The New Hollstein Dutch & Flemish Etchings, Engravings and Woodcuts 1450-1700

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The New Hollstein Dutch & Flemish Etchings, Engravings and Woodcuts 1450-1700 , book cover

The New Hollstein Dutch & Flemish Etchings, Engravings and Woodcuts 1450–1700 is a series of catalog raisonnés published since 1993 byDutch and Flemish graphic artists from the 15th to 17th centuries. The series is the successor to thecatalog series Hollstein's Dutch & Flemish Etchings, Engravings and Woodcuts approx. 1450–1700, foundedby Friedrich Wilhelm Hollstein and published in 72 volumes from 1948 to 2010. The series consists of monographs on the overall graphic works of individual artists, which mostly appear in several connected volumes and describe each individual work in illustrations and texts.

Forerunner: Hollstein's Dutch & Flemish Etchings, Engravings and Woodcuts approx. 1450–1700

From 1948 to 2007, Hollstein's Dutch & Flemish Etchings, Engravings and Woodcuts approx. 1450–1700 appeared in 71 volumes , to which a register volume was added in 2010. These catalogs of works represented the state of research when they were published. They were considered standard works for Dutch and Flemish graphics for almost half a century and were widely used in museums, galleries, art historical research and the art trade. Most of the volumes are still available.

From the perspective of the early 21st century, the early volumes have serious shortcomings. They are far from the current state of research. The catalogs of works were often drawn up with disregard for major collections in the United States, and the European collections containing good prints were not indicated. The number of known states has multiplied in individual cases, and some works have been rediscovered or ascribed to another artist in the decades since Hollstein's Dutch was published. Three quarters of the works are not illustrated at all, and the majority of the images available are of such poor quality that they can only be used to identify a print. After the death of Friedrich Wilhelm Hollstein in 1957, the publication of the series almost came to a standstill for about ten years. By Karel G. Boon , then curator and later director of the Rijksprentenkabinet , the series was continued. The demands were significantly increased. The two Rembrandt volumes compiled by Boon and Christopher White from 1969 first contained information on the plate tone and the printing material used.

The New Hollstein Dutch & Flemish Etchings, Engravings and Woodcuts approx. 1450-1700

The new series, long awaited in the professional world, helped the criticism of its predecessor. In the middle of the 20th century, it was often considered sufficient to study the collections of a few museums in Europe to create a complete graphic work. Today, the global recording of public and private collections is required, which is made possible by improved travel options, digital photography and modern telecommunications. The significantly improved technical aids for analyzing historical prints allow a much more detailed examination of the works. In particular, with a few exceptions, the New Hollstein Dutch not only depicts all works, but also all known conditions in excellent quality. For the first time, systematic in-depth examinations of the watermarks and the types of paper used, as well as analyzes of damage and retouching of the printing plates, were carried out. As a result, numerous works could be re-dated and in many cases relationships between individual works or their artists could be identified.

While the first Hollstein's Dutch tried to list the complete works of the artists in alphabetical order according to their names, and followed Adam Bartsch's numbering in the volumes , the New Hollstein Dutch endeavored to bundle them thematically. There are a number of works by outstanding engravers such as Lucas van Leyden and Cornelis Cort , a number with Dutch mannerists such as Karel van Mander , Jakob de Gheyn II and Hendrick Goltzius , and a number of the Flemish artists of the 16th century neglected in Hollstein's Dutch like Gerard van Groeningen . In line with the increased appreciation for designers in art historical research, artists such as Anthony van Dyck and Johannes Stradanus are also included in their own volumes. The individual volumes dispense with the Bartsch numbers and arrange the artist's prints chronologically according to the year of origin.

The catalog entries briefly mention the catalog number, the work title, the year and information such as the technology used, the dimensions of the plate and the details of the signature. This is followed by information on each individual condition: description of the picture or deviations from the previous condition (this can also be the addition of just two small dots), owning collections with details of the inventory numbers and details of the individual prints such as owner's mark, paper used and occasionally references to literature on individual prints . After this information on the conditions, the catalog numbers of other work directories since Bartsch are given and the literature on the work is listed. This is followed by information on the provenance of the copper plate and the watermarks of the individual states, where possible with an indication of the year. The final list of known copies includes details such as the name of the copyist, technique and format.

The depth of the content naturally affects the scope of the work. The seven volumes on the graphic work of Rembrandt van Rijn , written by Erik Hinterding and Jaco Rutgers, comprise two volumes of text, three panel volumes with images of all cataloged etchings in all states and two volumes with images of copies of more than 2,200 pages. The first row managed in 1969 with one text and one table volume. The numbering of the New Hollstein is the standard in the professional field today, it has replaced the Bartsch numbers introduced in the late 18th century.

Volumes

Individual evidence

  1. ↑ a b c d Jan Piet Filedt Kok, Robert Fucci: Book review. Erik Hinterding and Jaco Rutgers (compilers) and Ger Luijten (editor), The New Hollstein Dutch and Flemish etchings, engravings and woodcuts 1400–1700, Rembrandt . In: Simiolus. Netherlands Quarterly for the History of Art . tape 37 , no. 2 , p. 141–149 , JSTOR : 24364759 (English, hollstein.com [PDF; 510 kB ] 2013/14).
  2. ↑ a b c Nadine Orenstein: Rembrandt. The New Hollstein Dutch & Flemish Etchings, Engravings and Woodcuts 1450-1700 . Review. In: The Burlington Magazine . tape CLVI , 2014, p. 675–676 (English, hollstein.com [PDF; 188 kB ]).
  3. ^ A b c d Peter Parshall: The New Hollstein: Dutch & Flemish Etchings, Engravings and Woodcuts 1450-1700: Lucas van Leyden by Jan Piet Filedt Kok; Bart Cornelis; Anneloes Smits; Ger Luijten . Review. In: Simiolus. Netherlands Quarterly for the History of Art . tape 25 , no. 2/3 , 1997, p. 236-238 , JSTOR : 3780887 (English).
  4. ↑ a b c The New Hollstein Dutch & Flemish Etchings, Engravings and Woodcuts 1450 - 1700. Sound & Vision publishers, accessed April 9, 2020 .
  5. ↑ Editorial. The (New) Hollstein catalogs . In: The Burlington Magazine . tape CLVI , no. 1339 , 2014, p. 639 (English, hollstein.com [PDF; 36 kB ]).