See also:WENZEL See also:HOLLAR
or See also:WENCESLAUS [VACLAF HoLAR] (1607–1677), Bohemian etcher, was See also:born at See also:Prague on the 13th of See also:July 1607, and died in See also:London, being buried at St See also:Margaret's See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church, See also:Westminster, on the 28th of See also:March 1677
.
His See also:family was ruined by the See also:capture of Prague in the See also:Thirty Years' See also:War, and See also:young See also:Hollar, who had been destined for the See also:law, determined to become an artist
.
The earliest of his See also:works that have come down to us are dated 1625 and 1626; they are small plates, and one of them is a copy of a Virgin and See also:Child by See also:Durer, whose See also:influence upon Hollar's See also:work was always See also:great
.
In 1627 he was at See also:Frankfort, working under See also:Matthew See also:Merian, an etcher and engraver; thence he passed to See also:Strassburg, and thence, in 1633, to See also:Cologne
.
It was there that he attracted the See also:notice of the famous See also:amateur See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
Thomas, See also:earl of See also:Arundel, then on an See also:embassy to the imperial See also:court; and with him Hollar travelled to See also:Vienna and Prague, and finally came in 1637 to See also:England, destined to be his See also:home for many years
.
Though he lived in the See also:household of See also:Lord Arundel, he seems to have worked not exclusively for him, but to have begun that See also:slavery to the publishers which was afterwards the normal See also:condition of his See also:life
.
In his first See also:year in England he made for Stent, the printseller, the magnificent View of See also:Greenwich, nearly a yard See also:long, and received thirty shillings for the See also:plate,—perhaps a twentieth See also:part of what would now be paid for a single See also:good impression
.
Afterwards we hear of his fixing the See also:price of his work at fourpence an See also:hour, and measuring his See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time by a sandglass
.
The See also:Civil War had its effect on his fortunes, but none on his See also:industry
.
Lord Arundel See also:left England in 1642, and Hollar passed into the service of the See also:duke of See also:York, taking with him a wife and two See also:children
.
With other royalist artists, notably Inigo See also:- JONES
- JONES, ALFRED GILPIN (1824-1906)
- JONES, EBENEZER (182o-186o)
- JONES, ERNEST CHARLES (1819-1869)
- JONES, HENRY (1831-1899)
- JONES, HENRY ARTHUR (1851- )
- JONES, INIGO (1573-1651)
- JONES, JOHN (c. 1800-1882)
- JONES, MICHAEL (d. 1649)
- JONES, OWEN (1741-1814)
- JONES, OWEN (1809-1874)
- JONES, RICHARD (179o-1855)
- JONES, SIR ALFRED LEWIS (1845-1909)
- JONES, SIR WILLIAM (1746-1794)
- JONES, THOMAS RUPERT (1819– )
- JONES, WILLIAM (1726-1800)
Jones and See also:Faithorne, he stood the long and eventful See also:siege of Basing See also:House; and as we have some See also:hundred plates from his See also:hand dated during the years1643 and 1644 he must have turned his enforced leisure to good purpose
.
Taken prisoner, he escaped or was released, and joined Lord Arundel at See also:Antwerp, and there he remained eight years, the See also:prime of his working life, when he produced his finest plates of every See also:kind, his noblest views, his miraculous " muffs " and " shells," and the superb portrait of the duke of York
.
In 1652 he returned to London, and lived for a time with Faithorne the engraver near See also:Temple See also:Bar
.
During the following years were published many books which he illustrated:—See also:Ogilby's See also:Virgil and See also:Homer, Stapylton's See also:Juvenal, and See also:Dugdale's See also:Warwickshire, St See also:Paul's and Monasticon (part i.)
.
The booksellers continued to impose on the See also:simple-minded foreigner, pretending to decline his work that he might still further reduce the wretched price he charged them
.
Nor did the Restoration improve his position
.
The court did nothing for him, and in the great See also:plague he lost his young son, who, we are told, might have rivalled his See also:father as an artist
.
After the great See also:fire he produced some of his famous " Views of London "; and it may have been the success of these plates which induced the See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king to send him, in 1668, to See also:Tangier, to draw the See also:town and forts
.
During his return to England occurred the desperate and successful engagement fought by his See also:ship the " See also:Mary See also:Rose," under See also:Captain Kempthorne, against seven Algerine men-of-war,--a brilliant affair which Hollar etched for Ogilby's See also:Africa
.
He lived eight years after his return, still working for the booksellers, and retaining to the end his wonderful See also:powers; See also:witness the large plate of See also:Edinburgh (dated 167o), one of the greatest of his works
.
He died in extreme poverty, his last recorded words being a See also:request to the bailiffs that they would not carry away the See also:bed on which he was dying
.
Hollar's variety was boundless; his plates number some 2740, and include views, portraits, See also:ships, religious subjects, heraldic subjects, landscapes, and still life in a hundred different forms
.
No one that ever lived has been able to represent See also:fur, or shells, or a butterfly's wing as he has done
.
His architectural drawings, such as those of Antwerp and Strassburg cathedrals, and his views of towns, are mathematically exact, but they are pictures as well
.
He could reproduce the decorative works of other artists quite faultlessly, as in the famous See also:chalice after See also:Mantegna's See also:drawing
.
His Theatrum mulierum and similar collections reproduce for us with literal truth the outward aspects of the See also:people of his See also:day; and his portraits, a See also:branch of See also:art in which he has been unfairly disparaged, are of extraordinary refinement and See also:power
.
Almost See also:complete collections of Hollar's works exist in the See also:British Museum and in the library at See also:Windsor See also:Castle
.
Two admirable catalogues of his plates have been made, one in 1745 (2nd ed
.
1759) by See also:George See also:Vertue, and one in 1853 by Parthey
.
The latter, published at See also:Berlin, is a See also:model of See also:German thoroughness and accuracy
.
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