Hollar

Wenceslaus Hollar after Titian
Portrait of writer Pietro Aretino
1647
etching
Graphische Sammlung, ETH Zürich

Wenceslaus Hollar after Titian
Portrait of writer Pietro Aretino
1649
etching
Staatliche Graphische Sammlung, Munich

Wenceslaus Hollar after Titian
Portrait of scholar Daniele Barbaro
1650
etching
Staatliche Graphische Sammlung, Munich

Wenceslaus Hollar after Parmigianino
Study of Head with Ornamental Helmet
1645
etching
Museum für Angewandte Kunst, Vienna

Wenceslaus Hollar after Parmigianino
Study of Head with Ornamental Helmet
1645
etching
Museum für Angewandte Kunst, Vienna

Wenceslaus Hollar after Anthony van Dyck
Portrait of Alethea Talbot, Countess of Arundel
1646
etching
Graphische Sammlung, ETH Zürich

Wenceslaus Hollar after Anthony van Dyck
Portrait of Thomas Howard, Earl of Arundel
1639
etching and engraving
Národní Galerie, Prague

Wenceslaus Hollar
Portrait of Catherine Howard,
granddaughter of the Earl of Arundel 
ca. 1646-48
etching
Graphische Sammlung, ETH Zürich

Wenceslaus Hollar
Portrait of Hendrik van der Borcht the Younger
in Holbein costume
(artist in service to the Earl of Arundel)
1646
etching and drypoint
Graphische Sammlung, ETH Zürich

Wenceslaus Hollar
Portrait of artist Anna Francisca de Bruyns
1648
etching
Staatliche Graphische Sammlung, Munich

Wenceslaus Hollar after Anthony van Dyck
Portrait of artists Lucas and Cornelis de Wael
1646
etching
Graphische Sammlung, ETH Zürich

Wenceslaus Hollar after Anthony van Dyck
Portrait of Margaret Lemon
(mistress of Anthony van Dyck)
1646
etching
Graphische Sammlung, ETH Zürich

Wenceslaus Hollar
Posthumous Portrait of Thomas Wentworth,
1st Earl of Strafford
ca. 1650
etching
Staatliche Graphische Sammlung, Munich

Wenceslaus Hollar
Posthumous Portrait of Charles I,
King of England
ca. 1650
etching
Staatliche Graphische Sammlung, Munich

Wenceslaus Hollar
Woman wearing Houpette
ca. 1640
etching
Graphische Sammlung, ETH Zürich

Wenceslaus Hollar
Woman wearing Houpette
1643
etching
Graphische Sammlung, ETH Zürich

Pelasgus:  You seem to me to have an ancient stake in this land. But what made you bring yourselves to leave your father's home? What misfortune fell upon you? 

Chorus:  Lord of the Pelasgians, human sufferings are ever-changing. and wherever you look you will never see trouble showing the same face. Who ever supposed that I would take to flight like this, against all expectation, and land at Argos, rejecting with disgust a marriage-tie with my close kindred through loathing of the marriage bed?

Pelasgus:  Why do you say you are supplicating me in the name of these Assembled Gods, holding these fresh-plucked white-wreathed boughts?  

Chorus:  So that I may not become a slave to the sons of Aegyptus.

Pelasgus:  Is this because of hatred, or are you talking about something wrongful?

Chorus:  Who would love someone whom she was buying as an owner?* 

Pelasgus:  That is how people increase their strength.**

Chorus:  Yes, and when they fall into misfortune they're easily got rid of. 

Pelasgus:  Well then, how can I act piously towards you?

Chorus:  By not giving us back into the hands of Aegyptus' sons when they demand us. 

– Aeschylus, from Suppliants (ca. 470-460 BC), translated by Alan H. Sommerstein (2008)

*for this equation of marriage with slavery, cf. Euripides, Medea – "we have to buy a husband at a high price and take him as absolute master of our person"

**the Danaids have in effect rejected the principle of Greek social organization that marriage is the transfer of a woman, object-like, from one family to another: Pelasgus replies with the conventional wisdom – that arranged marriages enable families to build up alliances and strengthen their social position