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Hendrik Goltzius (Dutch, 1558-1617): The Creed I

Goltzius: Passion I / Goltzius: Passion II / Hendrik Goltzius / Goltzius: Creed I / Goltzius: Creed II
Goltzius: Engravings for Ovid's Metamorphoses I / Goltzius: Engravings for Ovid's Metamorphoses II

Netherlandish Printmakers 16th-17th Centuries: Lucas van Leyden, Maarten van Heemskerck, Cornelis Cort
Philips Galle, Hans (Jan) Collaert, Adriaen Collaert, Karel de Mallery, Theodore Galle, Hendrik Goltzius
Julius Goltzius, Jacob Matham, Jan Sanraedam, Marten de Vos, Jan Sadeler, Aegidius Sadeler, Raphael Sadeler
Crispin de Passe, Magdalena de Passe, Wierix Brothers, Rembrandt, Rembrandt School, Jan Lievens, Jan Joris van Vliet,
Ferdinand Bol, Govert Flinck

De Vos Old Testament Women 1 / De Vos Old Testament Women 2 / De Vos New Testament Women

Netherlandish School 15th-17th-Century Drawings / Flemish School, 17th-Century
Bernaert van Orley / Lucas van Leyden / Jan Baptiste de Wael / Peter Paul Rubens
Philipp Sadeler / Rembrandt School
German Printmakers, 15th-17th Centuries: Heinrich Aldegrever, Jost Amman, Hans Sebald Beham, Hans Brosamer, Hans Burgkmair, Lucas Cranach, Albrecht Durer, Albrecht Durer (After), Augustin Hirschvogel, Hans Holbein (After), Hopfer Brothers, Georg Pencz, Hans Schaufelein, Virgil Solis, Wolfgang Stuber.

Italian School Printmakers, 15th-17th Centuries: Venetian School, c. 1500 / Raphael School / Giovanni Jacopo Caraglio
Marcantonio Raimondi / The Master of the Die / Anea Vico / Agostino Veneziano / Nicholas Beatrizet
Michelangelo Buonarotti (After) / Girolamo Fagiuoli / Cherubino Alberti / Titian (after) / Tintoretto (after)
Parmigianino / Giorgio Ghisi / Diana Scultori / Annibale Carracci / Ludovico Carracci / Simone Cantarini
Elisabetta Sirani / Gerolamo Scarsello
Hendrik Goltzius, a brilliant printmaker, draftsman, painter, and the head of a workshop that dominated Dutch printmaking during the late 16th and early 17th centuries, is the first name most people think about when they think about the Dutch Mannerist movement. As the recent travelling exhibition at the Rijksmuseum, Amsterdam, The Metropolitan Museum of Art, New York, and The Toledo (Ohio) Museum of Art (and the massive accompanying book, Hendrick Goltzius (1558-11617): Drawings, Prints, and Paintings by Huigen Leeflang, Ger Luitjen and others, make clear, Goltzius, "favored by an emperor [Rudolph II] and other European sovereigns" is a artist of "exceptional versatility, quality, and importance" (p. 6). As an engraver, his technique was unmatched; as a designer of prints and a draftsman, he offered the definitive version of Dutch Mannerism; and his drawing-paintings filled his contemporaries with admiration and sill overwhelm viewrs (as the exhibition proved). His designs for Ovid's Metamorphoses, engraved by members of his studio, set a pattern that dominated Dutch art into the mid-17th century; his engravings of the 12 apostles, each presented either with his attribute (St. Peter and his keys, St. John with his cup, St James Major with his pilgrim's staff, the other apostles with the means of their martyrdom) and a clause of the Apostles' Creed engraved underneath their half-length portrait, to which Goltzius then added Chirst as the Salvator Mundi and St. Paul, the defender of the faith, also became a model for a number of other artists; and his engravings for the Passion recapitulate Northern printmaking from Durer and Lucas van Leyden until Goltzius' own works.

Selcted Bibliography: Nancy Bialler, Chiaroscuro Woodcuts. Hendrik Goltzius (1558-1617) and his time (Amsterdam: Rijksmuseum, 1992); Frederick den Broeder, Hendrik Goltzius & the Printmakers of Haarlem (Storrs: Museum of Art, University of Connecticut, 1972); Stephen H. Goddard and James A. Ganz, Goltzius and the Third Dimension (Williiamstown: Sterling and Francine Clark Art Institute, 2001); Glenn Harcourt, Hendrik Goltzius and the Classical Tradition (Los Angeles: Fisher Gallery, University of Southern California, 1992); Otto Hirschmann, Verzeichnis des Graphischen Werks von Hendrick Goltzius 1558-1617 (Braunschweig: Klinkhardt & Biermannm 1976); Huigen Leeflang, Ger Luitjen and others, Hendrick Goltzius (1558-11617): Drawings, Prints, and Paintings (Amsterdam: Waanders Publishers, 2003); Eva Magnaguagno-Korazija, Hendrik Goltzius: Eros and Gewalt (Dortmund: Harenberg, 1983); Lawrence W. Nichols, The "Pen Works" of Hendrick Goltzius (Philadelphia: Philadelphia Museum of Art, 1992); Timothy Riggs and Larry Silver, Graven Images: The Rise of the Professional Printmakers in Antwerp and Haarlem, 1540-1640 (Evanston: Mary and Leigh Block Gallery, Northwestern University, 1993); Eleanor A. Saunders, Imitation and Invention: Prints by Hendrik Goltzius. Georgia Museum of Art Bulletin (Vol. 4, Numbers 1-3), 1978 (Athens: Georgia Museum of Art, University of Georgia, 1978); Walter L. Strauss, Hendrik Goltzius 1558-1617 The Complete Engravings and Woodcuts. 2 vols. (NY: Abaris Books, 1977; Walter L. Strauss, The Illustrated Bartsch Vol. 3: Hendrik Goltzius, (NY: Abaris Books, 1980).
St. Peter (Bartsch 44, Strauss 267 v/vi). Original engraving, 1589. Plate 1 of 14 devoted to the Creed. Strauss suggests that "Goltzius' apparent aim in this series was to portray as many different facial and character types as possible. Except for Christ and St Paul, who were subsequently added to the series, the order of the prints is established by the words of the Apostles' Creed inscribed in the bottom margin of each." Signed and dated in the plate, numbered bottom left margin. "F. de Wit [1610-1698] excudit" lower right. Good impression trimmed on or within the platemark. Image size: 120x99mm. Price: sold as a set of 14 for $21,000 (complete sets are quite rare).

Also available: a beautiful impression from the third state. Price: $4500.
St. Andrew (Bartsch 45, Strauss 268 v/vi). Original engraving, 1589. Plate 2 of 14 devoted to the Creed. Strauss suggests that "Goltzius' apparent aim in this series was to portray as many different facial and character types as possible. Except for Christ and St Paul, who were subsequently added to the series, the order of the prints is established by the words of the Apostles' Creed inscribed in the bottom margin of each." Signed "HG" in the plate, numbered bottom left margin. Good impression trimmed on or within the platemark. Image size: 120x99mm. Price: sold as a set of 14 for $21,000 (complete sets are quite rare).

Also available: a beautiful impression from the third state. Price: $2500.
St. James the Greaer (Bartsch 46, Strauss 269 v/vi). Original engraving, 1589. Plate 3 of 14 devoted to the Creed. Strauss suggests that "Goltzius' apparent aim in this series was to portray as many different facial and character types as possible. Except for Christ and St Paul, who were subsequently added to the series, the order of the prints is established by the words of the Apostles' Creed inscribed in the bottom margin of each." Signed "HG" in the plate, numbered bottom left margin. Good impression trimmed on or within the platemark. Image size: 120x99mm. Price: sold as a set of 14 for $21,000 (complete sets are quite rare).

Also available: a beautiful impression from the third state. Price: $4000.
St. John (Bartsch 47, Strauss 270 v/vi). Original engraving, 1589. Plate 4 of 14 devoted to the Creed. Strauss suggests that "Goltzius' apparent aim in this series was to portray as many different facial and character types as possible. Except for Christ and St Paul, who were subsequently added to the series, the order of the prints is established by the words of the Apostles' Creed inscribed in the bottom margin of each." Signed "HG fecit" in the plate, numbered bottom left margin. Good impression trimmed on or within the platemark. Image size: 120x99mm. Price: sold as a set of 14 for $21,000 (complete sets are quite rare).
St. Philip (Bartsch 48, Strauss 271 v/vi). Original engraving, 1589. Plate 5 of 14 devoted to the Creed. Strauss suggests that "Goltzius' apparent aim in this series was to portray as many different facial and character types as possible. Except for Christ and St Paul, who were subsequently added to the series, the order of the prints is established by the words of the Apostles' Creed inscribed in the bottom margin of each." Signed "HG" in the plate, numbered bottom left margin. Good impression trimmed on or within the platemark. Image size: 120x100mm. Price: sold as a set of 18 for $21,000 (complete sets are quite rare).

Also available: a beautiful impression from the third state. Price: $4500.
St. Bartholomew (Bartsch 49, Strauss 272 v/vi). Original engraving, 1589. Plate 6 of 14 devoted to the Creed. Strauss suggests that "Goltzius' apparent aim in this series was to portray as many different facial and character types as possible. Except for Christ and St Paul, who were subsequently added to the series, the order of the prints is established by the words of the Apostles' Creed inscribed in the bottom margin of each." Signed "HG" in the plate, numbered bottom left margin. Good impression trimmed on or within the platemark. Image size: 120x100mm. Price: sold as a set of 14 for $18,000 (complete sets are quite rare).

Also available: a beautiful impression from the third state. Price: $4500.
Christ, Salvator Mundi (Bartsch 50, Strauss 273 v/vi). Original engraving, 1589. Plate 5 of 14 devoted to the Creed. Strauss suggests that "Goltzius' apparent aim in this series was to portray as many different facial and character types as possible. Except for Christ and St Paul, who were subsequently added to the series, the order of the prints is established by the words of the Apostles' Creed inscribed in the bottom margin of each." Signed "HG fe." in the plate, numbered bottom left margin. Good impression trimmed on or within the platemark. Image size: 120x99mm. Price: sold as a set of 14 for $18,000 (complete sets are quite rare).

Also available: a beautiful impression from the second state (before the addition of the number lower left). Price: $6000.

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