1/5/2018 Prints and Principles: Goltzius

Más Siguiente blog» Crear un blog Acceder

Prints and Principles

My aim is to offer insights into some of the more subtle principles underpinning prints. The commentary is based on
thirty-eight years of teaching and the prints and other collectables that I am focusing on are those which I have
acquired over the years. In the galleries of prints (accessed by clicking the links immediately below) I am also adding
fresh images offered for sale. If you get lost in the maze of links, simply click the "home" button to return to the blog
discussions.

Home Architecture & Ornament Figures & Fauna Landscapes & Flora the Orient Books Objects & Artefacts

Prints and Principles by Dr Gordon James Brown is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

Labels
Showing posts with label Goltzius. Show all posts
(Abraham) (1)
Wednesday, 25 January 2017 (Adolphe) (1)
(Episcopius) (1)
Engraving by Hendrik Goltzius/Hieronymus Wierix, “Mula (Hieronymus) (2)

et Asinus”, after Johannes Stradanus (Karel) (1)

(Maxime) (1)
(Xavier de) (1)
Aachen (Hans von) (1)
Achard (Jean-Alexis) (1)
Adler (Aegidius) (2)
aerial perspective (1)
Agar (4)
agitrons (1)
Alberti (Cherubino) (1)
Aldegrever (Heinrich) (5)
algraph (1)
allusion (1)
Altdorfer (Albrecht) (3)
Amman (Jost) (4)
anaglyph (1)
analogue (3)
Anchor points (2)
Hendrik Goltzius (aka Hendrick Goltzius) (1558–1617) or (?) Hieronymus Wierix (aka Annedouche (Joseph Alfred) (1)
Hieronymus Wierx; Jerome Wierix) (1553–1619) anthropomorphism (2)
Appian (4)
(Note: This plate is from the series of forty-three plates, “Equile Ioannis Austriaci” (The Stable of Appian (Adolphe) (1)
Don John of Austria). The curator of the British Museum advises that the title plate is “signed by
aquatint (4)
Adriaen Collaert, but Hendrik Goltzius and Hieronymus Wierix also worked on the series, only a
Aquila (Pietro) (1)
selection of plates signed.” Based on the distinctive use of the “dotted lozenge” device for
Ardail (Adolphe) (1)
rendering tone employed by Hendrik Goltzius, I lean to the idea that this print is executed by
Goltzius, but I could be wrong.) Aristotle (1)
ascending & descending rhythms (1)
“Mula et Asinus” (Mule and Ass), 1578, after Johannes Stradanus (aka Jan van der Straet; Audran (Jean) (1)
Joannes Stradanus; Jan van der Straet; Giovanni della Strada; Jan van der Straeten; Giovanni autostereogram (1)
Statenensis; Giovanni Stradano; (1523– 1605), from the series, “Equile Ioannis Austriaci” (The aux deux crayons (2)
Stable of Don John of Austria), possibly published by Philips Galle (aka Philippe Galle; Philippus aux trois crayons (1)
Gallaeus) (1537–1612) as the other prints in this series are published by Galle.
Avril (Jean Jacques) (1)
Backer (1)
(Note: The title plate to the series and its description may be seen at the British Museum:
Bagnacavallo (Bathelemy Ramenghi) (1)
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?
objectId=1619159&partId=1&searchText=stradanus+wierix+1957,0413.178&page=1) Bailly (Jacques) (1)
Bairei (2)
Engraving on fine laid paper, trimmed to the image borderline but without the text box showing Baldi (Lazzaro) (1)
publication details. Barbizon (23)
Barrière (Dominique) (1)
Size: (sheet) 19.3 x 26.4 cm Bartolozzi (Francesco) (3)
Lettered within the image at the upper edge: “MVLA ET ASINVS”
Barye (Antoine_Louis) (1)
Basan (1)
The British Museum offers the following description of this print;
Battista (1)
“Mula et Asinus; in the foreground, a mule stands with its reins tied to a tree stump, to right;
behind, an ass; beyond, a rural landscape with lake” Beatrizet (Nicolas) (1)
(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx? beauty (2)
objectId=1619439&partId=1&searchText=1957,0413.178&page=1) Beck (Leonhard) (1)
New Hollstein (Dutch & Flemish) 557.I (Johannes Stradanus) (F W H Hollstein 1993, “The New Beckett (Isaac) (1)
Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700” [Johannes Bega (3)
Stradanus], Amsterdam); Baroni Vannucci 1997 692.41 (Alessandra Baroni Vannucci 1997, “Jan Beham (Sebald) (3)
van der Straet, Belgium, Brepols)
Beltrand (Jacques) (3)
Bemmel (Peter von) (1)
Condition: faultless, museum quality impression, trimmed to the image borderline in pristine
Berchem (5)
condition. This is a superb impression.
Berchem (Nicolaes) (1)
I am selling this small masterpiece by either Goltzius or Hieronymus Wierix (see my explanatory Berton (1)
note above) for a total cost of AU$398 (currently US$301.09/EUR279.99/GBP238.92 at the time Bervic (Charles Clément) (1)
of this listing) including postage and handling to anywhere in the world. Besnard (2)
Bidloo (1)

http://www.printsandprinciples.com/search/label/Goltzius?updated-max=2017-03-20T01:43:00-07:00&max-results=20&start=7&by-date=false 1/27
1/5/2018 Prints and Principles: Goltzius
If you are interested in purchasing very rare, museum quality print in pristine condition, please binocular (3)
contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the Bisschop (3)
payment easy. Blaeu (Willem Jansz.) (1)
Blerk (van) (1)
This print has been sold
Bléry (2)
Blocking (1)
Bloemaert (15)
Bloemaert (Cornelis) (2)
Blon (1)
Bobrof (1)
Bocksberger (Johann Melchior) (1)
Bodenehr (Georg Conrad) (1)
Boel (Pieter) (1)
Boissieu (Jean Jacques de) (5)
Bol (Hans) (2)
Bolswert (1)
Bolswert (Adamsz.) (1)
Bonasone (Giulio) (1)
Bonington (Richard Parkes) (1)
Borcht (Pieter van der Borcht) (1)
Borcht (Pieter van der) (1)
Borgianni (Orazio) (2)
Bos (Cornelis) (1)
Bossi (Benigno) (3)
Both (2)
Both (Jan) (2)
Bouguereau (William-Adolphe) (1)
For many academics the name of the engraver who executed this marvellous print is a mystery.
Bouroux (2)
The problem is that most of the forty-three plates (of which this is one) that make up the series,
Bowen (1)
“Equile Ioannis Austriaci” (The Stable of Don John of Austria), are not signed. Fortunately, the
choice of who the engraver might be is narrowed down to just three artists whose names are Boydell (John) (1)
given on the few plates that are signed: Adriaen Collaert, Hendrik Goltzius and Hieronymus Bracquemond (Félix) (1)
Wierix. Brangwyn (3)
Brereton (1)
From a personal standpoint, the choice is not that hard as I would be highly surprised if the Breughel (Jan) (1)
engraver were to be Adriaen Collaert. Collaert is a fine engraver capable of rendering surfaces in Bril (5)
a very mimetic way using line and dot, but not in the same highly nuanced way that this mule and Bril (Matthijs) (1)
ass are drawn (see an example of Collaert’s approach to drawing horses and mules in the
Brissot de Warville (1)
engraving, “Plate 4: A horse and two mules”
Bronzino (Ángelo) (1)
(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?
objectId=1462440&partId=1&searchText=Adriaen+Collaert&page=1). To my mind this leaves the Brouet (1)
choice to be either the sublime, Goltzius, or Hieronymus Wierix—the man who killed a woman Brown (11)
when he was drunk. Brown (James) (1)
Brunet-Debaines (3)
Again, Hieronymus Wierix can render the finest detail as if he worked entirely with a magnifying Brushstrokes (2)
lens, but these animals are not drawn in the same way even though they are portrayed with a Bruyn (Nicholaas de) (1)
great deal of attention (see an example of H Wierix’s approach to drawing horses in the Buddeus (Julius) (1)
engraving, “Flight into Egypt” (http://hdl.handle.net/10934/RM0001.COLLECT.331864 ). Wierix
Buhot (Félix) (3)
has unbelievable control of the burin, but his approach is a bit clinically cold and the treatment of
Bulliard (1)
the horses in this print make me feel as if the artist really knew about the muscles and bones
under the flesh. Burgkmair (2)
Burgkmair (Hans) (2)
My choice of artist for the crown of attribution is Goltzius and the reason is fairly straight forward: Burmeister (2)
the treatment of the shading uses dots placed between areas of cross-hatching and this is Burney (Eugène) (2)
Goltzius’ signature device; the so called “dotted lozenge.” To my mind there is very little doubt Cabel (Adriaen van der) (2)
that this beautiful print is executed by the master engraver: Hendrik Goltzius. Sadly, as my cook Calame (7)
often points out to me: I have been wrong in the past. Callot (2)
Callot (Jacques) (3)
Camerata (Giuseppe) (1)
Campagnola (1)
Canaletto (1)
cancellation marks (1)
Caragaggio (Polidoro da) (2)
Caraglio (Jacopo) (1)
Caravaggio (1)
Carmean (Harry) (3)
Carpi (Ugo da) (1)
Carracci (1)
Carracci (Agostino) (3)
Carracci (Annibale) (2)
Carrière (1)
Carrière (Eugène) (1)
Cassagne (1)
Castellari (Stefano) (1)
Castiglione (3)
Cats (Jacob) (1)
Caus (Salomon de) (1)
Chaigneau (1)
Challis (1)
Charbonnel (Jean Louis) (1)
Chardin (1)
Chatelain (1)
Chauvel (2)
Chauvel (Charles) (1)
Chereau (Jacques François) (1)
Chiari (Fabrizio) (1)
chiaroscuro (4)
Chiboust (1)
chromatic perspective (1)
chromolithograph (1)
chuck close (1)
Ciamberlano (Luca) (2)

http://www.printsandprinciples.com/search/label/Goltzius?updated-max=2017-03-20T01:43:00-07:00&max-results=20&start=7&by-date=false 2/27
1/5/2018 Prints and Principles: Goltzius
clair-obscur (1)
Claussin (Chevalier Ignace Joseph de) (1)
cliche-verre (3)
Clouet (1)
Cock (Hieronymus) (2)
Cole (1)
Cole (Timothy) (1)
Collaert (Adriaen) (2)
Collaert I (Jan) (1)
Collaert II (Jan) (2)
Collignon (François) (1)
Collin (Richard) (1)
colour perspective (1)
coloured ground (1)
complementary tensions (1)
composition (30)
cong (1)
consecutive vision (2)
Constable (1)
contour lines (14)
contrapposto pose (1)
contre-jour (3)
convex forms (2)
Coraboeuf (Jean-Alexandre) (1)
Corot (6)
Cort (Cornelis) (2)
Cotman (5)
Courtry (1)
Courtry (Charles Jean Louis) (1)
Cousen (2)
Cousin (Samuel) (1)
Cranach (Lucas) (1)
creative invention (1)
Crome (1)
cropping (3)
croquis (1)
Cuisiner (1)
Cunego (Domenico) (3)
Curtis (4)
Custos (Dominicus) (1)
D'Henriet (Charles Louis) (1)
da Vinci (2)
Dalou (Jules) (1)
Damazy (William Julian-Damazy) (1)
Dananache (1)
Dananache (Xavier de0 (1)
Daubigny (7)
Daullé (Jean) (1)
Daumier (2)
Dautrey (Lucien) (1)
David (Charles-Louis Jules) (2)
David (Jacques-Louis) (2)
de Bry (Johann Israel) (1)
de Bry (Johann Theodor) (1)
de Roton (1)
Delacroix (1)
Delacroix (Eugène) (1)
Delaistre (Louis Jean Désiré) (2)
Delasalle (1)
Delâtre (Auguste) (1)
Delaune (Étienne) (6)
Delauney (1)
della Bella (Stefano) (5)
Demanne (2)
Demarteau (1)
Denon (1)
Dente (Marco) (2)
Desbrosses (1)
Deshayes (2)
Dielman (1)
Diepenbeeck (Abraham van) (6)
Dietricy (8)
Dietterlin (4)
digital (8)
diptych (1)
diversity. sequence (1)
Dolcibeni (Vincenzo) (1)
Domenichino (1)
Donatello (1)
Doncker (1)
Dore (1)
Dorigny (1)
dotted lozenge (2)
Drouyn (Léo) (1)
drypoint (3)
Dughet (Gaspard) (1)
Dujardin (12)
Posted by Gordon Brown at 06:19 No comments: Links to this post
Dupuis (1)
Labels: (Hieronymus), Goltzius, Wierix Durer (2)

http://www.printsandprinciples.com/search/label/Goltzius?updated-max=2017-03-20T01:43:00-07:00&max-results=20&start=7&by-date=false 3/27
1/5/2018 Prints and Principles: Goltzius
Wednesday, 18 January 2017 Durer (Albrecht) (2)
Duvivier (Ignace) (2)
Workshop of Hendrik Goltzius, “Apollo Killing Python” Dyck (Anthony van) (2)
Earlom (3)
Earlom (Richard) (1)
Emblem Prints (4)
Enden (Maarten van den) (1)
endotopic and exotopic (4)
Engelmann (1)
engraving (7)
etching (29)
Everdingen (2)
Eyck (1)
Fabri (Luigi) (1)
Falguière (1)
Fantin-Latour (1)
Farington (Joseph) (1)
Favier (1)
FCB Grid (3)
Workshop of Hendrik Goltzius (aka Hendrick Goltzius) (1558–1617) and executed under Feierabend (Sigmund) (1)
Goltzius’ direction. Note that amongst the students in Golzius’ workshop were the highly Ferrero (Giovanni Francesco) (1)
distinguished artists: Jacob Matham, Jan Saenredam, Jan Muller, Jacob de Gheyn II and Pieter Feti (Domenico) (1)
de Jode. Fibonacci (1)
Fidanza (Paolo) (1)
“Apollo Killing Python”, 1589, from the series of fifty-two prints (of an originally planned 300)
Fiedler (Johann Christian) (1)
“Metamorphoses Book I”, published by Claes Jansz. Visscher (1587–1652)
Figure and Ground (1)
Engraving on fine laid paper with thread margins Fiorentino (Rosso) (1)
Size: (sheet) 17.9 x 25.5 cm Firens (Pierre) (1)
Lettered below the image borderline with four lines of Latin in two columns by Estius: "Immensum Flamen (Albert) (2)
certis strauit ... / ... necat atq mari." Numbered “15” at the lower left. Flameng (1)
Flameng (Léopold) (3)
The British Museum offers the following description of this print: Flatter (Jean-Jacques) (1)
“Plate 13: Apollo killing the Python; the god standing at left and pointing a big bow at the monster;
Floris (Frans) (1)
after Hendrik Goltzius.”
flying whites (1)
(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?
objectId=3103131&partId=1&searchText=Goltzius+apollo&page=1) Fontana (Giovanni Battista) (1)
Foregrounding imagery (2)
Bartsch (1980, vol. 3, p. 319) 43 (105) (after Goltzius); Hollstein 10-61; 508-559 (after Goltzius); format (4)
New Hollstein (Dutch & Flemish) 532-551 (Hendrick Goltzius; Prints after inventions by Goltzius); Foster (1)
Bartsch (1803) III.105.13 Fourmois (1)
Fragonard (2)
Condition: an exceptionally rare, richly inked and well-printed impression with thread margins in Francken (Ambrosius) (1)
excellent condition (i.e. there are no tears, holes, stains or foxing but with a light centre fold that is
Frank Short (1)
flattened).
Fratrel (Joseph) (1)

I am selling this stunning, lifetime impression (based on the crispness of the faultless impression) Freida (Raphael) (1)
of a print that is very seldom seen on the market for the total cost of AU$460 (currently Frères (Thierry) (1)
US$347.48/EUR325.08/GBP282.85 at the time of posting this print) including postage and Fridrich (Jacob Andreas Friedrich) (1)
handling to anywhere in the world. Friedrich (Jacob Andreas) (1)
If you are interested in purchasing this fabulous engraving from the 16th century, please contact Frisius (Simon) (4)
me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment Frölich (Lorenz) (1)
easy. Fullwood (John) (1)
Furnius (Pieter Jalhea) (1)
This print has been sold
Gaillard (Ferdinand) (4)
Gainsborough (1)
Galle (14)
Galle (Cornelis I) (5)
Galle (Cornelis II) (1)
Galle (Joannes) (1)
Galle (Philips) (3)
Galle (Theodoor) (1)
Gaucher (Charles Étienne) (1)
Gaultier (Léonard) (5)
Genoels (3)
Genoels (Abraham) (3)
Gericault (3)
Gestalt (1)
Ghezzi (Pier Leone) (1)
Ghisi (Giorgio) (1)
Giancarli (Polifilo ) (1)
Giangiacomo (Francesco) (1)
Gibert (1)
Giovannini (Giacomo Maria) (1)
Girard (1)
Girodet (Anne-Louis) (1)
So much is written about Goltzius that I have decided to focus on an issue that is seldom (if ever) Glauber (Jan Gottlieb) (2)
discussed: why women and monsters are shown on the right side of men. Glauber (Johannes) (1)
Golden Section (3)
Clearly this is a topic that few men would wish to engage with—it’s far too dangerous—but it is a Goldfuss (Georg August) (1)
phenomenon that I have noticed in so many prints that I feel that it’s time to address this
Goltzius (16)
interesting arrangement. Of course, printed images like this engraving are often mirror images of
Goltzius (Hendrik) (1)
the original design. After all, the printing process reverses the image drawn on the plate.
Goos (Pieter) (1)
Accordingly, this print may have been conceived with Apollo on the right and the monster on the
left. I simply don’t know and the truth may be an inconvenient reality for the present discussion. Gosselin (Charles) (1)
Even disregarding what may be an awkward truth, this is not the sole image in art where men, as Goupil (Ernest) (1)
a thinking and calculating force, are portrayed on the left and the complementary feminine Goya (3)
emotional force is portrayed on the right. For example, one only has to think of the many images Granville (1)
of Adam and Eve in the Garden of Eden, such as the one that I posted not long ago, to graphic space (11)
appreciate the point that I am making: men are shown on the left and women are shown on the Gravesande (Storm van) (1)
right. Indeed, so entrenched is the idea that the analytical elements of a composition are shown
Greux (1)
on the left and the emotionally pregnant aspects are shown on the right that even advertisements
Grimaldi (2)
of cars are based on this arrangement with factual information on the left (e.g. fuel consumption
Groeningen (Gerard van) (2)

http://www.printsandprinciples.com/search/label/Goltzius?updated-max=2017-03-20T01:43:00-07:00&max-results=20&start=7&by-date=false 4/27
1/5/2018 Prints and Principles: Goltzius
and how many kids can fit into the vehicle) and how we might feel when driving the car expressed Groenning (Gerard) (1)
on the right. Guérard (Henri) (1)
Guidi (Raffaello) (1)
Haden (4)
Haeckel (2)
Haid (Johann Jakob) (1)
haptic (5)
Harrewyn (Jacobus) (1)
Hecht (1)
Heemskerck (3)
Hegel (1)
Heimlich (3)
Helmholtz (2)
Henner (Jean Jacques) (2)
Henriquel-Dupont (1)
Herman (1)
Heumann (Georg Daniel) (1)
Heysen (1)
Hiroshige (6)
Hirschvogel (Augustin) (2)
Hirt (H. v.) (1)
Hogarth (1)
Hokusai (2)
Holbein (Hans) (4)
Hollar (Wenceslaus) (7)
holly and clover (3)
hook stroke (4)
Hopfer (Daniel) (7)
Hopfer (Lambrecht) (2)
hornet (pigment) (1)
Houbraken (1)
Huchtenburg (Jan van) (1)
Huel (Paul) (1)
Huet (Paul) (1)
human scale (1)
Hutin (Charles François) (1)
Huysum (1)
Huysum (Jan van) (1)
Hyakusen (1)
hyalograph (3)
Ike no Taiga (1)
Indian minature (1)
Ingres (Jean-Auguste-Dominique) (5)
Ingres principle (1)
Inverse-Square Law (3)
Isaac (Jaspar) (2)
J. Louis. L. *** (1)
Jacque (1)
Jacque (Charles Emile) (23)
Jacquemart (4)
Jake Abraham (1)
Janssens (Abraham) (1)
Jansz.(Egber) (1)
Japanese (4)
Jegher (Christoffel) (1)
Jode (Gerard de) (3)
Jode (Pieter de) (2)
Jode II (Pieter de) (2)
Julien (6)
Julien (Bernard-Romain) (2)
Jungtow (Richard Julius) (1)
Jungwierth (Franz Xaver) (1)
juxtaposition (2)
Kager (Johann Matthias) (1)
Kallenberg (Jacob) (2)
Kant (1)
Kato Eishu (1)
Kauffman (Angelica) (1)
Kawanabe Kyōsa (1)
Keinen (1)
Keinen (Imao) (5)
keyhole effect (2)
Kilburn (1)
Kilian (1)
Kleinmeister (Little Masters) (1)
Köbel (Jacob) (1)
Kobell (Ferdinand) (1)
Kollwitz (3)
Kreizer (1)
Kunisada (Utagawa) (1)
Kyuko (1)
Lairesse (Gerard de) (2)
Lalanne (3)
lanceolate (2)
Lançon. Streek (1)
Land Effect (1)
Landscape points (2)
Lanfranco (Giovanni) (1)
Langlois (Eustache-Hyacinthe) (1)

http://www.printsandprinciples.com/search/label/Goltzius?updated-max=2017-03-20T01:43:00-07:00&max-results=20&start=7&by-date=false 5/27
1/5/2018 Prints and Principles: Goltzius
Lassalle (Emile) (1)
Late Master of the Grüninger Workshop (1)
Laurens (1)
Lawrence (Sir Thomas) (1)
Le Blon-Gauthier process (1)
Le Brun (Charles) (2)
Le Clerc (5)
Le Pautre (2)
Le Prince (1)
Le Rat (Paul Edme) (1)
Le Suerur (Nicolas) (1)
Leclerc (Jean) (1)
Leclerc (Sébastien) (1)
Lefebre (Valentin) (1)
Lefebre (Valentin). Titian (1)
Lefebvre (Jules Joseph) (1)
Legrand (1)
Legros (5)
Legros (Alphonse) (2)
Lélu (Pierre) (1)
Lelue (Alexandre) (1)
Lemire (Noël) (1)
Lepere (3)
Lepic (Vicomte Ludovic-Napoléon) (1)
Lépicié (Bernard) (1)
Leu (Thomas de) (1)
Lewis (Frederick Christian) (1)
Leyden (Lucas van) (5)
Liber Studiorum. Turner (2)
Liber Veritatis (3)
Liefrinck (Hans) (1)
Lighting Ratio (1)
line and dot (1)
line phrasing (12)
linear vector (2)
lithograph (8)
Lobel-Riche (Alméry) (1)
logo (1)
Loli (Lorenzo) (1)
Lombard (Lambert) (1)
Lorrain (8)
Lorrain (Claude) (4)
lou (hollowness) (2)
Lowe (3)
Posted by Gordon Brown at 05:27 No comments: Links to this post Lucchese (Michele) (1)

Labels: Goltzius, Visscher (Claes Jansz) Lucien (Jean-Baptiste) (2)

Luyken (Caspar) (2)
Luyken (Jan) (4)
Thursday, 22 December 2016
Luzi (Flippo) (1)
Machy (1)
Hendrick Goltzius’ engraving of St Bartholomew Maignan (Albert Pierre René) (1)
Major (Isaac) (2)
Major (Isaak) (1)
Mallery (Carel van) (1)
Manchon (Gaston Albert) (1)
Mander I (Karel van) (1)
Manet (3)
Mantegna (Andrea) (1)
Marini (1)
Martial Potemont (2)
Martsen (Jan) (2)
Masereel (3)
Masquelier (1)
Master ES (1)
Master IK (2)
Master of the Die (5)
Master of the Playing Cards (1)
Matham (Jacob) (5)
Matham (Theodor) (5)
Mattioli (Ludovico) (1)
McBurnie (1)
medallions (1)
Mellan (Claude) (3)
Hendrick Goltzius (1558–1617)
Mengs (Anton Raphael) (1)
”Plate 6: Saint Bartholomew", 1589, from the series of 14 plates: “Christ, The Twelve Apostles
Menzel (Adolph) (1)
and St. Paul.”
Mercury (1)
Engraving on fine laid paper with the watermark of “Double Eagle”. The sheet has thread margins Merian (Matthäus) (1)
on the left and right side, trimmed to the platemark at the top and cut slightly within the platemark Meryon (Charles) (3)
at the bottom, Messager (Jean) (1)
Lettered in Latin below the lower borderline: "VI" and "ASCENDIT AD COELOS, SEDET / AD metaphor (4)
DEXTERAM DEI PATRIS OM- / NIPOTENTIS." Meulen (1)
Size: (sheet) 14.4 x 10.7 cm Meulen (Adam François van der) (1)
State: unidentified state (of VI). It is either earlier or later than state III as state III has the
Meyer (3)
monogram “HG” and is numbered in the lower-left corner: "6".
Meyer (Felix) (1)

Bartsch 49; Hirschmann 1921 40 (Otto Hirschmann 1921, “Hendrik Goltzius, Verzeichnis des Meyering (1)
graphischen Werkes”, Leipzig); New Hollstein (Dutch & Flemish) 40 (Hendrick Goltzius) (F W H mezzotint (12)
Hollstein 1993, “The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450- Michelangelo (11)
1700”, Amsterdam); Bartsch 49 Miel (Jan) (1)
Millais (John Everett) (1)

http://www.printsandprinciples.com/search/label/Goltzius?updated-max=2017-03-20T01:43:00-07:00&max-results=20&start=7&by-date=false 6/27
1/5/2018 Prints and Principles: Goltzius
Condition: crisp, silvery impression trimmed close to the platemark with a watermark and in Miller (Andrew) (1)
excellent condition. The back of the sheet has the sheen of glue residue. Miller (Godfrey) (5)
I am selling this rare and exceptional engraving by the legendary Goltzius for the total cost of Millet (4)
AU$366 (currently US$263.97/EUR252.76/GBP213.82 at the time of this listing) including
Millet (Francisque) (1)
postage and handling to anywhere in the world.
Millet (Jean-Francois) (1)
If you are interested in purchasing this superb print exemplifying the sublime skills and mannerist
Möbius strip (1)
tendencies of Goltzius, please contact me (oz_jim@printsandprinciples.com) and I will send you
a PayPal invoice to make the payment easy. Moitte (Jean Guillaume) (1)
Monaco (Pietro) (1)
This print has been sold Moncornet (Balthasar) (1)
monocular (2)
Montefiore (1)
Montfaucon (1)
Monvoisin (1)
Moran (Thomas) (1)
Mordant (Daniel Charles Marie) (1)
Morikage (1)
Morikuni (Tachibana) (1)
movement (4)
Muller (1)
Muller (Jan) (2)
Munster (Sebastian) (1)
Muziano (Girolamo) (1)
Namatjira (1)
Nattier (Jean Marc) (1)
negative and positive lines (5)
Negelen (1)
Nelli (Nicola) (1)
Nelli (Nicolò) (1)
Nerly (Friedrich) (1)
Neve (Frans de) (2)
niello (1)
In earlier posts I have featured Goltzius’ engraving of St Simon and St Peter. These prints show nodal point (2)
Goltzius’ amazing skill as an engraver, but this print goes a stage further. Not only does it noetic space (5)
exemplify all of the skills that made him famous (viz. Goltzius' control in engraving parallel curved Nondius (Hendrick) (1)
lines without the use of mechanical aids, his innovatory “dot and lozenge” technique and his fluid Norblin (Jean Pierre) (1)
thickening and thinning of each line to correspond to the contours of forms), but this engraving Nunzer (Andreas) (1)
also exhibits his leaning to manneristic contortions that are termed “Spangerisms” —a term O'Connell (Frédérique Émilie) (1)
arising from the mannered later style of Bartholomeus Spranger (1546–1611).
open and closed space (2)
Oriental principles (2)
Orley (1)
Orlik (1)
Ostade (Adriaen van) (8)
Ostertag (Heinrich Jonas) (1)
Palmer (Samuel) (3)
Panderen (Egbert van) (2)
pantograph (1)
parallel lines (8)
Parasole (Geronima) (1)
Park (1)
Park (John) (2)
Passe (1)
Passe (Crispijn van de) (3)
Passe (Magdalena van de) (1)
Peeters I (Jan) (2)
Pencz (Georg) (4)
Pennequin (Edmond-Jules) (1)
Perelle (3)
peripheral vision (2)
Pernot (François Alexandre) (1)
Perron (Charles) (1)
Peruzzi (Baldassare) (1)
photograph (1)
photoxylograph (1)
Phyica Sacra (1)
Piazzetta (Giovanni Battista) (1)
Picart (4)
pictorial space (20)
Pintz (2)
Pintz. Sadeler (1)
Piranesi (7)
Pirodon (Eugène Louis) (1)
Pitteri (1)
Poggendorff illusion (1)
Poilly I (François de) (1)
Pollaiuolo (1)
Pontius (Paulus) (1)
Pontormo (Jacopo da) (1)
Poussin (5)
Pre-Raphaelite (1)
primordial hunter’s vision (2)
projection (3)
Proust (1)
Prout (1)
Prud"hon (Pierre Paul) (1)
Pujol (Alexandre Denis Abel de) (1)
punctum (2)
Pymble (1)
qi (life force (1)
Quesnel (Augustin) (1)

http://www.printsandprinciples.com/search/label/Goltzius?updated-max=2017-03-20T01:43:00-07:00&max-results=20&start=7&by-date=false 7/27
1/5/2018 Prints and Principles: Goltzius
Queyroy (Armand) (1)
Rab (Georg) (1)
Raimondi (Marcantonio) (7)
Rajon (Paul Adolphe) (1)
Ramondi (Marcantonio) (2)
Raphael (10)
Reede (Hendrik van) (1)
referencing (1)
reflected light (2)
reflective response (1)
reflexive response (5)
Regnault (Jean Baptiste) (1)
Reinhart (Johann Christian) (1)
remarque (2)
Rembrandt (6)
Reni (Guido) (1)
Renout (Lucien) (1)
repoussoir (3)
reproductive print (2)
Rethel (Alfred) (1)
Retinex theory (1)
retroussage (1)
return stroke (4)
rhythm (12)
Ribera (José de) (3)
Riche (Henri Le Riche) (1)
Ridé (1)
Ridinger (5)
Robaut (Alfred) (1)
Robert (Paul Ponce Antoine) (1)
Robert Adam (1)
Robert Preston (1)
Robin (Jean-Baptiste Claude) (1)
Rodermondt (Pieter) (1)
Rodin (4)
Rogers (1)
Roghman (Roelant) (3)
Rohrs (1)
Romano (Giulio) (2)
Roos (2)
Rosa (Salvator) (2)
Rosenmüller (Johann Christian) (1)
Rosetsu (2)
Rosselli (1)
Rota (Martin) (2)
Roton (Gabriel de) (1)
roulette (1)
roundel (1)
Rousseau (Théodore) (1)
Roux (1)
Rubens (7)
Rugendas (Georg Phillipp) (1)
Rugendas (Johann Christian) (1)
Ruijscher (Jan) (1)
Ruisdael (3)
Sabatier Border Line (1)
Sadahide (1)
Sadeler (9)
Sadeler (Aegidius) (13)
Sadeler (Jan) (9)
Sadeler (Marco) (2)
Sadelier (Raphael) (3)
Saenredam (Jan) (3)
Salamanca (Antonio) (1)
Salmon (Alfred) (1)
Sandbach (1)
Sandrart (1)
Sandrart (Joachim von) (1)
Sansom (1)
Sansom (Francis) (1)
Savery (Roelant) (7)
scale (1)
Schabaelje (Jan Philipsz) (1)
Scheuchzer (2)
Scheuchzer (Johann Jakob) (1)
Scheyndel (1)
Schiaminossi (Raffaello) (1)
Schiller (1)
Schmeisser (Jörg) (1)
scholars' stones (2)
Schongauer (2)
Schrödter (Adolph) (1)
Schröter (Johann Friedrich) (1)
Schulgen-Bettendorf (1)
Schut (Cornelis) (2)
Scultori (Adamo) (1)
Scultori (Diana) (1)
Posted by Gordon Brown at 06:35 No comments: Links to this post
Serwouters (Pieter) (1)
Labels: Goltzius
shadow construction (1)

http://www.printsandprinciples.com/search/label/Goltzius?updated-max=2017-03-20T01:43:00-07:00&max-results=20&start=7&by-date=false 8/27
1/5/2018 Prints and Principles: Goltzius
Sunday, 18 December 2016 Sherborn (Charles Willaim) (1)
Shin Hanga (1)
Goltzius’ engraving of St Peter Short (1)
shou (thinness) (2)
Signac (Paul) (1)
silhouette edge (12)
Simon (Frédéric-Émile) (1)
simultaneous contrast (5)
Smaith (Gabriel) (3)
Smith (1)
Smith (John Raphael) (1)
Smith (John) (1)
Social spotlighting (1)
Soft-ground etching (2)
Solis (Virgil) (3)
Somer (Jan van). (1)
sound (4)
Sowerby (1)
Sowerby (James) (1)
spatial depth (20)
spatial zones (5)
Springinklee (1)
squishing and stretching (2)
staffage (1)
Stefanoni (Pietro) (1)
Hendrik Goltzius (1558–1617) Stella (1)
“Saint Peter”, 1589 Stevens (Pieter) (4)
Plate 1 from the series of fourteen small plates: “Christ, the Twelve Apostles and Paul” (see New
stipple engraving (5)
Hollstein 35-48).
Stocks (Lumb) (1)
Stoop (Dirk) (1)
Engraving on fine laid paper trimmed to the image borderline and without the lines of text.
Size (sheet) 20 x 12.8 cm; (plate) 12 x 10 cm (text line removed) Stradanus (Joannes) (10)
Inscribed (towards the lower-left corner): "HGoltzius inuen / et sculptor A.o 1589" Straet (Jan van der) (5)
Strang (1)
The state of the impression is unknown as the text lines are missing which would have revealed Strixner (1)
this information (e.g. state iii has two sets of numbers within the text box). Nevertheless, as this is Strutt (1)
such a crisp impression showing very little wear it is more than likely to be a lifetime impression. style (14)
Suavius (Lambert) (1)
The British Museum offers the following description and information about this print:
Subercaze (Léon) (2)
“Plate 1: St Peter. Half-length and turned to right, hands clasped in prayer, two crossed keys and
Subleyras (Pierre) (1)
a book (Scriptures) in front of him …”
(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx? Swanevelt (4)
objectId=3036307&partId=1&searchText=goltzius+apostles&page=1) Swanevelt (Herman van) (1)
Hirschmann 35; New Hollstein (Dutch & Flemish) 35.I (Hendrick Goltzius); Hollstein 35.III; symbol (1)
Bartsch III.24.44 (These references are those given by the British Museum for a third state symbolism (1)
impression) Tanomura Chikuden (2)
Tempesta (Antonio) (14)
Condition: strong and crisp impression, cut above the text lines and lined onto a conservator’s
Teniers the Younger (David) (1)
support sheet. There is a small loss with restoration at the upper-left and upper-right corners.
Tessier (Louis) (1)
Testa (Giovanni Cesare) (2)
I am selling this famous and original Goltzius engraving for the total cost of AU$268 (currently
US$195.64/EUR187.44/GBP156.78 at the time of this listing) including postage and handling to Testa (Pietro) (4)
anywhere in the world. texture (3)
If you are interested in purchasing this marvellously crisp impression of St Peter with his keys to Tiepolo (Giovanni Domenico) (1)
Heaven, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal Tintoretto (2)
invoice to make the payment easy. Titian (1)
tonal perspective (3)
This print has been sold
tondi (2)
tondo (1)
tou (penetrated) (2)
transition of mark (6)
triangulation (1)
trompe-l'oeil (1)
Turner (4)
Umbach (5)
Uyttenbroeck (Moyses van) (1)
Vaga (Perino del) (1)
Valck (Gerard) (1)
Valentine Green (1)
van de Passe (Crispin) (1)
van Dyck (3)
Van Ostade (1)
van sichem (2)
Van't Padje (1)
Vanitas (2)
veduta (2)
Veen (Otto van) (1)
Velázquez (1)
Velde (Jan van de) (3)
Veneziano (Agostino) (1)
The gift that Goltzius bequeathed to the world is his famous “dotted lozenge” (i.e. a drawing Venne (Adriaen van der) (1)
technique whereby a dot is placed in the diamond/lozenge shape created between cross-hatched Vermeyen (Jan Cornelisz) (1)
lines). This simple technique gave generations of illustrators a subtle way to render tonal
Veronese (5)
gradations so that shading from light to dark could be portrayed almost seamlessly.
Veyrassat (1)
Vico (Enea) (1)
When I look at an engraving like this (and the small size of the print needs to be taken into
account) I am in awe of the skill displayed. Of course Goltzius must have been passionate about viewer response (7)
his craft to devote so much time and discipline into an engraving such as this, but I need to vignette (4)
propose that there is another factor in understanding Goltzius’ ability that I have never seen Villain (François le) (1)
writers discuss: Goltzius’ deformed hand and how well his engraving tool (the burin) fitted his Villamena (Francesco) (4)
hand. Villon (Jacques) (1)
Vinckboons (David) (1)
Visscher (Claes Jansz) (6)

http://www.printsandprinciples.com/search/label/Goltzius?updated-max=2017-03-20T01:43:00-07:00&max-results=20&start=7&by-date=false 9/27
1/5/2018 Prints and Principles: Goltzius
My understanding of the tragic circumstance that led to Goltzius’ hand to being deformed into an Visscher (Cornelis) (1)
ideal shape to control the engraver’s burin was that he fell into a fire when he was a toddler and Visscher (Johannes) (2)
the badly burnt hand was bound in cloth as a way of attending to the burn. Sadly, the tight binding Visscher I (Nicolaes) (1)
of the hand left Goltzius with a permanent deformation. Although I may be misguided to believe
Visscher II (Nicolaes) (3)
that this particular deformation “helped” Goltzius to control the burin by the burin fitting perfectly
visual communication (7)
within the shape of his hand and arguably avoid the debilitating affects arising from continuous
visual dialogue (14)
pressure on the wrist—e.g. Tendinopathy (tendon injury), RSI (repetitive strain injury) and Carpel
Tunnel Syndrome (compression of the median nerve)—it certainly did not hinder him. Vliet (Jan van) (1)
Voes (Walter) (1)
An interesting aspect of Goltzius’ deformed hand is that he used it as a model for many of the Voet II (Alexander) (1)
apostles’ hands shown in the series that this print is a part. Again, my belief that his hand was Vorsterman (Lucas) (2)
used as a model may be incorrect, but looking at Goltzius’ very famous pen drawing of his hand Vorsterman (Lucas); Van Dyck (1)
shown in the sanguine image above and the right hand of St Peter I can see clear similarities. Vorsterman II (Lucas) (2)
(Note: Goltzius’ pen and ink drawing of his hand, which emulates the line attributes of an
Vos (Maarten de) (14)
engraving, is in the collection of the Teyler Museum in Haarlem.)
Vosterman (Lucas) (1)
Vosterman (Lucas). Rubens (1)
Vuillard (1)
W.H.J. Boot (1)
Waleen (F) (1)
Waltner (Charles) (1)
Watanabe Shōtei (1)
Waterloo (4)
Waterloo (Anthonie) (1)
Watteau (1)
Weddell (1)
weight principle (5)
Weirotter (Franz Edmund) (1)
Weltlandschaft (3)
Western lighting convention (16)
Whistler (1)
Wierix (13)
Wierusz-Kowalski (1)
Wijck (Thomas) (1)
Wild (1)
Williams (4)
Wolf (Henry) (1)
Wolgemut (Michel) (1)
wood engraving (3)
Woodblock (18)
woodcut (21)
Yoshitora (Utagawa) (1)
Zeyang Jiang (1)
zhou (wrinkles) (2)
Zoan (Andrea) (1)
Zorn (Anders) (2)
六溪写之 (1)

Followers

Seguidores (46) Siguiente

Seguir

About Me Blog Archive

▼ 2018 (95)
▼ April (27)
Theodoor
Galle’s
engraving,
“Amores
Naturales”
Follow 37 (Na...
Simon Frisius’
View my complete
etching,
profile “Landscape
with a
Windmill...
Cornelis
Bloemaert’s
engraving,
“Ixion”, after
Abr...
Cornelis
Schut’s
etching,
“Four
naked
children
pla...
Jan Collaert
II’s
engraving,
“Ecce
Homo”,
1584–7, ...
Augustin
Hirschvogel
’s etching,
“The Rival
Sacrifi...

http://www.printsandprinciples.com/search/label/Goltzius?updated-max=2017-03-20T01:43:00-07:00&max-results=20&start=7&by-date=false 10/27
1/5/2018 Prints and Principles: Goltzius

A pair of
woodcuts
by Jost
Amman,
featuring
emblem...
Antonio
Tempesta’s
etching
(with
engraving),
“Vach...
Félix Buhot’s
etching
(with
aquatint,
roulette
and...
Crispijn de
Passe the
Elder’s
engraving
(with etch...
Alphonse
Legro’s
etching
(with
drypoint),
“Along t...
Cherubino
Alberti’s (or
from the
circle of
Alberti...
Jean Audran’s
etching
(with
engraving),
“Henri IV ...
Adamo
Scultori’s
engraving,
“Male Nude
Seated on
a...
Adriaen van
Ostade’s
etching,
“Peasant
with his
ha...
Etching by Jan
Ruijscher
and
Anthonie
Waterloo,
“E...
(Attrib.) Jan
Miel’s
etching,
“Virgin and
Christ C...
Utagawa
Kunisada’s
vertical
diptych
colour
woodblo...
Bernard
Picart’s
etching
after a
drawing by
Nicola...
Pieter de Jode
II’s
engraving,“
Venus Orta
Mari”, c...
Jacob
Matham’s
engraving,
“Abraham
casting out
Posted by Gordon Brown at 04:16 No comments: Links to this post Hag...
Labels: Goltzius Nicolaas de
Bruyn’s,
“Two
Wednesday, 8 June 2016 Peacocks
and a
Turkey”, ...
Stefano della
Bella’s
etching,
“Travellers
in a la...
(attributed)
Jan van
Somer’s
mezzotint,
“Cupid
Fig...
Egbert van
Panderen’s
engraving,
“St
Matthew”,
c16...
Timothy Cole’s
wood
(Workshop of) Hendrik Goltzius (1558–1617) engraving,
“Plate 6: The Iron Age”, 1598 “Intimacy”,
1910, a...
From “Metamorphoses Book I”, published by Claes Jansz. Visscher (1587–1652)

http://www.printsandprinciples.com/search/label/Goltzius?updated-max=2017-03-20T01:43:00-07:00&max-results=20&start=7&by-date=false 11/27
1/5/2018 Prints and Principles: Goltzius
Engraving on laid paper on a support sheet paper Utagawa
Size: (support sheet) 18.5 x 26.5 cm; (sheet) 17.1 x 24.9 cm Hiroshige’s
woodblock
print,
Lettered in lower margin with four lines of Latin in two columns by Estius: "Ferreus hinc fremuit ... “Ishibe”,
/ ... Pudore Fides.". Numbered twice in lower corners but the numbering has been partially erased c18...
in this impression.
► March (7)
Hollstein 10-61; 508-559 (after Goltzius); New Hollstein (Dutch & Flemish) 532-551 (Hendrick
Goltzius; Prints after inventions by Goltzius); Bartsch III.104.6 ► February (29)
► January (32)
The British Museum offers the following description of this print:
“allegorical scene with a warrior stands at centre and brandishing a sword, at his feet lies some ► 2017 (337)
discarded armour, a drum and a cannon; after Hendrik Goltzius. 1589” ► 2016 (246)
(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx? ► 2015 (1)
objectId=3102779&partId=1&searchText=Goltzius&page=1)
► 2014 (19)

Condition: marvellous impression trimmed to the borderline edge, but in poor condition. There are ► 2013 (14)
thin areas and a small dot stain but the real issue is the significant restorative support to a large ► 2012 (49)
burnt (?) section on the right side. The sheet has been mounted on a support sheet with a black
borderline.

I am selling this major—but alas damaged—allegorical print from the workshop of Goltzius for a
total cost of AU$166 (currently US$123.96/EUR108.96/GBP85.06 at the time of posting these
print) including postage and handling to anywhere in the world.
If you are interested in purchasing this remarkable engraving from “Metamorphoses Book I”
published in 1598, please contact me (oz_jim@printsandprinciples.com) and I will send you a
PayPal invoice to make the payment easy.

All the elements that I love about Goltzius are revealed in this engraving. For example, the key
hallmarks of the latter style of Goltzius—one of the most skilful and influential of the Dutch
printmakers of the 16th and early 17th centuries—are epitomised in the extreme musculature and
theatrical gestures of the warrior standing “spread eagled” with his lush moustache, elaborate
helmet and (dare I say it) very little else in the way of clothing. These attributes are commonly
known as “Spangerisms”—a term arising from the mannered later style of Bartholomeus
Spranger (1546–1611)—and in this print I can see “special” muscles on the heroic figure’s thigh
that would make anatomists shake their heads in wonder. From a technical viewpoint, there is
also the rendering technique that made Golzius name famous: the “Dotted Lozenge.” This device
is simply a dot placed in between cross-hatched lines so that the transition of tone from dark to
light is facilitated. In terms of its effect in making contours appear fluid and very real, this was a
major advance in the art of engraving and the delicate skill of the engraver(s) who employed the
dotted lozenge technique in this print is stunning.

http://www.printsandprinciples.com/search/label/Goltzius?updated-max=2017-03-20T01:43:00-07:00&max-results=20&start=7&by-date=false 12/27
1/5/2018 Prints and Principles: Goltzius

The curator of the British Museum offers the following insights about the publication of
“Metamorphoses”:

“... a set of fifty-two prints (of an originally planned 300) after Goltzius (Hollstein 508-559). These
plates were originally published in three sets (of respectively twenty, twenty and twelve plates),
each separately numbered and later numbered consecutively (which explains the double
numbering on the plates). The first two sets (i.e. forty plates) were designed by Goltzius around
1589 and the third set around 1615. The plates were engraved in the workshop of Goltzius,
possibly by Jacob Matham, Jan Saenredam, Jan Muller, Jacob de Gheyn II and Pieter de Jode.
Goltzius probably intended to illustrate all fifteen books of Ovid's Metamorphoses but abanded
the project after three books/sets after his trip to Italy in 1590-1591.

These sets were probably originally published by Goltzius himself (see plate 2 which is lettered
'HG excud'; according to Bartsch plate 21 was also originally lettered with Goltzius's address).
Claes Jansz Visscher and Robert Willemsz de Baudous published later editions as their
addresses appear on some of the plates: plates 1 and 21 bear Visscher's address; plate 44 bears
Baudous address.”
(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?
objectId=3058683&partId=1&searchText=1947,0412.3.1&page=1)

Posted by Gordon Brown at 05:39 No comments: Links to this post

Labels: Goltzius

Sunday, 7 April 2013

Two-colour & three-colour images: Clouet, Watteau, Julien

& Zeyang Jiang

What are some approaches to using colour for portraying form?

There is a long tradition in drawing extending back at least to the sixteenth century
with artists like Jean Clouet (c.1475/85–1540) of using black and sanguine chalks on a
buff coloured ground, as can be seen in Clouet’s study, Portrait of a Woman
[Queen
Marguerite of Navarre?] (shown below). Here, Clouet’s refinement of using a touch of
colour to this otherwise grey drawing adds colour warmth and full-blooded life to the
portrait. Colouet’s subtle use of colour is also matched by his sensitivity in applying the
chalk, as Perrin Stein (curator of the 2005 exhibition at the British Museum, French
Drawings: Clouet to Seurat ) insightfully explains:
Clouet's style is characterized by a delicate handling of the chalk; the planes of the face
are typically modelled in soft diagonal hatching, from upper right to lower left, blending
black and red to produce naturalistic flesh tones, effects that have been compared to
the sfumato of Leonardo. In addition, the British Museum drawing uses graining—a
manner of shading with chalk that exploits the texture of the paper to create a half-tone
—for the shadows beneath the jawline, the nostrils and the lips.

http://www.printsandprinciples.com/search/label/Goltzius?updated-max=2017-03-20T01:43:00-07:00&max-results=20&start=7&by-date=false 13/27