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Hendrik Goltzius (Dutch, 1558-1617): The Passion 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, 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 sold at auction 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).
The last Supper (Bartsch 27, Hirschmann 21, Strauss 356 i/ii). Original engraving, 1598. A very good impression on laid paper of the first state of two. Although this is the last print executed for the series, it is the first in the narrative of the Passion and carries the dedication to Cardinal Federigo Borromeo, Archbishop of Milan, top center. Signed and dated 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. Trimmed on or within platemark. 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 Agony in the Garden (Bartsch 28, Hirschmann 22, Strauss 342 i/ii). Original engraving, 1597. A beautiful impression on laid paper of the first state of two. Signed and dated in the plate, numbered bottom left margin. Watermark: Coat of arms with bear (close to Briquet 1058—Bern, 1589). Thread margins on all sides. Like the other engravings in the Passion, this print shows Goltzius' use of and changes from Durer and Lucas van Leyden. Image size: 202x134mm. Price: $6000.
The Betrayal of Christ (Bartsch 29, Hirschmann 23, Strauss 355 i/ii). Original engraving, 1598. A beautiful impression on laid paper of the first state of two. Signed, dated, and numbered 3 in the plate. Watermark: Escutcheon with diagonal stripes and letters WR appended, surmounted by a fleur-de-lis (Briquet 995, 1589). 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. Strauss syas that "Goltzius has arrived at a compositional solution quite different from those of Albrecht Dürer and Lucas van Leyden. No longer is the scene crowded. . . . Peter and Malchas, the servant of the High Priest, still dominate the foreground, but the viewers's eye is drawn to the scene of the Judas kiss, emphasized by the bright lantern held aloft from a pole." Image size: 202x134mm. Price: $6000.
Christ before Caiaphas (Bartsch 30, Hirschmann 24, Strauss 343 i/ii). Original engraving, 1597. A beautiful impression on laid paper of the first state of two. Signed, dated, and numbered 4 in the plate. Watermark: Coat of Arms with horizontal band, castle, and bear. Strauss observes that this work is enngraved "in the manner of Lucas van Leyden." Durer also dealt with this subject in both his Small Woodcut and engraved Passions. 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: 201x133mm. Price: $6000.

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 before Pilate (Bartsch 31, Hirschmann 25, Strauss 332 i/ii). Original engraving, 1596. A beautiful impression on laid paper of the first state of two. Signed, dated, and numbered 5 in the plate. Strauss thinks this is the first of the 12 sheets Goltzius engraved, all in the manner of Lucas van Leyden. All of Goltzius' drawings exist. 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: 197x130mm. Price: $6000.

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 Crowned with Thorns (Bartsch 33, Hirschmann 27, Strauss 340 i/ii). Original engraving, 1597. A beautiful impression on laid paper of the first state of two. Signed, dated, and numbered 7 in the plate. Strauss observes that the composition is based upon Durer's in the Small Woodcut Passion. All of Goltzius' drawings exist. Thread margins on all sides. Image size: 197x130mm. Price: $5500.

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