A detailed 1609 engraving by Lucas Kilian depicting the Flemish artist Peeter Baltens, showcasing the technical precision of Northern Mannerist portraiture.

This engraving by Lucas Kilian depicts the Flemish painter and poet Peeter Baltens, also known as Peeter Custos. Executed in 1609, the work demonstrates the technical precision characteristic of the Augsburg school of printmaking during the early seventeenth century. Kilian employs a sophisticated system of cross-hatching and varied line weights to model the subject's features, capturing the texture of his beard and the delicate folds of his ruff collar with clarity.

The portrait is framed within a rectangular border, topped by a Latin inscription identifying the sitter as a painter and poet from Antwerp. Below the portrait, a longer Latin text provides a eulogistic tribute, noting the commission by Dominicus Custos, who was a prominent publisher and the stepfather of the artist. The composition follows the conventions of humanist portraiture, presenting the sitter in a three-quarter view that conveys a sense of intellectual gravity. The focus remains on the facial expression, rendered with a realism that reflects the period's interest in individual characterisation.

Lucas Kilian was a member of a family of engravers and goldsmiths, and his training in Italy is evident in the structural integrity of his figures. This print serves as a record of the artistic networks connecting the Low Countries with the German states during the late Renaissance. The clean lines and controlled tonal range make this an example of the high standards maintained by professional printmakers of the era. The work is preserved in several major collections, including the Rijksmuseum, where it is catalogued as part of the broader history of European print culture.