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Print
Report itemEngraver:
Lucas Van Deutichum (active around 1559)
The brothers Jan and Lucas left Deventer for Antwerp, where they worked for the great publishers Hieronymus Cock and Gerard de Jode. They etched landscapes after Pieter Bruegel the Elder and the so-called Master of the Small Landscapes, ornamental designs after Cornelis Floris and Hans Vredeman de Vries, maps for Cock, De Jode and Abraham Ortelius etc. The Van Doetecum brothers had developed a special technique of etching, so closely resembling the quality of engraving that their prints have been frequently described as engravings. Contemporaries most valued their technique through which the Van Doetecums were able, with a minimum of effort, to imitate engraving and to produce a smooth gradation of tone. Until recent times art historians paid little attention to the brothers who were considered ‘reproduction engravers’, but since the studies of Oberhuber, Mielke and Riggs they are considered to be original and important graphic artists. After the death of Lucas in the early eighties of the sixteenth century Jan returned to the northern Netherlands, where he then worked with his sons Jan the Younger and Baptista. Jan engraved important maps, such as the sea charts for Lucas Waghenaer’s Spieghel and Thresoor der Zeevaert and the maps after Petrus Plancius (1592), which were so important to the Dutch explorers. The Van Doetecum family also made the illustrations for the famous itineraries of Jan Huygen van Linschoten, Gerrit de Veer and Olivier van Noort. Moreover the Van Doetecums built up an important own stock of maps, history prints and art prints. In his native town Deventer Jan made some highly interesting anti-catholic prints.
Inventor
Gerard van Groeningen (active 1561-1575)
Groeningen is one of the lesser known print designers active in Antwerp in the second half of the sixteenth century. A reconstruction of his work has become possible after pioneering work by the late Hans Mielke (1995). The catalogue offered here is based on Mielke’s contributions, offering the latest of his research. In particular, quite a number of fascinating state differences are offered here for the first time. These shed light on the reception of Groeningen’s rather stark figural formulas that clearly place him among the antwerp Romanists such as Frans Floris by a more classical orientated audience. His apparently close relation with authors as Benito Arias Montanus, publishers as Philips Galle, Gerard de Jode, Plantin and engravers as the Wierixes, place Van Groeningen at the heart of the then flowering Antwerp print publishing business. Incidentally, Van Groeningen as an etcher in his own right receives his belated first coverage within the Hollstein series. As a cross-reference Groeningen, see: Paludanus (H. viii, p. 180) was subject to an oversight when working on the letter P in the alphabet.
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