In s3e24, host Ann Shafer speaks with Steve Goddard, curator emerita from the Spencer Museum of Art at the University of Kansas in Lawrence. Steve’s specialty is prints of northern Europe (1450–present), although he has been known to stray into the graphic arts of the World War One era, as well as prints that sit at the intersection of art and the biological sciences. I’m sharing some of his favorite prints here. A beloved educator, Steve has inspired generations of students with his engaging and insightful approach to teaching. His connoisseurship and history of prints classes are legendary. Platemark listeners will have heard several guests remark on Steve’s passion and energy for print lore. In fact, he is that particular professor for many people—the one that got them into art history. Now retired and living in Estes Park, CO, Steve continues to research and write on favorite topics, and he is making prints himself.     Steve Goddard and Dick Field deeply looking at John Martin’s The Assuaging of the Waters, 1840, at the Legion of Honor Museum, Fine Arts Museums of San Francisco, during a Print Council of America conference, 2018. Photo by Nadine Orenstein. After Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1559. Engraving. Sheet (trimmed to platemark): 113 x 73 mm. (4 7/16 x 2 7/8 in.). Spencer Museum of Art, University of Kansas, Lawrence. Marcantonio Raimondi (Italian, c. 1470 or 1482–1534), after Albrecht Dürer (German, 1471–1528). The Angel Brings the Message to Joachim, from the series Life of the Virgin, 1506. Engraving. Sheet (trimmed to platemark): 196 x 216 mm. (11 5/8 x 8 ½ in.). Spencer Museum of Art, University of Kansas, Lawrence. Hendrick Goltzius (Dutch, 1558–1617). The Circumcision, from the series The Birth and Early Life of Christ, 1594. Engraving. Plate: 18 1/4 x 13 13/16 in. (464 x 351 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Circumcision, from the series The Life of the Virgin, c. 1504. Woodcut. Sheet: 17 3/16 x 11 15/16 in. (437 x 303 mm.); image: 11 11/16 x 8 1/8 in. (297 x 206 mm.). Metropolitan Museum of Art, New York. Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Etching and engraving. Sheet (trimmed within platemark): 17 3/8 × 12 5/16 in. (441 × 312 mm.). Metropolitan Museum of Art, New York. Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Oil on wood transferred to canvas. 248 x 170 cm. (97 1/5 x 66 in.). Vatican Art Pinacoteca, Vatican City. Melchior Lorck (German, 1527–after 1583). The Mole, 1548. Engraving. Sheet (trimmed to platemark): 710 x 106 mm. Helmut Rumbler, Frankfurt. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Ixion, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 5/8 x 13 7/16 in. (34.6 x 34.1 cm). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Icarus, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 7/16 x 13 1/4 in. (34.2 x 33.7 cm). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Phaeton, from the series The Four Disgracers, 1588. Engraving. Sheet: 335 x 335 mm (13 3/16 x 13 3/16 in.). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Tantalus, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 1/4 x 13 1/4 in. (33.6 x 33.6 cm). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). St. Jerome in His Study, 1514. Engraving. Sheet (trimmed to platemark): 241 x 186 mm. (9 ½ x 7 5/16 in.). Spencer Museum of Art, University of Kansas, Lawrence. Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 245 x 189 mm. (9 5/