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MARCH 2013 O.Xxno PQ-COVER 2013.403_PQ-COVER MASTER-2007 05/11/2012 10:34 Page 1 P Q PRINT QUARTERLY MARCH 2013 Vol. XXX No. 1 March 2013 VOLUME XXX NUMBER 1 PQ.JAN13.IFC and IBC_Layout 1 31/01/2013 16:22 Page 1 DAVID TUNICK, INC. PRINTS & DRAWINGS Lucas Van Leyden (1494-1533), The Conversion of Saint Paul, 1509, engraving with hand-coloring, Hollstein 107 TEFAF Maastricht Stand 371 MARCH 15 - 24, 2013 19 East 66th Street New York, NY 10065 Tel 212-570-0090 Fax 212-744-8931 [email protected] www.tunickart.com PQ.MAR2013_Layout 1 31/01/2013 15:28 Page 1 PRinT QuARTeRLy VoLume XXX numBeR 1 mARch 2013 contents Alessandro Gandini: uncovering the identity of a chiaroscuro Woodcutter 3 jAn johnson The Print drawer of the coaci inkstand 14 jAne immLeR sATkoWski Gyre and Gimble: The Artist Books of Takei Takeo (1894–1983) 23 RAcheL sAundeRs shorter notices Rembrandt’s Reclining Nude Reconsidered 39 eLmeR koLfin Whatever is coveted will be forged – 44 forgers set Their sights on contemporary Prints huBeRTus BuTin notes 54 catalogue and Book Reviews Antonio Lafreri’s Religious Prints 87 The strobridge company’s circus Posters 99 eckhARd LeuschneR nAncy finLAy The Business of Prints in 90 Peter Blake: one man show 103 Amsterdam’s Golden Age Ben ThomAs jAco RuTGeRs markus Raetz 106 Pierre Lepautre (1652–1716) 93 LAuRen LAz PeTeR fuhRinG Print/out: 20 years in Print 109 Roni feinsTein The efflorescence of french 96 and english caricature Paula Rego 112 jAmes cuno sue huBBARd PQ.MAR2013_Layout 1 31/01/2013 15:28 Page 2 editor Rhoda eitel-Porter Administrator sub-editor jocelyne Bancel Virginia myers editorial Board clifford Ackley Pat Gilmour jean michel massing david Alexander Antony Griffiths mark mcdonald judith Brodie craig hartley nadine orenstein michael Bury martin hopkinson Peter Parshall Paul coldwell Ralph hyde maxime Préaud marzia faietti david kiehl christian Rümelin Richard field fritz koreny michael snodin celina fox david Landau ellis Tinios david freedberg Ger Luijten henri zerner Giorgio marini members of Print Quarterly Publications Registered charity no. 1007928 chairman Antony Griffiths* david Alexander* michael kauffmann nicolas Barker* david Landau* david Bindman* christopher Lennox-Boyd Graham Brown jane martineau* fabio castelli marylin Perry douglas druick Tom Rassieur Rhoda eitel-Porter* Pierre Rosenberg jan Piet filedt kok Alan stone david freedberg dave Williams George Goldner henri zerner samuel josefowitz *directors Between november 1984 and november 1987 Print Quarterly was published in association with the j. Paul Getty Trust. donors to the Print Quarterly Appeal Anonymous donors furio de denaro Alberto milano The Artemis Group Pat Gilmour montreal Print collectors’ society frank Auerbach hill-stone felix Pollak david and frances Bindman james and clare kirkman The Arcana foundation j. Bolten Leon kossoff Ruth and jacob kainen fondation custodia ifPdA Reba and dave Williams © Print Quarterly Publications. All rights reserved. issn 0265–8305. Printed by henry Ling Limited, The dorset Press, dorchester, dorset. editorial office: 10 chester Row, London sW1W 9jh. Tel. +44 (0)20 7259 0952, fax. +44 (0)20 7259 0959, email: [email protected] for subscriptions and advertising rates please contact the editorial office at the above address cover: detail from The Printmaker’s Workshop attributed to hans collaert after jan van der straet, called stradanus PQ.MAR2013_Layout 1 31/01/2013 15:28 Page 3 Alessandro Gandini: uncovering the identity of a chiaroscuro Woodcutter jan johnson Apart from the reported treachery of Antonio da of which he signed in a distinctive and emphatic way, Trento and the outlines of a biography for ugo da Taglio d’Alex.ro Ghandini (figs. 1 and 2; Bartsch Xii, 65, 25 carpi (c. 1480–1520/32), we know little of the lives, and 41, 18).2 The insertion of an ‘h’ in his name is not either professional or private, of the sixteenth-century consistent and doubtless serves to emphasize that it is makers of chiaroscuro woodcuts. deductions that a hard ‘g’. for example, in Bolognese documents of his could potentially be drawn from their respective period the name marcantonio can occur with an ‘h’ in- oeuvres are undermined by the fact that the woodcuts serted after the ‘c’. not content with a monogram, or are as often unsigned as signed, or resigned by Andrea even simply his full name, he seems to draw attention Andreani, and subject to the frequent shifting of to himself as the cutter. This might well be owing to attributions. When looking for historical traces one is the novelty of cutting colour woodcuts for one who is hampered by the nature of several of their names, ordinarily a mathematician, as will be shown here. which like da Trento, da carpi, Vicentino, and Gallus, A document in the Libri Partitorum (Books of deci- are essentially or potentially place names in lieu of sions) of the Bolognese senate dated 30 september 1555 family names. Though early scholars made the useful reveals Alessandro Gandini as a propertied resident of discovery of the family name da Panico for ugo da that city who is having trouble with his neighbours.3 The carpi (adding another place name to his nomencla- dolfi, an important local family with a large house abut- ture), other attempts to attach family names, such as ting his, appear to be dumping garbage on the corner Rossigliani for Giuseppe niccolò Vicentino and the of his property, and he is granted permission to build a conflation of Antonio fantuzzi with Antonio da wall or barrier closing the corner to prevent this nui- Trento, have not been generally accepted.1 sance. Besides this dispute, Guidicini, the tireless chron- in light of these handicaps it is gratifying when icler of events, family histories and property archives render up a few morsels which can help to flesh transactions in Bologna, also recounts surrounding out a person behind a signature. such is the case for property sales in 1564 in which Gandini is mentioned. Alessandro Gandini, one of the more shadowy figures These give us a somewhat complicated picture of Gan- among the sixteenth-century italian practitioners. All dini’s location at number 39 Via san mamolo (now Via that is commonly known about him is that he made two d’Azeglio) immediately below the first vault of the corte chiaroscuro woodcuts, The Virgin and Child with Saints and dei Galluzzi (still extant), and adjacent to the former a Donor and Christ in the House of Simon the Pharisee, both modest church of the confraternity of san Giovanni dei 1. G. Tiraboschi, Storia della Letteratura Italiana, modena, 1786, Vii, id nedum nemini privato obesse, sed etiam occasionem im- part iii, p. 423; m. Gualandi, Di Ugo da Carpi e dei Conti da Panico, munditiaru[m] quae in h[uius]modi angulis fieri consueverunt Memorie et note, Bologna, 1854, pp. 1–39. telli, ac ornatu[m] publicu[m] augeri intellig[u]nt. contrariis 2. A. von Bartsch, Le peintre graveur, Leipzig, 1803–21 (hereafter cu[m]’ (Grant of lands to Alessandro Gandini: for twenty-seven Bartsch), Xii, p. 65, no. 25 and p. 41, no. 18. white beans [in favour of the licence], three black [against]. Li- 3. Archivio di stato di Bologna, Libri Partitorum, provedamenti cence granted to Alessandro Gandini to close the corner be- deliberative presi nel corso dello sedute, Vii, fol. 7, 30 septem- tween the wall of his house and that of the church of the ber 1555, ‘concessio soli Alex[and]ro Ga[n]dino: item Per florentine confraternity in via san mamolo in such a manner fab[ulas] alb[as] xxvii. nigr[as] iii. Licentiam concesserunt that from the said corner to the wall of the house of the dolfi Alex[and]ro Gandino claudendi angulum quendam quem is about ten feet in length, which is land they do not wish to paries eius domus facit cu[m] pariete ecclesie confraternitatis keep and he can convert for his own use four and three quarter florentinor[um] in via sancti ma’me [mamolo] ita ut filo a feet of public land (this much certainly should suffice for this dicto angulo ad parietem domo[rum] dulfor[u]m in longitu- sort of closed angle) Tried on the grounds of the prefecture’s dine pedu[m] circiter decem, qui in nihilu[m] desinant capere report because no individual should be deprived of the rights et in proprios usus convertere possit pedes quatuor et tres quar- of a citizen, but also, because the opportunity for dumping tas soli publici (tot enim pro h[uius]modi angulo claudendo suf- garbage becomes a habit with this sort of corner of land, they ficiunt) Attento quod ex relatione ornatus civitatis prefector[um] judge it to be for the public betterment.) PRinT QuARTeRLy, XXX, 2013, 1 PQ.MAR2013_Layout 1 31/01/2013 15:28 Page 4 4 ALessAndRo GAndini: uncoVeRinG The idenTiTy of A chiARoscuRo WoodcuTTeR fiorentini.4 up until 1546 this church had been santa to as ‘mastro Alessandro Gandini matematico’.7 some- maria Rotonda dei Galluzzi, and Gandini had a per- thing prompted this member of a learned profession to petual lease from that body, so he had probably been try his hand at a complex printing method. located there since well before the order of Tuscans took Gandini was located in a city where there was a sig- it over in that year, subsequently renovating the church nificant printmaking tradition and where, more specif- in 1552.5 This was only one of numerous construction ically, the chiaroscuro woodcut had been transplanted jobs which would have impinged on Gandini’s life in by way of Parmigianino’s arrival among the artistic the 1550s and ’60s.
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