Background
Hollar was born on July 13, 1607 in Prague, Czech Republic. His family was ruined by the Sack of Prague in the Thirty Years' War.
Hollar was born on July 13, 1607 in Prague, Czech Republic. His family was ruined by the Sack of Prague in the Thirty Years' War.
Hollar, who had been destined for law, decided to become an artist.
The earliest of his 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 Child" by Dürer, whose influence upon Hollar's work was always great. In 1627 he was in Frankfurt where he was apprenticed to the renowned engraver Matthäus Merian. In 1630 he lived in Strasbourg, Mainz and Koblenz, where Hollar portrayed the towns, castles, and landscapes of the Middle Rhine Valley. In 1633 he moved to Cologne. It was in 1636 that he attracted the notice of the famous nobleman and art collector Thomas Howard, 21st Earl of Arundel, then on a diplomatic mission to the imperial court of Emperor Ferdinand II. Employed as a draftsman, he travelled with Arundel to Vienna and Prague. In Cologne in 1635, Hollar published his first book. In 1637 he went with Arundel to England, where he remained in the earl's household for many years. Though he lived in the household of Lord Arundel, he seems to have worked not exclusively for him, but to have begun that slavery to the publishers which was afterwards the normal condition of his life. In his first year in England he made for Stent, the printseller, the magnificent View of Greenwich, nearly a yard long, and received thirty shillings for the plate, perhaps a twentieth part of what would now be paid for a single good impression. Afterwards we hear of his fixing the price of his work at fourpence an hour, and measuring his time by a sandglass. The Civil War had its effect on his fortunes, but none on his industry. Lord Arundel left England in 1642, and Hollar passed into the service of the duke of York, taking with him a wife and two children. With other royalist artists, notably Inigo Jones and Faithorne, he stood the long and eventful siege of Basing House; and as we have some hundred plates from his hand dated during the years 1643 and 1644 he must have turned his enforced leisure to good purpose. Taken prisoner, he escaped or was released, and joined Lord Arundel at Antwerp, and there he remained eight years, the prime of his working life, when he produced his finest plates of every 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 Temple Bar. During the following years many books were published which he illustrated: Ogilby's Virgil and Homer, Stapylton's Juvenal, and Dugdale's Warwickshire, St Paul's and Monasticon (part one). His income fell as booksellers continued to decline his work, and the Court did not purchase his works following the Restoration. The booksellers continued to impose on the 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 plague he lost his young son, who, we are told, might have rivalled his father as an artist. After the great fire he produced some of his famous "Views of London"; and it may have been the success of these plates which induced the king to send him, in 1668, to Tangier, to draw the town and forts. During his return to England occurred the desperate and successful engagement fought by his ship the "Mary Rose, " under Captain Kempthorne, against seven Algerine men-of-war - a brilliant affair which Hollar etched for Ogilby's Africa. He lived eight years after his return, still working for the booksellers, and retaining to the end his wonderful powers; witness the large plate of Edinburgh (dated 1670), one of the greatest of his works. He died in extreme poverty, his last recorded words being a request to the bailiffs that they would not carry away the bed on which he was dying. Hollar's variety was boundless; his plates number some 2740, and include views, portraits, ships, religious subjects, heraldic subjects, landscapes, and still life in a hundred different forms. No one that ever lived has been able to represent 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 chalice after Mantegna's drawing. His Theatrum mulierum and similar collections reproduce for us with literal truth the outward aspects of the people of his day; and his portraits, a branch of art in which he has been unfairly disparaged, are of extraordinary refinement and power.
On July 4, 1641 Hollar married a servant of the Countess of Norfolk. Her name was Tracy; they had two children.