Goltzius, Hendrik, The Bearing of the Cross (from the Passion) [B. 35; St. 353]

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Hendrik Goltzius, Engraving, The Bearing of the Cross (from the Passion) [B. 35; St. 353]

Goltzius Engraving Signed, The Bearing of the Cross (from the Passion) [B. 35; St. 353]

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Artist:	Goltzius, Hendrik (1558 - 1617)
Title:	The Bearing of the Cross (from the Passion) [B. 35; St. 353]
Medium:	Original Engraving
Image Size:	7 3/4 in x 5 in (19.7 cm x 12.7 cm)
Sheet Size:	7 7/8 in x 5 1/8 in (20 cm x 13 cm)
Framed Size:	25 3/8 in x 22 1/2 in (64.5 cm x 57.15 cm)
Signed:	Featuring the monogram signature of Hendrick Goltzius (Muhlbracht, 1558- Haarlem, 1617), 'HG' in the lower left. Engraved, '9,' is also featured in the lower left
Edition:	First state impression
Condition:	In excellent condition, a bold, crisp lifetime impression
Price Item# 2117	$5,000 Submit Best Offer We'd love to hear from you at (510) 777-9970 / 1-800-805-7060. In fact, we're waiting for you to call!

Historical Description:
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Created in 1598, this stunning work by Hendrick Goltzius (Muhlbracht, 1558- Haarlem, 1617)is one out of a series from the Engraved Passion. Featuring exquisite detail and mastery of the engraved technique, The Bearing of the Cross is brim with emotion, movement and even excitement. The bustling energy of the crowd following Christ’s journey with the cross is evoked by Goltzius to the viewer. The entire composition of the work is directed from the left to the right, making this piece a perfect snapshot from this sequence in the Passion. PROVENANCE: Pierre Mariette, 1674 (Lugt 1788) Deaccessioned from the Collection of the Albertina Museum \| Vienna, Austria Catalogue Raisonné & COA: This Goltzius engraving is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work) : 1. The Illustrated Bartsch 3, Netherlandish Artists: Hendrik Goltzius (1980) . Strauss, W. (Ed.) . Abaris Books: New York. Listed and illustrated as catalogue raisonné no. 27 on pg. 34. 2. Lugt, F. (1921) . Les Marques de Collections de Dessins & d’Estampes. Vereenigde Drukkerijen: Amsterdam. Collector’s stamp + notation of previous collection illustrated and detailed on pg. 321 as catalogue raisonné no. 1788. About the Framing: The Bearing of the Cross has received full archival treatment in its framing to ensure the quality and longevity of the piece. It is encased in a Baroque-style bronze and gold frame with gilded detail inspired by floral motifs. Mounted on white, linen-wrapped mats with a matching gold inner fillet, the work is set behind an archival Plexiglas® cover.
Style:	Old Master
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Biography of Hendrik Goltzius

Hendrick Goltzius, the most important Dutch artist of his generation and a founder of the seventeenth-century Haarlem school, was born in Muhlbracht in 1558. After learning the trade of glass painting from his father, Jan II Goltz, Hendrick studied with Dirck Volckertsz. Coornhert in Xanten, who taught him the art of engraving. In 1577, Goltzius settled in Haarlem, where he made numerous reproduced engravings for the Antwerp publisher Philip Galle, and by 1582 had established a flourishing atelier in which prints of his own invention were also made and published.

In 1583, the Flemish painter-theoretician Carel van Mander arrived in Haarlem, and introduced Goltzius to the work of the Flemish artist Bartholomaeus Spranger (1546-1611). Goltzius was quickly seduced by Spranger's flamboyant mannerist style, and not only made many prints after his works, but also began to incorporate Spranger's elegantly attenuated figures and violent foreshortenings into his own engravings.

In 1590, Goltzius travelled to Italy, where he studied ancient sculpture and paintings of the High Renaissance masters in Rome, Florence, Venice and Bologna. Upon his return to Haarlem the following year, Goltzius abandoned his earlier mannerist mode, turning instead to the more normative, classic forms of the Italian and Northern Renaissance, a change which would prove decisive for the rest of his career. Around the turn of the century, Goltzius exchanged his engraver's tools for the painter's brush, in part due to failing eyesight after years of close work with the burin, but also in response to the theory of his friend van Mander, who held painting above the graphic arts. Goltzius's paintings are relatively rare. Approximately fifty autograph works are known, and all date from between c.1600 and 1617, the year of the artist's death.

Drawings, engravings and paintings by Goltzius can be found in many major institutions around the world.