The New Hollstein Dutch & Flemish series was launched in the 1990s with the aim of updating and perfecting the information contained in the old volumes of the Hollstein Dutch & Flemish series that Friedrich Hollstein himself compiled until his death in 1957. The improvements of the Hollstein series in recent years made the shortcomings of the early volumes unacceptable. Only about one-quarter of the catalogued prints were illustrated in them. This alone was enough to make the early volumes obsolete. Moreover, all the serious users agree that the information they contain is often incomplete and sometimes inaccurate. The higher standards of research, including extensive travelling by compilers resulting in fewer lacunae, the policy of reproducing nearly every entry, the addition of much information to the entries, are among the evident merits of the new volumes. It has been decided not to work alphabetically, but to develop a publishing schedule combining filling in clear desiderata while offering a multi-facetted line of products. This has led to publications on outstanding engravers, such as Lucas van Leyden and Cornelis Cort. Another line of inquiry involves key figures from the Dutch Mannerist movement, with publications on Karel van Mander and Jacques de Gheyn II. A parallel series of publications is being planned for the Southern Netherlandish school of the sixteenth century, an area and a period particularly poorly covered in the old volumes: Gerard van Groeningen is one of the first masters of choice due to his omission in the earlier Hollstein. The editors share the view of the new generation of scholars that the role of the designers has long been played down in assessing the authorship of a print. Major designers in the history of printmaking are individually treated, with the volumes on Anthony van Dyck as an example for the seventeenth century. One of our latest publication is on the never completely reproduced works of Peeter van der Borcht.