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Hendrik Goltzius (Dutch, 1558-1617): Hendrik Goltzius: The Passion II

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, Maerten 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 / Maarten de Vos / Jan Baptiste de Wael / Abraham Bloemaert
Peter Paul Rubens / Philipp Sadeler / Nicolaes Maes / 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 (we will be adding some pages devoted to them shortly) and his engravings for the Passion recapitulate Northern printmaking from Durer and Lucas van Leyden until Goltzius' own works. All of the engravings for the Passion illustrated here come from a set of 11 of the 12 plates we purchased at auction as a set. Many of these came from the collection of John S. Philips, whose collection was willed to The Pennsylvania Academy of Fine Arts, and bear the stamps of John S. Philips and The Pennsylvania Academy of Fine Arts (with their P.A.F.A stamp verso). These were subsequently acquired by the Philadelphia Museum of Art as part of their purchase of the P.A.F.A collection and offered for sale as surplus.

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).
Ecce Homo / Behold the Man (Bartsch 34, Hirschmann 28, Strauss 341 i/ii). Original engraving, 1597. A beautiful impression on laid paper. Signed and dated in the plate. Although the work is engraved in the manner of Lucas van Leyden, Strauss observes that the composition is based upon Durer's in the Large and Small Woodcut Passions. Signed and dated in the plate, numbered bottom left margin. Small stain on the right sleeve of the standing man right foreground. Ex collection John S. Philips, The Pennsylvania Academy of Fine Arts (with their PAFA stamp verso), and the Philadelphia Museum of Art, who received it as part of their purchase of the PAFA collection and offered it for sale as surplus. Image size: 200x133mm. Price: $5500.

The print is rectangular; as I was photographing it, the bottom lifted up off the mat, so the photograph reduces a 3-dimensional image to 2 by distorting the bottom right of the photograph.
Christ bearing the Cross (Bartsch 35, Hirschmann 29, Strauss 353 i/ii). Original engraving, 1598. A very good impression on laid paper of the first state of two; trimmed on or within the platemark. Signed in the plate, numbered bottom left margin. Ex collection John S. Philips, The Pennsylvania Academy of Fine Arts (with their PAFA stamp verso), and the Philadelphia Museum of Art, who received it as part of their purchase of the PAFA collection and offered it for sale as surplus. Strauss observes that Goltzius' inventiveness reaches a high point here, where in contrast to all of the other versions Goltzius knew, Christ here almost looks as if he is leading a parade, and pausing only to look at St. Veronica. Image size: 197x130mm. Price: $5500.
Calvary (Bartsch 36, Hirschmann 30, Strauss 354 i/ii). Original engraving, 1598. A beautiful impression on laid paper of the first state of two. Signed, dated, and numbered 10 in the plate. Watermark: Coat of Arms with a Tower (Briquet 2291, 1592-96). Thread margins on all sides. Strauss notes that the Calvary scene does not exist in either Dürer's Passions or that of Lucas van Leyden, though there is a single Durer woodcut that might have influenced Goltzius. Image size: 196x130mm. Price: $6000.
The Entombment (Bartsch 37, Hirschmann 31, Strauss 334 i/ii). Original engraving, 1596. A beautiful impression on laid paper of the first state of two. Signed, dated, and numbered 11 in the plate. Small stain lower left by the foot of the man placing Christ's legs in the tomb. Watermark: Coat of Arms with Tower (Briquet 2291-Amsterdam and Utrecht, 1592-96). Strauss sees Goltzius drawing upon both Durer and Lucas here but not following either too closely. Ex collection John S. Philips, The Pennsylvania Academy of Fine Arts (with their P.A.F.A. stamp verso), and the Philadelphia Museum of Art, who received it as part of their purchase of the PAFA collection and offered it for sale as surplus. Thread margins on all sides. Image size: 196x130mm. Price: $5500.

The print is rectangular; as I was photographing it, the bottom lifted up off the mat, so the photograph reduces a 3-dimensional image to 2 by distorting the bottom right of the photograph.
The Resurrection (Bartsch 38, Hirschmann 32, Strauss 333 i/ii). Original engraving, 1596. A beautiful impression on laid paper of the first state of two, trimmed on or within the platemark. Signed, dated, and numbered 12 in the plate. Watermark: Coat of Basel with three rings attached (Briquet 1314, 1591). Strauss says Goltzius here departs radically from both Durer and Lucas van Leyden here by having Christ ascending diagonally in the picture plane, unobserved by bystanders (except for the two guards lower right, one of whom stares open-mouthed while the other tries to shield himslef from the explosion of light). Ex collection John S. Philips, The Pennsylvania Academy of Fine Arts (with their P.A.F.A. stamp verso), and the Philadelphia Museum of Art, who received it as part of their purchase of the PAFA collection and offered it for sale as surplus. Thread margins on all sides. Image size: 198x130mm. Price: $7500.
The Resurrection (Bartsch 38, Hirschmann 32, Strauss 333 i/ii). Original engraving, 1596. A very good subtle impression on laid paper of the first state of two, trimmed on or within the platemark. Signed, dated, and numbered 12 in the plate. Watermark: Coat of Basel with three rings attached surmounted by a tower (similar to Briquet 1314, 1591). Strauss says Goltzius here departs radically from both Durer and Lucas van Leyden here by having Christ ascending diagonally in the picture plane, unobserved by bystanders (except for the two guards lower right, one of whom stares open-mouthed while the other tries to shield himslef from the explosion of light). Ex collection Philadelphia Museum of Art, with their acquisition nuber in pencil crossed out and offered it for sale as surplus. Trimmed within the platemark but outside the border on all sides. Image size: 197x132mm. Price: $6500.
The Resurrection (Bartsch 38, Hirschmann 32, Strauss 333 i/ii). Engraving after Goltzius, 1596. Strauss calls this a "decptive copy, but lacking the numeral 12" lower left. A beautiful impression on laid paper. Signed HG and dated 96 in the plate. Thread margins on all sides. Image size: 195x128mm. Price: $1750.

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