegorical and portrait subjects: a woman illuminated by candlelight while reading, a rider mounted on a winged horse, a nude female figure bearing a shield, and three male portraits—two bearded scholars, one crowned with laurel, and a central figure with a mustache holding a book. These images evoke themes of learning, classical virtue, and the intellectual pursuits outlined in the accompanying text, which references history, politics, and philosophy.

Technique & Style

Executed as a copper engraving, the print displays fine line work and careful hatching to render light, texture, and the intricate details of clothing, hair, and architectural frames. Van den Hove’s handling of chiaroscuro in the candlelit scene and the delicate rendering of the winged horse demonstrate the artist’s command of the medium, typical of late‑17th‑century Dutch printmaking.

History & Provenance

Created in 1678, the frontispiece was likely commissioned for the first edition of James Howel’s letters, a collection intended for an educated readership. The artist’s signature appears at the bottom of the plate, confirming authorship. Surviving copies of the volume are held in several European libraries, where the engraving remains the primary visual identifier of the work.

Context

During the late 1600s, printed frontispieces served both decorative and informative functions, introducing readers to the intellectual scope of a text. Van den Hove’s work aligns with contemporary Dutch practices that combined portraiture, allegory, and emblematic imagery to signal the scholarly content of a publication.