Decision Tree Branch for Foolscap with Five-Pointed Collar Fall 2015

Are roundels in a pyramid form Decision Tree Branch for (2 below, 1 on top) or pointing - Second collar point & down (2 on top, 1 below) ball fully extend beyond front chain line — ► [lab, lac}- Front chain line Foolscap with Five-Pointed Collar *) bisects second collar on top ball from front Fall 2015 (pyramid)

Are the peaks divided (stripes in cap)?

YES n/a Ea, Eb, F, Q, H, J. K, L M. N. Q, S A, B. C. D. 0 . U in------

FIG. 1 Decision branch diagram for Foolscap with Five-Pointed Collar watermark, developed by Louisa Smieska and Alison McCann, Fall 2015 Decision Trees and Fruitful Collaborations

The Watermark Identification in Rembrandt’s Etchings (WIRE) Project at Cornell

Andrew C. Weislogel with C. Richard Johnson, Jr., and contributions from students1

Any additions to the file of It is no exaggeration to say that Rembrandt’s etchings count among the most compelling examples of artistic watermarks that has been production in the history of Western culture. The many compiled will not only catalogues of the artist's prints compiled since 1751- describing multiple states, ordering works by subject improve our understanding of matter or by date, distinguishing his work from that of his pupils, and identifying copies and posthumous impressions Rembrandts progress on his —attest to the enduring fascination with Rembrandt’s plates, but will enable us to technical experimentation and his versatility in interpreting the human psyche and capturing the natural world. Not test and refine the conclusions surprisingly, the complexity and artistic creativity of these prints continue to inspire scholarly research, technical reached so far.2—Erik Hinterding investigation, and multidisciplinary teaching approaches. As such, in addition to their acquisition by larger munic­ ipal museums, there is a history of collecting Rembrandt etchings among American college and university museums in the last century, a phenomenon explored further in Andaleeb Badiee Banta’s essay (pages 11-21).

Beginning with an initial collecting of prints during the 1940s,3 students’ encounters with Rembrandt as print- maker at Cornell University have been pursued through connoisseurship, exploration of subject matter and seventeenth-century Dutch culture, and an introduction to the artist’s process and materials. These efforts have been supported by a number of Rembrandt-related exhibitions at the Johnson Museum over the years,4 and were particularly catalyzed in the 1990s and 2000s thanks to the former Richard J. Schwartz Director Frank Robinson’s specialization in seventeenth-century Dutch art. Stephanie Wiles’s strong background in works on paper has supported further initiatives since she assumed the directorship in 2011; the present exhibition is the largest of these devoted to Rembrandt at Cornell.

WEISLOGEL/JOHNSON 33 Since 2015, a cross-disciplinary research project, Watermark 65).10 Rembrandt also printed on other supports, including Identification in Rembrandt’s Etchings (WIRE), has coarse grayish cardoes papier (cartridge paper) meant for focused students’ attention and research efforts on the packaging gunpowder, and, also beginning around 1647, subject of Rembrandt’s watermarks. The project is meant on vellum, or calfskin (cat. no. 44).11 Rembrandt’s use of to teach students about the importance of watermarks different supports has been studied extensively and, as as a means to understand the artist’s printing practice, here, the inclusion of a range of these has become frequent and to enable their contribution to an interactive online in exhibitions of his prints.12 program designed to simplify the watermark identifica­ tion process and further clarify aspects of Rembrandt’s Of all of these support types, however, only laid papers of printing process and chronology. From its inception, European manufacture can situate individual impressions the project has proceeded as a series of semester-long in time, or group them with other prints from the same courses, blending aspects of the art history seminar and edition, through the characteristics imparted by the paper­ the engineering research group and drawing students making process. In the paper mills of Rembrandt’s Europe, of various disciplines to participate, some for multiple this depended on a steady rotation of pairs of handheld semesters. This essay is intended to provide background paper molds or sieves (fig. 2), consisting of wooden frames for the current state of watermark study in Rembrandt’s with rows of very closely spaced horizontal wires called prints, to elucidate the WIRE project’s dialogue between laid wires, fastened to the mold with rows of more widely the disciplines of art historical inquiry and computational spaced vertical wires called chain wires (fig. 3).13 A single study, to chart its progress thus far, and to explore its overlay frame called a deckle fit both molds precisely, to implications for cross-disciplinary collaborations on the confine the formed sheet to an even rectangle as each college and university level. It will make the case for a mold was dipped in turn into the vat of pulp. steady digital expansion of the taxonomy of watermark types compiled by Nancy Ash, Shelley Fletcher, Erik Watermarks, designs made from bent wire,14 were attached Hinterding,5 and others over the past three decades, and to the grid of each paper mold to indicate the maker or hint at useful possibilities its procedures have generated. geographical origin, or sometimes its intended market.15 Since two molds were used in the production process, these With each semester, new WIRE project students have been watermarks were made as identical as possible to each steeped in the lessons of previous watermark research. As other so that the resulting batch of paper was uniformly such, it seems appropriate first to outline here the issues marked. But because molds and watermarks were hand­ and history surrounding Rembrandt’s paper supports and made,16 slight variations occurred between them, which is watermarks, tapping the store of knowledge that has given why the nearly identical watermarks from a pair of molds rise to the present investigations. The following therefore are referred to as “twinmarks”17. In addition, due to the might be considered a short primer for understanding increasing need for successful papermakers to set their Rembrandt’s papers and the usefulness of watermarks as a papers apart from imitators, French and then German tool for reconstructing his printing practices.6 papermakers began to attach a second watermark, called a countermark (usually letters or words), to the mold during Interest in Rembrandt’s printing supports has a long the sixteenth and seventeenth centuries.18 Typically, with history, dating almost as far back as the production of the European papers, the main watermark was found on the prints themselves. At least as early as 1668, a year before right side of the mold, while the countermark was found the artist s death, collectors were admiring the artist’s use on the left. The tendency of the paper pulp to settle more of Asian papers for the printing of certain impressions. thinly over the wires and watermark of the mold is what Englishman Edward Browne, while traveling in Amsterdam, transfers these characteristics to the finished sheet of paper. noted finding Rembrandt impressions on “Indian” paper.7 This expensive paper actually came from Japan, but it Especially in the case of larger sheets, watermarks and is sometimes confusingly referred to as “Indian” paper countermarks occupied relatively little of the area of because the Dutch East India Company was the trade the sheet, which means that an impression from a small vehicle.8 Rembrandt seems to have first made prints on copperplate will often be printed on a portion of the paper Japanese paper in 1647.? After this, he frequently used that does not include the watermark. The result is that Japanese paper for early editions—print runs of perhaps only about one third of Rembrandt’s etchings printed on twenty-five to fifty impressions—especially for prints European papers display a watermark or part thereof.19 with dark tonalities or heavy use of drypoint, because he Even so, the presence of watermarks in this approximate understood the ability of these less-absorbent papers to third of Rembrandt's prints on European paper has enabled show heavily-inked areas to more harmonious effect than a significant increase in knowledge about Rembrandt’s European papers (cat. nos. 10,12, 29, 43, 48, 51, 52, 64, and production practices. In addition, certain geopolitical and

34 WEISLOGEL/JOHNSON 4

FIG. 2 Modern laid paper mold and deckle made by Timothy Moore. FIG. 3 Detail of Moore’s mold, showing horizontal laid wires, vertical chain wires, and wire watermark design.

mercantile circumstances can help explain the appearance sheets from the same mold and confidently draw con­ or disappearance of certain papers in Rembrandt’s work. clusions about printing practices.26 It has only been with the advent of photographic techniques such as beta- Only a fraction of the paper used in the Netherlands during radiography, as pioneered since 1980 by Nancy Ash and the first two thirds of the seventeenth century was pro­ colleagues in the United States, that it has been possible duced there. This is largely because papermaking required to systematically obtain clear radiographic images of fast-moving streams or rivers, rare in the Low Countries, watermarks.27 In the later 1980s, the members of the Dutch to power paper mills.20 For example, many of Rembrandt’s Rembrandt Paper Research Project developed a method for earlier prints appear on Swiss paper marked with the can­ recording watermarks on Rembrandt prints in the collec­ ton of Basel’s heraldic sign, the Basel Crosier (see cat. nos. tion of the Rijksmuseum using low-energy or grenz x-ray l and 59). With the gradual removal of wartime obstacles technology.28 These technology-intensive methods, and to to seaborne trade,21 as well as the treaties of Munster and a lesser extent, even simple transmitted and raking light Osnabriick in 1648, which ended continental wars including photographs, have allowed researchers to overcome the that of the Dutch with Spain, paper from southwestern inconsistencies of previous watermark tracing methods and central France began to appear in greater quantities and enabled the exact matching of watermarks.29 on the Dutch market. This paper was often either made in French mills owned by Dutch entrepreneurs, or brokered by Dutch merchants.22 This explains both the relatively sudden The significance of watermarks to advent of watermark types not previously seen in the understanding Rembrandt as printmaker Netherlands, such as the Phoenix and the Paschal Lamb, The availability of images, combined with exhaustive and perhaps, more importantly for Rembrandt studies, the research, has led to important conclusions about disappearance of once common Swiss papers as the market Rembrandt’s practice. The WIRE project at Cornell is based shifted.23 This also resulted in many French papers marked primarily on the pioneering scholarship contained in Erik specifically for the Dutch market, bearing, for example, the Hinterding’s book Rembrandt as an Etcher: The Practice coat of arms of the city of Amsterdam, or referencing the of Production and Distribution, which appeared in 2006 seven provinces of the Dutch Republic.24 as an expansion of Nancy Ash and Shelley Fletcher’s 1998 publication Watermarks in Rembrandt’s Prints. Hinterding’s Scholars have been examining the watermarks found on work has greatly enhanced the picture of Rembrandt artists’ papers at least since the late nineteenth century.25 as printmaker, offering conclusions about the types and But the study of watermarks in these early days relied quantities of paper the artist was accustomed to use. largely on freehand copying or tracing of watermark designs, which, due to the difficulties of properly seeing According to the system Hinterding adapted from Ash watermarks on heavily inked sheets, complicated the and Fletcher, within each type (Basilisk, Double-headed process of assembling exact matches required to reunite Eagle, Arms of Amsterdam, etc.) the differing variants are

WEISLOGEL/JOHNSON 35 assigned uppercase alphabetical designations—A, B, C, D, and so forth. Watermarks that share characteristics within these variants but are not identical to each other are termed subvariants, and given a further set of lowercase initials—A.a. and A.b., etc. Within subvariants, Hinterding distinguished twinmarks with a further set of lowercase letters. For example, papers designated A.a.a. and A.a.b. would be twinmarks from the same batch (figs. 4, 5).30

Each watermark subvariant stands for a batch of paper; all told, Rembrandt is believed to have used more than 250 such batches in his career. WIRE project discoveries have already begun to augment that number. Hinterding’s research also revealed Rembrandt’s practice of making plate changes for successive states in rapid succession, often within the availability of a single batch of paper. He also discovered that, of all the different plates printed on a given batch of paper, those with the most recent dates are almost invariably the freshest, darkest impressions, while impressions from earlier plates on the same paper often showed wear. This phenomenon revealed Rembrandt going back to his stock of earlier plates to reprint them along with new ones, and led to the rule of thumb that the latest in-plate date of a plate on a given paper often dates the group of all plates printed on it.31

Often, watermarks can be used to assist in the virtual reassembly of the remaining impressions from an edition. For example, research for the WIRE project has revealed that Harvard University Art Museums’ fourth-state impression of the Christ Crucified between the Two Thieves: ‘The Three Crosses’ (cat. no. 37) bears an example of the Strasbourg Bend D’.a. watermark. This discovery adds it to the only four other known impressions of this print in this edition of the fourth state, the paper datable to circa 1653.32 Another example is Christ Preaching ('La Petite Tombe') (cat. nos. 48-50): various impressions of this popular print are known on papers with the Q’.a.a. and Q’.a.b. twinmarks of the Foolscap with Five-Pointed Collar watermark, to which the WIRE project research has now added a new instance (cat. no. 49).”

As previously mentioned, watermarks can also be used to reassemble groups of plates all printed at roughly the same time. In the exhibition, impressions of Self-Portrait Leaning on a Stone Sill (cat. no. 3; fig. 6), The Hog (cat. no. 23; fig- 7),34 and Ephraim Bonus, Jewish Physician (cat. no. 9) all appear on the same paper marked with an image of a Basilisk, the twinmarks A’.a.a. and A’.a.b. (figs. 8a,b).35 This FIGS. 4, 5 Can you spot the differences? Radiographs of Double­ shows Rembrandt going back to reprint earlier plates—in headed Eagle twinmarks A.a.a. (top) on an impression of Naked Woman Seated on a Mound, ca. 16 31, in the British Museum, this case, the self-portrait is reprinted approximately eight London, and A.a.b. (bottom), on an impression of Diana at the years after its first creation. Twenty-five different plates Bath, ca. 16 31, in the Uffizi, Florence. (Images courtesy of Erik appear on this large-format Basilisk A’.a.a. paper, indicating Hinterding) that Rembrandt must have bought a rather large batch of it

36 WEISLOGEL/JOHNSON FIG. 6 Transmitted light detail of Self-Portrait Leaning on a Stone Sill (cat. no. 3), with Basilisk twinmark A ’.a.b., image reversed. (Image courtesy of Theresa Fairbanks-Harris)

FIGS. 8 a,b Radiographs of Basilisk twinmarks A ’.a.a. (left) and A ’.a.b. (right) both on impressions of Presentation in the Temple: Oblong Print, ca. 1640, in the Rijksmuseum, Amsterdam. (Images courtesy o f Erik Hinterding)

WEISLOGEL/JOHNSON 37 and continued to print on it for years.36 And while this is an his plates during his lifetime, notably portrait plates that unusual instance in Rembrandt’s practice, it is also a strong remained with the sitter, presumably either as a gift or as indication that Rembrandt had a printing setup in his home, part of the commissioning arrangement. since it is highly unlikely that a professional printer would have had access to the same batch of paper over such a One such example is the plate for his famous portrait long period of time.37 Further, black chalk additions to the of Jan Six (cat. nos. 10 and 11), which remains with Six’s self-portrait that widen the right side of the beret in Yale’s descendants in Amsterdam to this day. And, in at least one impression of Self-Portrait Leaning on a Stone Sill (cat. no. 3) documented case, Rembrandt sold the plate of Abraham could indicate that Rembrandt was still considering ways of Casting Hagar and Ishmael, 1637 (NHD, no. 166), to the perfecting the image, even at this later date. Portuguese painter Samuel ben Orta.45 Others obtained Rembrandt plates during the artist’s lifetime. For instance, The assigning of dates to prints and drawings via datable the Amsterdam print publisher Dancker Danckerts owned books or documents appearing on paper bearing the same the plate for Descent from the Cross: Second Plate (cat. no. watermarks has also long been practiced in watermark 25) and an unidentified Saint Jerome subject, as docu­ scholarship. This logic can be used to narrow down printing mented in his inventory of 1667 found in the Amsterdam dates for Rembrandt etchings as well. In the past, when city archives.46 Other evidence in the form of a large watermarks were normally traced by hand, these matches shipment of 189 Rembrandt etchings to Italian collector were of necessity suggestions rather than conclusions. Antonio Ruffo in Messina, sent just before Rembrandt’s With the advent of photographic methods for imaging death on October 4,1669, suggests that Rembrandt was watermarks, it became possible to be reasonably certain still actively involved in distributing impressions of his of a match. For example, the Morgan Library & Museum’s prints from a variety of plates even at that late date.47 second-state impression of The Flute Player, etched in 1642 (cat. no. 59), is printed on paper with a Basel Crosier The Amsterdam print publisher and connoisseur Clement watermark, subvariant B’.a.a., that confirms its printing de Jonghe (ca. 1624-1677) appears to have been the date—as well as the first and third states of the print—to recipient of the greatest number of Rembrandt’s copper­ 1642 also, because impressions of all three states appear plates—seventy-four of them—as shown by the 1679 on this same batch of paper.38 Yet, at least four impressions inventory of his shop and home.48 Little is known about of the fourth state of this print are found on paper with the relationship between Rembrandt and de Jonghe, but Foolscap with Five-Pointed Collar variant H.b.39 While this the two must have known each other at least since 1651 paper is not precisely dated in Hinterding’s 2006 study, this when Rembrandt etched his portrait (cat. nos. 12-15). No watermark finds an exact visual match with a watermark documentation is known showing exactly when de Jonghe on a document dated 1642 in the archives of The Hague.40 obtained plates from the artist, although it is possible he This demonstrates that Rembrandt could have made the received some during Rembrandt’s lifetime.49 Study of the changes leading to the fourth state, like the other three watermarks found jointly on Rembrandt impressions and on states, also in the year of that plate’s creation. other artists’ prints from Clement de Jonghe’s stock seems to argue for the latter’s obtaining plates from Rembrandt Hinterding’s watermark research also revealed an anomaly at least later than 1656.50 Increased access to watermark in Rembrandt’s print chronology. Through the first two images and their comparative study proposed by the WIRE decades or so of his print production, the artist’s earlier project may shed greater light on this topic in future. plates tended to appear on sheets from the same batch of paper with those just etched, but this practice ends The Cornell WIRE project: somewhat abruptly in 1654, as if Rembrandt no longer had Goals, methods, and progress his older stock of plates on hand to print at that time.41 The Watermark Identification in Rembrandt’s Etchings Various explanations for this have been advanced, most of (WIRE) project at Cornell is a collaboration among them relating to Rembrandt’s financial difficulties of the the Johnson Museum and the School of Electrical and 1650s.41 Some scholars believe the absence of Rembrandt’s Computer Engineering in Ithaca, Cornell Tech in New copperplates in the 1656 inventory of his possessions drawn York City, and key external museum and technical experts up during bankruptcy proceedings indicates that he had (see Appendix 1). Conceived on a model of participation pawned or otherwise transferred them for safekeeping by cross-disciplinary student teams with the oversight before the inventory was taken.43 Rembrandt did hold a of Cornell faculty and Johnson Museum staff, WIRE is sale of his possessions prior to this inventory, in December dedicated to ongoing research and interface development of 1655, but it seems unlikely to have included his plates, to significantly streamline access to and raise awareness given the potential future income they would have repre­ about Rembrandt’s watermarks for printing practice and sented.44 And he did demonstrably release or sell some of chronology purposes. The project aims to establish new

38 WEISLOGEL/JOHNSON research tools available to a collaborative community involvement in the project from its inception stemmed of users—curators, students, collectors, art historians, from a desire to preserve the watermark taxonomy he archivists, librarians, and other humanities professionals. inherited and expanded. This connection was facilitated by These tools are necessary because, given the hundreds Professor Johnson’s appointment as scientific researcher at of subvariants within the watermark types (with more the Rijksmuseum. being discovered), as well as the difficulties inherent in distinguishing between marks (even in high-quality During the subsequent four academic semesters, the photographic images), there remains significant risk of WIRE project has proceeded as a hybrid of an engineering error in comparing an unidentified watermark with those research group and an art history seminar, composed of illustrated in Hinterding’s publication. students with different academic backgrounds and skill sets (see Appendix 1). Guided by the present authors, they The WIRE project originated from a related initiative, the are responsible for foundational readings and discussion Chain Line Pattern Matching Project (CLiP), launched as well as individual progress on watermark decision tree in 2012 when paper conservator Margaret Holben Ellis branches by type, group feedback sessions, and presenta­ encouraged Professor C. Richard Johnson, Jr. to consider tions on related topics. The group is conceived as a learning applying his computational approach to thread counting laboratory where students contribute to the ongoing for canvas weave matching in historic paintings, in which development of a cross-disciplinary learning model in the Professor Johnson had been successfully engaged for computational art history field, squarely aligned with the years, to mold screen pattern matching for laid papers. Johnson Museum’s teaching mission and emphasis on Johnson and Ellis set about matching chain line patterns in learning from original works of art. Rembrandt’s papers to determine the feasibility of finding moldmates (sheets of paper made from the same mold) The WIRE project’s objective is to build an interrogatory, without using watermarks. In 2014, the Dutch University computer-based interface that delivers a definitive water­ Institute for Art History in Florence granted the project mark identification according to the fifty-four types of access to a large dataset of radiographs of Rembrandt’s Rembrandt watermarks encompassed in Hinterding’s tax­ papers, which featured many moldmates identified by onomy. Its identification tool is based on the model of the matching watermarks. This spurred the creation of a decision tree, a branching graph that allows the researcher semiautomated software tool for marking and matching to visualize all possible outcomes of a series of decisions chain line patterns, which prompts the user to click on (fig. 1), a sort of visual algorithm or procedure for solving three spots in the images and then automatically marks a a recurrent problem. This particular approach was chosen user-selected number of spots along each chain line on the in large part because it best approximated Hinterding’s radiograph of a given sheet. The marked locations can then winnowing process for separating subvariants when he be used to compose straight line patterns drawn through assembled the 2006 publication. the marked points.51 The similarity of chain line patterns In the WIRE project, students construct decision tree in all pairings of images in the full dataset can be ranked. branches for watermark types that take the form of a A top ranked set of four matching chain line patterns was sequence of comparison images and questions with binary thus discovered in the dataset from the Dutch University answers—“yes/no,” “one/two,” “square/rounded,” etc.— Institute for Art History. Three of the images contained about features of the watermark and its placement on the only fragments of the top of a foolscap watermark, but mold.53 These questions develop incrementally from close their chain line pattern match helped confirm that all visual observation and comparison, and are vetted by the could be identified as Foolscap with Five-Pointed Collar, group for clarity. The questions guide the researcher quickly Hinterding subvariant K.a.a.52 and consistently to the correct watermark subvariant, The large size of the dataset, and the need to use water­ unlocking access to information about the dating of the marks for verification in assessing the accuracy of the print where known. Differentiation between watermarks CLiP similarity evaluation procedure, drove the need for a frequently exploits the often crucial placement of water­ faster, computer-assisted means of classifying watermarks mark elements relative to chain lines in the laid paper mold according to the Hinterding taxonomy. The shift from as a unique distinguishing feature.54 All such identifying using watermark identification as a step in chain line pat­ features are scale-invariant—they relate to relative position, tern matching performance assessment to using chain line number, and size of features within the image, but do not pattern matching in service to watermark identification, in rely on matching the exact dimensions of a given water­ particular with fragments and twins, gave rise to the first mark. This aspect allows the user to compare multiple gathering of a cross-disciplinary student research group at image sizes and formats with the visual models provided in Cornell in the fall semester of 2015. Dr. Hinterding’s direct the decision tree, even images in different scales.

WEISLOGEL/JOHNSON 39 The virtue of the WIRE project’s current focus on The implications of new watermarks, and next steps Rembrandt is the manageable and definable dataset going Along with the systematic student development of the forward. The benefit of semiautomation rather than an decision tree and the software allowing users to access its automated, machine-learning approach to similarity assess­ store of visual differentiations, the WIRE project is focusing ment for this project is that the knowledge of the original on museums whose Rembrandt print holdings were not watermarks experts is maintained and enhanced by the surveyed and imaged for previous watermark catalogues. WIRE student researchers in the form of a verbal record of This newly gathered data will drive the project’s second distinguishing features presented in the questions asked of phase, that of developing an online database of Rembrandt the researcher. This subject expert terminology is already watermarks in American collections. In addition, the partially present in the headings for each watermark type present authors along with subsequent WIRE student in Ash and Fletcher’s 1998 catalogue and Hinterding’s 2006 cataloguing assistance are revisiting some collections study.55 But the WIRE project is systematically authoring whose Rembrandt watermarks were catalogued but not a comprehensive description of the physical character­ imaged in Hinterding’s 2006 publication. The purpose istics of every single Rembrandt watermark down to the of this is to verify existing watermarks, catalogue those subvariant level. As of this writing, WIRE student work not previously noted, and collaborate with curators groups have developed decision tree branches for fourteen and conservators to establish imaging procedures and watermark types, starting with the decision tree for the parameters for the proposed database. Many of these Foolscap with Five-Pointed Collar watermark.56 Students collections are among the lenders to this exhibition and have presented their decision tree branches twice to cura­ have generously lent time and expertise toward these tors and conservators at the Metropolitan Museum of Art. efforts (see Appendix 1). As hoped, this process has already Additionally, students curated a study gallery installation yielded a crop of new instances of previously identified on the WIRE project at the Johnson Museum.57 watermarks; it has also uncovered new watermarks not already present in the Rembrandt taxonomy or previously The WIRE decision tree software (figs. 9-10) was initially associated with Rembrandt’s prints. developed by Cornell Electrical and Computer Engineering graduate students Dong Ki Kim (M.Eng 2016) and Hao Lu For example, the plate for Rembrandt’s Self-Portrait (?) with (M.Eng 2016) in consultation with Dr. Louisa Smieska (PhD Plumed Cap and Lowered Saber (see cat. no. 1), dated 1634, ’15) and Alison McCann (PhD candidate, History of Art and underwent significant changes during Rembrandt’s lifetime. Visual Studies). Initially written in HTML, Cascading Style In the first state, the composition began as a three-quarter Sheets (CSS), and JavaScript, the program was designed length figure on a rectangular plate; in state two, the plate to allow students with minimal programming experience was cut down into a rough oval, keeping just the bust of to be able to code in individual branches of the decision the figure. In its third and final state, the oval plate was tree. Each student is provided with a self-contained set of smoothed and regularized. Previous watermark study has programs to download and instructions on how to proceed, shown that the initial cutting down of the plate happened and performs a sequence of fill-in-the-blank operations relatively quickly, due to the existence of impressions of that insert the decision tree details into the code. both first and second states on paper from the same batch bearing the Basilisk B.a. watermark.58 An impression of The resulting interface allows a user to upload a water­ state two with an Arms of Wurttemberg watermark—also mark image in any format in the image editor box at left, appearing on other Rembrandt prints dating to 1634 and and select the matching watermark type from choices earlier—further helps to temporally situate the printing provided. The user then follows the short sequence of of the second state.59 Finally, an impression of state three questions provided, with annotated images supplied for features an Eagle with Basel Crosier watermark also found further guidance. The user may backtrack or start over at on impressions of Abraham Casting out Hagar and Ishmael any time. Ultimately, the user will find an exact match with (NHD, no. 166) from 1637. This means the plate was the subvariant letter designation found in Hinterding’s smoothed to its final oval prior to that date. 2006 book. Students have been drafting reports for each individual branch they complete, culling out information Building on this background knowledge, research for the from the 2006 publication about other collections hold­ WIRE project and new photography by the Yale University ing prints with that watermark, and other plates that Art Gallery’s paper conservation lab have revealed that the appear on that paper, to offer context for each subvariant Yale impression of Self-Portrait (?) with Plumed Cap and “answer.” These reports are part of ongoing discussions Lowered Saber (fig. 11) also has an Arms of Wurttemberg with Dr. Hinterding for determining how, in the future, this mark (fig. 12) nominally of the A variant type. However, information could appear online when the user arrives at the mark exhibits previously unseen characteristics,60 the correct watermark subvariant. indicating an apparently new subvariant, and thus a

40 WEISLOGEL/JOHNSON Is there one central crown or two individual crowns?

- Select - *

One crown

Two crowns

Exam ple: In the top images, the double-headed eagle has one c (m arked with red).

F u ll Im ag e M a g n ifie d

FIGS. 9,10 Screen shots showing two successive steps in the W IRE software for the identification of a test subject Double-headed Eagle watermark.

WEISLOGEL/JOHNSON 41 FIG. 11 Self-Portrait (?) with Plumed Cap and Lowered Saber, third state, 16 34 (Yale University Art Gallery, 1931.48). (Image courtesy of Theresa- Fairbanks Harris) FIG. 12 Self-Portrait (?) with Plumed Cap and Lowered Saber, 1634 (Yale University Art Gallery, 1931.48), shown in transmitted light, inverted and flipped horizontally. (Photograph by Andrew Weislogel) FIG. 13 Beta-radiograph of Self-Portrait (?) with Plumed Cap and Lowered Saber (cat. no. 1), inverted and flipped horizontally, showing Basel Crosier watermark with initials “MB” flanking the crosier inside the shield. (Image courtesy of the Conservation Center, Institute of Fine Arts, New York University)

previously unidentified batch of paper used to print this plate. Upon first examination, the watermark on this sheet plate. Correspondences with watermarks on archival (fig. 14) appeared to be a countermark IHS subvariant A.b.66 documents further suggest that the Yale impression of Indeed, the only print previously found on this paper was Self-Portrait (?) with Plumed Cap and Lowered Saber was another fifth-state impression of the same print, in the printed during the 1630s.61 Another third-state impression Rijksmuseum (fig. 15).67 So the Johnson Museum print and of this print has recently come to light, as a gift to the the Amsterdam print appeared to be printed on moldmate Johnson Museum from former director Frank Robinson in sheets. However, a renewed examination of the Cornell 2016 (cat. no. 1). This impression was found to show a Basel IHS countermark revealed that it is in fact not an exact crosier watermark with initials “MB” flanking the crosier match to the Hinterding A.b. subvariant, but instead nearly inside the shield (fig. 13). This watermark stood out because identical due to the variation in the shape of the S, at the none of the variants published by Hinterding exhibits such top. Therefore, rather than being moldmates, it seems initials. Indeed, in consultation with Dr. Hinterding it was logical to assume these countermarks might instead be deemed to be new to the Basel Crosier type.62 Since Swiss twinmarks from the same pair of molds. papers like this are rare in Rembrandt’s printing practice after the early 1640s,63 a printing date before 1642 might Two other impressions of the same state of The Flight be advanced.64 Therefore, two new batches of paper can into Egypt: Altered from Segers appear on papers bearing provisionally be added to the list of ten already associated the respective twinmarks of the Strasbourg Lily 4WR A.b. with the printing of this plate between 1634 and 1651,65 subvariant. Both this mark and the IHS countermark are both arguably early. As such, our picture of Rembrandt as found only on that same print—and only in the fifth state. printmaker continues to expand, and here also perhaps our Additionally, all four impressions discussed here are printed sense of the popularity of the tronie type Rembrandt was on half sheets.68 Thus, given the evidence of watermarks creating by cutting down the plate. and paper size, the IHS countermarks on the Cornell and Amsterdam impressions could logically be the twinmarks A second example of a new watermark found on Cornell’s for the two impressions showing Strasbourg Lily with previously unpublished fifth-state impression of The initials 4WR A.b.a., and A.b.b., which are also half-sheets, Flight into Egypt: Altered from Segers (cat. no. 34) helps to and also twinmarks. Additionally, the fact that the three reconstruct a batch of paper used for a later edition of the impressions classified as state V-a all appear with either

42 WEISLOGEL/JOHNSON IHS or Strasbourg Lily marks makes further sense because as well as the presence of a chain line running down IHS is the countermark for some Strasbourg Lily 4WR A the center of the shield, she proposed that the mark be variants.69 If this is the case, the new Cornell watermark added to the E variant group, where it has been given helps to reconstruct a later edition of The Flight into Egypt: the subvariant designation “E’.b.” becoming the twelfth Altered from Segers, and also becomes a new subvariant Basel Crosier subvariant, with Dr. Hinterding’s approval. to be added to the Rembrandt taxonomy.70 Finally, a new instance of this same Strasbourg Lily watermark has come The discovery of new watermarks and the alteration to light on an impression of the eighth state of Adoration of the decision branch for the Basel Crosier watermark of the Shepherds: A Night Piece (NHD, no. 300);71 since the made clear that the decision tree software must be date of this print is ca. 1657, this watermark indicates a adaptive. This requirement is now under consideration by print date for all of the impressions of The Flight into Egypt: Professor Johnson, Cornell Tech electrical and computer Altered from Segers of not earlier than 1657, which fits with engineering professor Vikram Krishnamurthy, and his PhD the wear exhibited by the plate in these impressions. student Sujay Bhatt, who are treating these questions as an advanced applied mathematics issue, developing Cases like these underscore the WIRE project’s an algorithm for automating the insertion of new parts dedication to incrementally filling in gaps in Rembrandt’s into the decision tree as they arise. For this reason, in printmaking chronology. From the standpoint of the the spring of 2017, WIRE students not only developed decision tree branch construction, the discovery of new individual branch diagrams for Rembrandt watermark watermarks necessarily forces a reconsideration, and in types (see figs. 1 and 16) and coded them into the some instances a reordering, of the decision tree branch software, but were also directed to construct decision for that watermark. Because the existing taxonomy “tables” (fig. 17A). For every subvariant of a particular and its images—extensive as they are—are the sources watermark type, a decision table asks and answers all for the construction of the branch, a new question has questions used in identifying all subvariants within that become apparent: how to integrate a newly discovered particular type, not just the questions asked of a user watermark into the decision tree without upsetting the following one specific path to a particular subvariant. existing structure? In the case of the aforementioned This richer set of information enables computational Basel Crosier watermark with the initials MB, this task algorithms to revise and upgrade the original branch. fell to Riley Henderson, Cornell Class of 2018, who had already developed the decision tree branch for the Basel Further, careful reordering of the questions asked (fig. 17A) Crosier mark and its eleven preexisting subvariants. Based can lower the average number of steps required to receive on similarities of various details other than the letters, a correct answer for any subvariant. For example, in

FIG. 14 Beta-radiograph of the IHS countermark on The Flight FIG. 15 Radiograph of the IHS countermark, Hinterding variant A.b. into Egypt: Altered from Segers (cat. no. 35). (Image courtesy of the on The Flight into Egypt: Altered from Segers, ca. 1653 (Rijksmuseum, Conservation Center, Institute of Fine Arts, New York University) Amsterdam, O B.116). (Image courtesy of Erik Hinterding)

WEISLOGEL/JOHNSON 43 [ START |

FIG. 16 Decision tree branch for Fleur-de-lis watermark, developed by Phoebe Ross, Spring 20 17

fig- 17B, the average number of questions to a solution A: Decision Table when starting with Question 1 is (2+2+2+4+4+3V6 = 17/6 Variant Q1: Q2: Q3: Q4: Q5: Is the Are the Are the Are the Is the outer = 2-833, which can be slightly reduced by starting with middle petal three bars at petals of the ends of the tip of one of divided by a the center of Fleur-de-lis three bars the smaller Question 4 producing an average of (2+3+3+3+3+2)76 = central line? the Lily the close at the center leaves (at same width? together? square? bottom) 16/6 = 2.667• ln some instances, this efficiency is helpful. close to the In other instances, the ability to generate different tree chain line? diagrams based on these tables might enhance the ability A.a. N N N N Y to better identify watermarks from fragments (when B.a. Y N Y Y N a watermark is cut off at the edge of a sheet). When a B.d. Y Y Y Y N fragmentary watermark is encountered, it may prove C.a. N N Y N Y useful to redraw the pertinent decision tree so that the C.b. N N Y N N user is asked questions relevant to what is visible in the C.c. N N Y Y N fragment first, before other questions. This ability of the decision table and pertinent mathematics to bring B: Path Table to light all the different possible decision tree branches Variant Starting with Q1: Starting with Q4: makes the decision table a powerful tool, which could A.a. Q1(N), Q3(N) Q4(N), Q3(N) ultimately provide the foundation for a better method of B.a. Q1(Y), Q2(N) Q4(Y), Q1(Y), Q2(N) drawing up and expanding decision trees. This could have B.d. Q1 (V), Q2(Y) Q4(Y), Q1(Y), Q2(Y) broad applications in a range of disciplines.

C.a. Q1(N), Q3(Y), Q4(N), Q5(Y) Q4(N), Q3(Y), Q5(Y) As the project progresses, certain modifications will allow for the growth of the decision tree, and for the enhance­ C.b. Q1(N), Q3(Y), Q4(N), Q5(N) Q4(N), Q3(Y), Q5(N) ment of the user interface. For example, in the process of C.c. Q1(N), Q3(Y), Q4(Y) Q4(Y), Q1(N) developing a consistent methodology for imaging and com­

paring watermarks during the 1980 and 1990s, Nancy Ash FIG. 17 Decision table for Fleur-de-lis watermark, developed by and other colleagues strongly recommended accounting Phoebe Ross, Spring 2017

4 4 WEISLOGEL/JOHNSON for the possibility of overlaying one watermark image over proposed by the WIRE project will be informed by their another in order to assure an exact match.72 Therefore, original ideas, as well as by the International Society of for future iterations of the WIRE interrogatory software, a Paper Historians cataloguing standards.74 The uses of digital registration or overlay component will be explored such a database will be many, but among them will be the in order to compare and verify the watermark under facility to find and compare multiple instances of a given examination with the correctly identified subvariant. Also, watermark across collections, to compare and verify twin- in cases where a single image or format cannot capture the marks across extant edition-mates of a given print, and to whole watermark, a few different images of a given water­ easily add new watermarks to the list of papers on which mark may need to be uploaded to be compared with the a given print is found. Perhaps most useful to researchers illustrations in the decision tree; this is often the case when will be the ability to easily compare watermark and chain the ink of the printed image interferes with a clear reading lines with the actual surface image of the print, with all of of the watermark. its visual cues about state, quality of impression, apparent plate wear, and inking and wiping details. These cues, as It has also been observed that, when watermarks are Erik Hinterding has demonstrated, can reveal so much in fragmentary, the chain line pattern marking and matching tandem with paper characteristics for situating an impres­ (CLiP) procedure referred to above is still very useful for sion in Rembrandt’s chronology. identifying moldmates. This also suggests that chain line marking and matching could prove useful in distinguishing Conclusion twinmarks, which are often extremely hard to tell apart. Thus, the key remaining task for the CLiP Project is the Despite the important foundational work on Rembrandt’s creation of a user-friendly software package for CLiP mark­ watermarks accomplished over the past three and a half ing and matching, to be constructed in a freely available decades, it has become clear that the picture of Rembrandt computational software package in order to encourage as a printmaker can still benefit from refinement and clarifi­ adoption by museums, independent conservators, and cation. Key paths to this refinement include seeking out the collectors. To address this issue and to continue to upgrade many watermarks still remaining to be discovered, expand­ the user interface, a student software team was formed ing the taxonomy for Rembrandt’s watermarks, and making at Cornell in the 2017 spring semester. Amanda House it broadly accessible to researchers at many levels. The (Computer Science ’17) and Katarina Martucci (Electrical procedures put in place by WIRE student teams promise to and Computer Engineering ’20) are refining the WIRE user result in a useful and accessible decision tree structure that interface and consolidating the CLiP marking and matching will in turn encourage the construction of a larger database procedure. They will continue working together through­ of Rembrandt watermarks in United States collections. out the fall 2017 semester and beyond. The recording of fifteen new examples of watermarks in the holdings of just the two organizing institutions of this In addition, to encourage standardized image gathering exhibition suggests the likelihood of discovering further of watermarks and chain line patterns in Rembrandt’s previously unseen marks. These additions also encourage etchings by museums with limited technical resources, a engagement with many smaller college, university, and portable imaging system is under development in a collabo­ municipal museums with Rembrandt etchings in their ration with Paul Messier at the Yale University Lens Media collections. Appendix 2 details progress in cataloguing these Lab, John Delaney in the conservation lab at the National previously uncounted collections, as well as the results of a Gallery of Art, and Marc Walton and Oliver Cossairt in renewed effort in the collection of the Yale University Art the NU-ACCESS program at Northwestern University. In Gallery, which has revealed more watermarks than previ­ this regard, Theresa Fairbanks-Harris, senior conservator ously noted. Finally, investigations are expanding to include of paper for the Yale University Art Gallery and the Yale papers found in the drawings of Rembrandt and his stu­ Center for British Art, and Suzanne Boorsch, the Robert L. dents, as watermark evidence suggests the use of printing Solley Curator of Prints and Drawings at Yale University Art papers for some drawings supports in Rembrandt’s milieu. Gallery, have been especially helpful in reexamining Yale’s Rembrandt prints and in imaging watermarks to help con­ The complex story of Rembrandt’s papers and their sider questions of format and delivery of images, and have interpretation is humbling, but the practice of student helped construct the WIRE project’s first nonradiograph involvement in research is a constant call to recalibrate image dataset (see Appendix 2). and clarify expectations and goals, demanding that all participating researchers, whether students, faculty, or The seeds for WIRE’S proposed database of Rembrandt museum professionals, maintain vigilance as active learners. watermarks in American collections were presciently sown This research model offers various encouraging benefits, by Nancy Ash and her colleagues in 1986.7! The database including an energetic and computer-savvy workforce who

WEISLOGEL/JOHNSON 45 have developed a range of skills, and a partial overlap of in this essay, will be noted hereafter simply by means of the student cohorts from semester to semester that con­ abbreviation EH 2006, followed by volume and page numbers. tinually transforms learners into mentors as the project 6 For a glossary of terms and techniques, see pages 2 12 -2 14 . progresses. Further, the project offers students the oppor­ 7 Van Strien 1993, 255 as cited in Hinterding 1993-94, 264, note 62. tunity to pursue research of value to the field without the 8 White 1999, 10. Archival documents from 1643 and 1644 respectively mention shipments of large quantities of Japanese necessity of physical access to large urban concentrations paper to the Netherlands. See Stockholm 1968, 173, as cited in of museum collections. Van Breda 1997, not paginated. See also EH 2006,1, 182, note 336. It is also possible that some of Rembrandt’s Asian papers were Chinese, though the greater likelihood is that they are The WIRE project has engendered dialogue among project Chinese-style papers of Japanese craft. staff and students who are open to learning about each 9 EH 2006,1, 112 . other’s fields. As such, it can be viewed as a sort of crucible 10 White 1999,10. for the development of students interested in art who 11 Ibid., 262, note 33. can speak the language of colleagues in technical and 12 S. W. Reed, “Types of Paper Used by Rembrandt,” in Boston- computational fields—colleagues who, in turn, can offer New York 1969, 178-80 , was an early example. Sale catalogues much toward the furthering of important questions in and catalogues raisonnes have also often included discussions of Rembrandt’s papers; see Mayer Haunton, “Rembrandt’s the study of art. The academic museum—with its object- Papers,” in Ritman 1995. Also, G. Biorklund, “Old Paper,” in based approach to works of art, and its pre-existing Stockholm 1968, 165-73. connections to related professions such as conservation 13 For details on the construction of paper molds, see Loeber 1982, and conservation science— provides a natural forum 13 -2 6 ; De Lalande 17 6 1-8 9 . For more detail on the paper­ making process itself, see for example Hunter 1947, 17 7-79 . in which to assemble such a research group. And, in a 14 Loeber 1982, 31. broader sense, linking computational studies with tradi­ 15 EH 2006,1, 45. tional humanities content on the campus of a research university stands to inform other such relationships and 16 Loeber 1982, 31. projects in the growing field of digital humanities. 17 Stevenson 19 5 1-5 2 , 65. 18 Loeber 1982, 50.

19 As Erik Hinterding relates about his experience of the ratio of watermarked to nonwatermarked prints, “A total of 2,369 com­ plete or fragmentary watermarks were found in the more than 7,000 etchings by Rembrandt examined, and 1,998 of them could be identified.” EH 2006,1, 42. ENDNOTES 20 Chapel Hill-Ithaca 1999, 30.

1 A full listing of student participants in the W IRE project is 21 Laurentius 2008, vi. found in Appendix 1. 22 Chapel Hill-Ithaca 1999, 31. 2 Amsterdam-London 2000-01, 34. 23 Laurentius 2008, vi. 3 For further discussion of collecting at Cornell, see page 18. 24 Voorn i960,102.

4 Exhibitions featuring Rembrandt at Cornell include: Dutch 25 See, for example, Eugene Dutuit, Voeuvre complet de and Flemish Prints from the Seventeenth Century (September Rembrandt, Paris, 18 8 3-8 5. As cited in Amsterdam-London 3-29,1968); Dutch Drawings of the Seventeenth Century, from 2000-01, 23, and Boston-New York 1969-70, 181-83. a Collection (November 6-December 23,1979): Master Prints from Upstate New York Museums (October 26-December 26 As Theo and Frans Laurentius note, during the eighteenth cen­ 31. 1995); Ziet, de Dag Komt Aan: Dutch Landscape Prints tury paper molds and were made with thicker wires, to speed and Drawings (June 13-August 6, 1995); Things of this up the drainage of water from the mold, increasing efficiency World: Dutch Prints and Drawings of the Seventeenth Century and profits. This results in more clearly legible chain lines and (December 2 1,1996-March 9, 1997); Rembrandt and the Art of watermarks. Seventeenth-century paper characteristics there­ Etching (January 10-March 15,1998); Reflections to Astound: fore can be harder to read than eighteenth-century ones, which Seventeenth-Century Dutch Prints from a Private Collection explains some of the difficulties researchers of Rembrandt (August 28-November 7,1999); Fresh Woods and Pastures watermarks have traditionally encountered. See Laurentius New: Seventeenth-Century Dutch Landscape Drawings from 2008, v. the Peck Collection (January 29-March 26, 2000); Etchings by 27 Beta-radiography uses a polymethacrylate sheet labeled with Rembrandt from the S. William Pelletier Collection (January radioactive carbon-14 to produce an image on a radiographic 17-A p ril 4, 2004); A Portrait of the Artist, 1525-18 25: Prints film, which reveals the watermark and other mold characteris­ from the collection of the Sarah Campbell Blaffer Foundation tics without obstruction by the ink of the design. This method (September l-December 31, 2005); Rembrandt Etchings produces high quality and high contrast images of watermarks Collected by Nancy and Nelson Schaenen, Jr. (April l-June 18, and other texture characteristics of paper. For a fuller descrip­ 2006); Rembrandt at 400 (April l-June 25, 2006); A Changing tion of these techniques, see Tydeman 1967; Ash 1986, 64; and Landscape: Prints and Drawings 1570-1670 from the Arthur and Chapel Hill-Ithaca 1999,117-24. Arlene Elkind Collection (February 3-April 8, 2007); The New and Unknown World: Art, Exploration, and Trade in the Dutch 28 Laurentius et al. 1992, 353-8 4 . See also Erik Hinterding’s Golden Age (August 13-O ctober 2, 20 11). All but the 1968, interview, pages 59-63. 2006, and 2007 exhibitions were accompanied by a catalogue. 29 Amsterdam-London 2000-01, 23. 5 Erik Hinterding, Rembrandt as an Etcher: The Practice of 30 EH 2006, II, 10. Production and Distribution (Ouderkerk an den Ijssel: Sound and Vision, 2006), 3 vols. This publication, often referenced 31 EH 2006,1, 25.

46 WEISLOGEL/JOHNSON 32 Ibid., 185-86. 61 Similar Arms of Wiirttemberg marks on papers from Montbeliard, in eastern France near the Swiss border, including 33 Ibid., 135. Since Christ Preaching (‘La Petite Tombe’) is a one with a similarly reversed numeral 4, appear on documents single-state print, only watermarks and, to a less precise in the city archives of Middelburg, Rosendaal, The Hague, and extent, wear evident to the plate can suggest the chronological Flushing, all with dates between 16 32 and 1639. Laurentius placement of a given impression. One wonders in this case if 2007, #211, 106. microphotography of impressions designed to examine plate wear and wiping scratches to effect a sequence for the printing 62 Authors’ meeting with Erik Hinterding, New York, November of certain Rembrandt plates, as Angela Campbell has initiated 2, 2016. for the Meisterstiche of Albrecht Dtirer, would be warranted for 63 Dates of Rembrandt plates found on paper with other Basel further establishment of a chronology of such impressions. See Crosier variants start in 16 31, but end in 1642. See EH 2006, Campbell and Raftery 2 0 1 2 ,15 -1 6 . II, 60-64. Only two batches of paper Rembrandt used after 34 Thanks to Elizabeth Martinson, Cornell Class of 2017, of the 1648 are likely of Swiss manufacture. These are Double-headed W IRE project for identifying this watermark on the Johnson Eagle variants E.a. (1654) and D.a. (1656). See EH 2006, II, Museums impression of The Hog. Martinson also developed the 4 1 5 -16 . One paper batch with Basilisk A’.a., appears until 1647, decision tree branch for the Basilisk watermark. but this seems to have been a large-format paper also perhaps purchased in a large quantity around 16 4 1 and therefore took 35 EH 2006, II, 65-66. longer to use up. EH 2006, II, 367-68. 36 EH 2006,1, 41, and II, 369-70. 64 The quality of the Johnson Museum impression compares 37 Ibid., I, 41. favorably with other early third-state impressions as confirmed by watermarks, for instance in the richness of the web of lines 38 EH 2006, II, 62. in the cloak below the gorget, and the hatching lines around the 39 Ibid., 124. upper half of the oval that frame the head. 40 Laurentius 2007,483, 2 11. The archival documents con­ 65 In much the same way, the number of papers associated with sulted for this study are all expressly of the most common Self-Portrait in a Velvet Cap with Plume of 1638 has just been size imported at that time, approximately 32 x 4 1 cm, which expanded by an instance of the Horse and Rider A.b. variant corresponds to the half-sheet format of The Flute Player. See found on an impression of state ii. See Boerner 2016, 62-63, Laurentius 2008, xviii. no. 32. 41 EH 2006,1, 13 9 -4 1. 66 EH 2006, II, 154.

42 For these, see Crenshaw 2006, especially 56-68. 67 Ibid. It is listed as White and Boon state six of seven, which cor­ responds to state five in New Hollstein. See NHD, no. 271. 43 Hinterding 1993-94, 258. 68 Ibid., II, 258. One is in the Rijksmuseum (O B.116), and the 44 Van Eeghen 1969, 168. other two have a Strasbourg Lily with Initials 4W R watermark, 45 De Groot 1976, 71-77. subvariants A.b.a. (Boston, Museum of Fine Arts, P.444) and A.b.b. (Musee Jenesch, Vevey, Switzerland, P.55). The rest of 46 Amsterdam 2011,111-15. the twelve are all printed on smaller uncut sheets, most of them 47 Ricci 19 18, 30, as cited in Hinterding 19 93-94, 258. with the Arms of London watermark A.a. 48 Laurentius 2 0 10 ,12 7 -5 7 , especially 14 7-4 9 . 69 Ibid., II, 15 4 and 199. 49 Hinterding 1993- 94. 260-62. De Hoop Scheffer and Boon 70 This hypothesis can be further explored by an examination 1971. 4- of the quality of the impressions found on these papers. The Cornell print, according to the latest catalogue of Rembrandt’s 50 EH 2006,1, 143. etchings, is an intermediary state “V-a”, described as “The 51 Xi et al. 2016, 135. marks in the sky not clear anymore. This may have been caused by either wear or burnishing.” NHD, no. 271. An examination 52 Ibid, 138. of the Amsterdam impression with the IHS A.b. watermark, 53 The images of watermarks to be used in the decision tree that also noted in NH D as state V-a, shows it to be of comparable will be posted for public use are from Dr. Hinterding’s personal quality to the Cornell impression; both show traces of the ver­ photograph collection that includes images of nearly all of the tical line at center and smudgy marks in the sky— the Cornell subvariants in his study. impression perhaps more faintly than the Rijksmuseum impression, but they are nonetheless present. The impression 54 Stevenson 19 5 1-5 2 , 66; Ash, Nicholson in Milwaukee 1982. on paper bearing the Strasbourg Lily A.b.b. with initials 4WR, 55 See, for example, EH 2006, II, 104: “EAGLE, SIN GLE­ in the Musee Jenesch, Vevey Switzerland (M JV P. 55) is also H EADED: A. Crowned, single-headed eagle with a crosier (not listed as a state V-a impression. Finally, the Museum of Fine the Basel variety) on its breast. Double-layered wing feathers Arts, Boston impression, on the Strasbourg Lily A.b.a. twin point downwards.” paper to the Swiss impression (EH 2006, II, 197) is catalogued in NHD as a bona fide state V print; it does appear earlier from 56 The list of types is: Basel Crosier, Basilisk, Countermark Letter the plate than the Cornell or Amsterdam impressions, but the I, Single-headed Eagle, Single-headed Eagle with Basel Crosier, marks in the sky are nearly worn away here, as well. Thus, given Double-headed Eagle, Fleur-de-lis, Foolscap with Five-Pointed their similarities in quality, it is feasible to imagine the printing Collar, Grapes, Countermark IHS, Paschal Lamb, Seven of all four of these impressions within the span of a single batch Provinces, Strasbourg Bend, Strasbourg Lily. of paper. 57 WIRE 2016. 7 1 SUArt Galleries, Syracuse University 1963.932. For further 58 Laurentius et al. 1992, 366-67; Guillaud and Guillaud 1986,675. information, see Appendix 2, page 52. 59 EH 2006, II, 5 3-54 ; Laurentius et al. 1992, 367. 72 Ash 1986, 65; Nicholson in Milwaukee 1982, 2; Skalka 1995, 4 0 -4 1. 60 It cannot be a match for published variants because in addition to some variations in the quartered arms within the shield, 73 Ash 1986, 67. the “4B” pendant below the shield is reversed with respect to 74 International Association of Paper Historians International the coat of arms. The watermark for this print was previously Standard fo r the Registration of Papers with or without catalogued under “Unrecognizable ZZ.zz” (EH 2006. II, 241). Watermarks, version 2.1.1 (2013). Accessed May 17, 2017. The print is numbered there as 1931.46. http://www.paperhistory.org/standards/.

WEISLOGEL/JOHNSON 47 APPEN DIX 1 WIRE project participants, 2015-present

Project leaders Elizabeth Martinson T 7, H istory

Andrew C. Weislogel, the Seymour R. Askin, Jr. ’47 Katarina Martucci ’2 0 , Electrical and Computer Curator, Earlier European and American Art, Engineering Herbert F. Johnson Museum of Art, Cornell University Alison McCann, PhD candidate, History of Art C. Richard Johnson, Jr„ Jeffrey S. M. Hedrick Senior Professor of Electrical and Computer Engineering, Kira Nicolai T6, History of Art/Statistics Cornell University / Jacobs Fellow in Computational Margaret Orbon ’ 17, History of Art Arts and Humanities, Cornell Tech / Scientific Researcher, Rijksmuseum, Amsterdam / Computational Oscar Rieveling T6, History of Art/French Art History Advisor, RKD— Netherlands Institute for Phoebe Ross T 7 , Industrial and Labor Relations Art History (The Hague) Jason Setter, M.Eng T6, Electrical and Computer Engineering Project advisory group Samantha Siegler T8, History of Art Margaret Holben Ellis, Eugene Thaw Professor of Conservation, Conservation Center of the Institute Nina Simpkins T 9 , History of Art/Information Science of Fine Arts, New York University Xuelei Xi, M.Eng Y 7 , Electrical and Computer Erik Hinterding, Curator of Prints, Rijksmuseum, Engineering Am sterdam

Nadine Orenstein, Drue Heinz Curator in Charge, Cornell University: Faculty and staff Department of Prints and Drawings, Metropolitan Museum of Art Michele Brown, book conservator, Olin Library Paper Conservation Lab Oya Yildirim Rieger, Associate University Librarian, Scholarly Resources and Preservation Services, Michele Hamill, paper and photograph conservator, Cornell University Library Olin Library Paper Conservation Lab

Stephanie L. Wiles, the Richard J. Schwartz Director, Jill Iacchei, Olin Library Paper Conservation Lab Herbert F. Johnson Museum of Art, Cornell University Professor Vikram Krishnamurthy, Electrical and Computer Engineering, Cornell Tech

Cornell University: WIRE project students Professor Steve Marschner, Computer Science (2015 to present) Caitlin Moore, Olin Library Paper Conservation Lab Sujay Bhatt, PhD candidate, Electrical and Computer Brittany Rubin, print room curatorial assistant, Engineering, Cornell Tech Herbert F. Johnson Museum of Art Margaret Canfield ’20 , History of Art/Chemistry Jennifer Scheuer, printmaking specialist, Katrina Ferreira ’2 0 , Hunter R. Rawlings III Department of Art Cornell Presidential Research Scholar, Industrial and Bruce Walter, Senior Research Associate, Labor Relations Program of Computer Graphics Virginia Girard T 7, History of Art

Riley Henderson T8, History of Art

Amanda House T 7 , Computer Science

Dong Ki Kim, M.Eng T6, Electrical and Computer Engineering

So Jeong Lim ’20

Hao Lu, M.Eng T6, Electrical and Computer Engineering

Anjum Malik T6, Anthropology

48 A P P E N D I X 1 Outside Cornell STATE UNIVERSITY OF NEW YORK AT CORTLAND OBERLIN COLLEGE Professor Charles Heasley, Printmaking and New Media Andaleeb Badiee Banta, Curator of European and American Art, Allen Memorial Art Museum SYRACUSE UNIVERSITY UNIVERSITY OF IOWA Domenic J. Iacono, Director, Syracuse University Art Galleries Timothy Barrett, Director, Center for the Book UNIVERSITY OF WISCONSIN, MADISON FRANCES LEHMAN LOEB ART CENTER, VASSAR COLLEGE Devin Conathan, Department of Electrical and Computer Engineering Patricia Phagan, the Philip and Lynn Straus Curator of Prints and Drawings Professor William A. Sethares, Electrical and Computer Engineering METROPOLITAN MUSEUM OF ART Louisa Smieska (Cornell PhD T 5 ), Andrew W. Mellon YALE UNIVERSITY Foundation Conservation Fellow in the Department of Suzanne Boorsch, the Robert L. Solley Curator of Scientific Research Prints and Drawings, Yale University Art Gallery

Theresa Fairbanks-Harris, Senior Conservator of MORGAN LIBRARY & MUSEUM Paper, Yale University Art Gallery and Yale Center Reba Fishman Snyder, paper conservator for British Art

Paul Messier, Lens Media Lab, Institute of the NATIONAL GALLERY OF ART Preservation of Cultural Heritage John Delaney, Senior Imaging Scientist, Scientific Research Department INDEPENDENT SCHOLARS Georg Dietz, independent paper expert NEW YORK UNIVERSITY Lydia Aikenhead, conservation student, Timothy Moore, paper moldmaker, Concord, Michigan Conservation Center of the Institute of Fine Arts

Saira Haqqi, Conservation Center of the Institute We also acknowledge the assistance provided by the of Fine Arts Dutch University Institute for Art History, Florence.

NORTHWESTERN UNIVERSITY Professor Oliver Cossairt, Electrical Engineering and Computer Science, Northwestern University/Art Institute of Chicago Center for Scientific Studies in the Arts (NU-ACCESS)

Professor Marc Walton, Materials Science and Engineering, McCormick School of Engineering and Applied Science, NU-ACCESS

A P P E N D I X 1 49 APPEN DIX 2 Annotated list of previously unpublished watermarks catalogued by the WIRE project, 2015-present By collection, with selected illustrations

I. Herbert F. Johnson Museum of Art, The Hog, 16 4 3 Cornell University CAT. NO. 23 Compiled by Elizabeth Martinson, Cornell ’17, Etching and drypoint and Brittany Rubin Bartsch/White and Boon 157 i/ii; NHD 215 ii/ii Acquired through the generosity of Helen-Mae and The Small Lion Hunt (with Two Lions), ca. 16 2 9 Seym our R. Askin, Jr., Class o f 19 4 7, N an cy and Nelson Etching Schaenen, Jr., Class of 1950, and through the Margaret and Charles Treman, Class of 1930, Fund, supplemented Bartsch/White and Boon 115 only state; NHD 28, ii/ii by Margaret and Frank Robinson, 2003.086 Gift of Paul Ehrenfest, Class of 1932, 84.029.013 w aterm ark: Partial Basilisk, Hinterding subvariant w aterm ark: Foolscap with Five-Pointed Collar, A’.a.a. (for reference: EH 2006, II, 65, illus. Ill, 111) Hinterding subvariant K.i. (for reference: EH 2006, (For further discussion and watermark illustration, II, 1 3 3 ; illus., Ill, 2 33 ) see pages 36-38.)

The Rat Catcher, 16 3 2 The Flight into Egypt: Altered from Segers, ca. 1 6 5 2 CAT. NO. 18 CAT. NO. 35 Etching Etching, engraving, and drypoint Bartsch/White and Boon 121 iii/iii; NHD 111 iii/iii Bartsch/White and Boon 56 vi(?)/vii; NHD 271 v-a/vi Gift of Wellington R. Burt, Class of 1926, 65.023 Membership Purchase Fund, 84.010 w aterm ark: Countermark, Hinterding subvariant w aterm ark: Countermark IHS, closest to Hinterding PD B ’.a.a. (for reference: EH 2006, II, 89; illus. Ill, 146) subvariant A.b. (for reference: EH 2006, II, 154; illus., Ill, 300) The Angel Appearing to the Shepherds, 16 3 4 new proposed t w in m a r k : Countermark IHS A.b.a. Etching, engraving, and drypoint (For further discussion and watermark illustration, Bartsch/White and Boon 44 iii/iii; NH D 125 iii/vi see pages 42-43.) Bequest of Louis J. Heizmann, 74.057.009

w aterm ark: Miscellaneous, Late, similar to Hinterding subvariant B.a. “OCTUIER 1749” (for reference: EH 2006, 2. Allen Memorial Art Museum, II, 238 , illus. Ill, 503) Oberlin College new proposed t w in m a r k : Miscellaneous, Late B.a.b. Compiled by Katrina Ferreira, Cornell '20; Phoebe Ross, Cornell ’17; with Andaleeb Badiee Banta and Self-Portrait (?) with Plumed Cap and Andrew C. Weislogel. Lowered Saber, 16 3 4 CAT. NO. 1 Man in Cloak and Fur Cap, Leaning against Etching and engraving a Bank, ca. 1630 Bartsch/White and Boon 23 iii/iii; NHD 135 iii/iii Etching Gift of Margaret and Frank Robinson, in honor of Bartsch/W hite and Boon 1 5 1 i/iii; N H D 48 i/iii Susan Lynch, 2016.039.001 Special Gifts Fund, 1966.21 w aterm ark: Basel Crosier, similar to Hinterding w aterm ark: Partial foolscap, variant indeterminate subvariant E’.a. with the addition of letters M and B to either side of the shield bearing the crosier (for reference: EH 2006, II, 64; illus., Ill, 108) The White Negress, ca. 16 3 0

new proposed subvariant: Basel Crosier E’.b. Etching (For further discussion and watermark illustration, see page 42.) Bartsch/White and Boon 357 ii/ii; NHD 56 iii/iii Gift of the family of Ralph F. Hirschmann Three Oriental Figures (Jacob and Laban?), 1 6 4 1 (OC 1943 and D. Sc. 1969), RC2017.4 Etching and drypoint w aterm ark: Partial Arches, not in Hinterding Bartsch/W hite and Boon 1 1 8 ii/ii; N H D 19 0 ii/ii Gift of the Estate of Louis H. and Katherine W. Poliak, TR 9705.005

w aterm ark: Partial Arms of Amsterdam, Hinterding subvariant D.d. (for reference: EH 2006, II, 29; illus. Ill, 32)

50 A P P E N D I X 2 The Angel Appearing to the Shepherds, 16 3 4 Landscape with Three Gabled Cottages Etching, engraving, and drypoint beside a Road, 16 5 0 Bartsch/White and Boon 44 iii/iii; NHD 125 iii/vi CAT. NO. 56 R. T. Miller Jr. Fund, 1957.22 Etching and drypoint

w aterm ark: Basel Crosier, Hinterding subvariant A.a.b. Bartsch/White and Boon 217 iii/iii; NHD 248 iii/iii (for reference: EH 2006, II, 61; illus. Ill, 102) Gift of the Max Kade Foundation, 1967.44

w aterm ark: Strasbourg Lily, Hinterding subvariant Christ Driving the Money Changers E’.a.a. or E’.a.b. (for reference: EH 2006, II, 211, 213; from the Temple, 16 3 5 illus. Ill, 454, 4 55) Etching with touches of drypoint Barsch/White and Boon 69 i/ii; NHD 139, i/iv Presentation in the Temple in the Dark Manner, ca. 16 5 4 Gift of the Max Kade Foundation, 1968.128 Etching and drypoint w aterm ark: Foolscap with Five-Pointed Collar, Hinterding subvariant K.c.b. (for reference: EH 2006, Bartsch/W hite and Boon 50 only state; N H D 295 only state II, 1 3 1 ; illus. Ill, 228) Gift of the Max Kade Foundation, 1967.46

w aterm ark: Countermark PB, Hinterding subvariant Jan Uytenbogaert, Preacher of the Remonstrants, 16 3 5 A.a.b. or PB A.b. (for reference: EH 2006, II, 87; illus. HI, 14 2) Etching

Bartsch/White and Boon 279 iv/vi; NHD 153 iv/ix Christ Preaching (‘La Petite Tombe’), ca. 16 5 7 Gift of the Max Kade Foundation, 1968.129 CAT. NO. 50 w aterm ark: Partial Double-headed Eagle, Hinterding Etching and drypoint subvariant C.a.a., ca. 1637 (for reference: EH 2006, II, 66; illus. Ill, 17 9 ) Bartsch/White and Boon 67 only state; NHD 298 i/ii Gift of Mrs. John A. Hadden, 1968.21

Young Man in a Velvet Cap (Petrus Sylvius?), 1637 w aterm ark: Strasbourg Lily, Hinterding variant CAT. NO. 6 A 4W R or B (subvariant not in Hinterding)

Etching (fig- 1) Bartsch/White and Boon 268 ii/ii; NHD 164 ii/ii Gift of the Max Kade Foundation, 1968.131A

w aterm ark: Fragment, three roundels together in pyramidal form, possibly from a foolscap

Abraham and Isaac, 16 4 5 Etching Bartsch/White and Boon 34 only state; NHD 224 i/ii Gift of Mrs. John A. Hadden, 1968.23

w aterm ark: Partial Strasbourg Lily, Hinterding subvariant B.b.a. (for reference: EH 2006, II, 200; illus. Ill, 419)

Ephraim Bonus, Jewish Physician, 16 4 7 CAT. NO. 9 Etching, engraving, and drypoint

Bartsch/White and Boon 278 ii/ii; NHD 237 ii/ii Gift of the Max Kade Foundation, 1967.41

w aterm ark: Basilisk, Hinterding subvariant A ’.a.a. (for reference: EH 2006, II, 65; illus. Ill, 101) (For further discussion see pages 36-38.)

Saint Jerome beside a Pollard Willow, 16 4 8 CAT. NO. 30 Etching with drypoint Bartsch/White and Boon 103 ii/ii; NHD 244 iv/iv Gift of the Max Kade Foundation, 1967.42 w aterm ark: Foolscap with Five-Pointed Collar, Hinterding subvariant K.a.b. (for reference: EH 2006, II, 128; illus. Ill, 224) FIG. 1

A P P E N D I X 2 51 3. Syracuse University Art Galleries A Scholar in his Study (‘Faust’), ca. 16 5 2 Compiled by Elizabeth Martinson, Cornell ’17; Brittany Rubin; Etching, engraving, and drypoint and Andrew C. Weislogel; with DomenicJ. lacono. Bartsch/White and Boon 270; NHD 270 iv(?)/vii Gift of Mr. Cloud Wampler, 1963.1045 Three Heads o f Women, One Asleep, 1 6 3 7 w aterm ark: Partial, with a distinct “4W.” Most likely a Etching Strasbourg Lily, possibly Hinterding subvariants 4W R Bartsch/White and Boon 368 i/i; NHD 161 i/iii A.b.a, 4W R A.h., or 4W R B.i. (for reference: EH 2006, II, 197, 199, 202; illus. Ill, 403,413, 427), or a Strasbourg Gift of Mr. Cloud Wampler, 1963.936 Bend, possibly Hinterding variant F.c. (EH 2006, II, 188; w aterm ark: Countermark NB, Hinterding subvariant A.a. illus. Ill, 38 1). (for reference: EH 2006, II, 85; illus. Ill, 140)

n o te : This print has not been previously documented Adoration of the Shepherds: A Night Piece, ca. 1 6 5 7 with this watermark. The mark appears on only one other known print: Nude Man Seated on the Ground with One Etching, engraving, and drypoint Leg Extended, 1646 (NHD 234 ii/ii), in the collection Bartsch/White and Boon 46; NHD 300 viii/xi of Teylers Museum, Haarlem (KG.3761). The date of Gift of Mr. Cloud Wampler, 1963.932 that print suggests 1646 as the earliest print date for this w aterm ark: Strasbourg Lily with initials 4W R, impression. Hinterding subvariant A.b.a. (for reference: EH 2006, II, 19 7; illus. Ill, 403) Landscape with Cottage and a Large Tree, 1 6 4 1 n o t e : This print has not been previously documented Etching with this watermark. The same watermark appears on an Bartsch/W hite and Boon 226 i/i; N H D 19 8 only state impression of The Flight into Egypt: Altered from Segers in the Boston Museum of Fine Arts (HDP.444, NHD 271 Gift of Mr. Cloud Wampler, 63.923 v/vi). Although Rembrandt’s alteration of Segers’s plate w aterm ark: Strasbourg Lily, Hinterding variant D.b. dates from circa 1653, the fourth NH D state of the plate (for reference: EH 2006, II, 208; illus. Ill, 444) must date after circa 1657 as corroborated by the date of n o t e : This watermark also appears on an impression of Adoration of the Shepherds: A Night Piece. Landscape with Cottages and a Hay Barn: Oblong (N H D 199 only), in the collection of the National Gallery of Art, Washington, DC (1943.3.7108). (For more information on this print, see entry for cat. no. 54.) 4. Yale University Art Gallery Compiled by Theresa Fairbanks-Harris; Virginia Girard, Cornell ’17; Sarah Schlick, Yale ’18; and Andrew C. Weislogel; Self-Portrait Etching at a Window, 16 4 8 with Suzanne Boorsch and C. R. Johnson, Jr. Etching and drypoint Bartsch/White and Boon 22 iv/v; NHD 240 iv/ix Selected previously published watermarks are included where new information has arisen or a watermark image Gift of Mr. Cloud Wampler, 1963.1053 is now available. w aterm ark: Most likely Strasbourg Lily, Hinterding subvariant G.c.a. or G.c.b. (for reference: EH 2006, II, 218; illus., Ill, 463-64). These are catalogued as twin The Rat Catcher, 16 3 2 watermarks, and may even be the same watermark Etching due to their similarity. Bartsch/White and Boon 121 iii/iii; NHD 111 iii/iii n o te : Due to in-plate dates of other prints appearing on Gift of Mrs. Vincenzo Ardenghi, 1931.49 this paper, this impression is likely datable to 16 51 or after. w aterm ark: Basilisk, not found in Hinterding (for reference: EH 2006, II, 71; illus., Ill, 119) A Blind Hurdy-Gurdy Player and Family new proposed t w in m a r k : BasiliskE.a.b. Receiving Alms, 16 4 8 n o t e : The watermark on this print is a Basilisk E variant, Etching and drypoint which is different from all other Basilisk marks because Bartsch/White and Boon 176 iii/iii; NHD 243 iii/v the chain lines run horizontally across the design instead Gift of Harold M. (’17) and Alice Jalonack, 65.115 of vertically. The loops of the tail do not match the variant E.a. in width or curve pattern. w aterm ark: Partial, three roundels arranged in a triangular formation, possibly from a Foolscap with Seven-Pointed Collar or Single-headed Eagle The Raising o f Lazarus: The Larger Plate, ca. 16 3 2 Etching and engraving Bartsch/White and Boon 73 viii/x; NHD 113 v/ix Fritz Achelis Memorial Collection, Gift of Frederic George Achelis, B.A. 1907,1925.90

w aterm ark: Basilisk, Hinterding subvariant B.c. (for reference: EH 2006, II, 69; illus III, 115)

52 A P P E N D I X 2 The Good Samaritan, 1 6 3 3 Self-Portrait (?) with Plumed Cap and Etching, engraving, and drypoint Lowered Saber, 1634 Bartsch/White and Boon 90 i/iv; NHD 116 i/iv Etching and engraving Fritz Achelis Memorial Collection, Gift of Bartsch/White and Boon 23 iii/iii; NHD 135 iii/iii Frederic George Achelis, B.A. 1907,1925.91 Gift of Mrs. Vincenzo Ardenghi, 1931.048

w aterm ark: Arms of Burgundy and Austria, w aterm ark: Arms of Wiirttemberg, not in Hinterding Flinterding subvariant A.a.a. (for reference: EH 2006, (for reference: EH 2006, II, 52-53; illus. cf., Ill, 82) II, 42; illus., Ill, 63) new proposed subvariant: Arms of Wiirttemberg A.b. n o te : The presence of this watermark on a number of n o te: This watermark appears to be a new subvariant of impressions of the first state of this print in the same state the Arms of Wiirttemberg, variant A. In addition to some indicates an edition printed together, with a likely date variations in the quartered arms within the shield, the of circa 1632, before Rembrandt’s added signature and “4B” pendant below the shield is reversed with respect date of 1633 in the fourth state. Ten other impressions are to the coat of arms. The watermark for this print was documented on this paper and its twinmark, A.a.b. previously catalogued under “Unrecognizable ZZ.zz” (EH 2006, II, 241, there catalogued as 1931.46). The Good Samaritan, 16 3 3 (For further discussion and watermark illustration, Etching, engraving, and drypoint see pages 40-42.) Bartsch/White and Boon 90 iv/iv; NHD 116 iv/iv Gift of Lydia Evans Tunnard, 1980.43.47 Jan Uytenbogaert, Preacher o f the Remonstrants, 16 3 5

w aterm ark: Star, Hinterding subvariant A.a. Etching (published EH 2006, II, 181, not illus.) Bartsch/White and Boon 279 vi/vi; NHD 153 viii/ix (fig- 2) Gift of Mrs. Howard C. Morse, 1957.45.35

w aterm ark: (Partial) Foolscap with Seven-Pointed Collar, Self-Portrait with Raised Saber, 16 3 4 Hinterding subvariant L.a. (for reference: EH 2006, II, Etching, with touches of burin 14 5 - 4 6 ; illus. Ill, 276) Bartsch/White and Boon 18 ii/ii; NHD 134/ii/ii) n o t e : This print in this state is not catalogued with this watermark in Hinterding or in NHD. This paper also Fritz Achelis Memorial Collection, Gift of features the countermark PvL.a. This watermark Frederic George Achelis, B.A. 1907,1925.93 does appear on state v. w aterm ark: Basel Crosier (crosier only, without (fig- 4 ) surrounding shield and crown), not in Hinterding, cf. Heawood 1 1 8 4

new proposed subvariant: Basel Crosier H.a.

(fig- 3)

FIG. 2 FIG. 3

A P P E N D I X 2 53 Old Man with a Divided Fur Cap, 16 4 0 Etching and drypoint Bartsch/White and Boon 265 i/ii; NHD 182 i/ii Fritz Achelis Memorial Collection, Gift of Frederic George Achelis, B.A. 1907,1925.109

w aterm ark.- Partial Foolscap, Hinterding subvariant ZZ.zz (published EH 2006, II, 312, not illus.)

(fig- 5)

Cottages and Farm Buildings with a Man Sketching, ca. 1 6 4 1 Etching Bartsch/White and Boon 219 only state; N H D 2 0 1 only state Fritz Achelis Memorial Collection, Gift of Frederic George Achelis, BA 1907, 1925.121

w aterm ark: Countermark LB, Hinterding subvariant LB.a.b. (for reference: EH 2006, II, 83; illus. Ill, 136)

n o te: This is the countermark to Foolscap with Five- Pointed Collar, Hinterding subvariant K.a., the paper datable to circa 1650.

The Flute Player (‘Flet Uilespiegeltje’), 16 4 2 Etching and drypoint Bartsch/White and Boon 188 iv/iv; NHD 2 11 iv/iv The Walter R. Callender, BA 1894, Memorial Collection, Gift of Ivy Lee Callender, 1962.45.418

w aterm ark: Partial foolscap, three roundels, two on top, one on bottom (for reference: EH 2006, II, 126; illus., Ill, 219-20)

FIG. 4 n o t e : Other impressions of this print show Foolscap with Five-Pointed Collar, Hinterding subvariant I.zz., partial (just the roundels), but similarly two on top, one on bottom. This is likely an I variant (see EH 2006, II, 292 cf. Rijksprentenkabinet impression). The likely printing date is ca. 1648.

The Three Trees, 16 4 3 Etching, engraving, and drypoint Bartsch/White and Boon 212 only; NHD 214 only Fritz Achelis Memorial Collection, Gift of Frederic George Achelis, BA 1907,1925.119

w aterm ark: Strasbourg Lily, Hinterding subvariant E’.a.b. (for reference: EH 2006, II, 212, illus. Ill, 455)

n o te: Due to in-plate dates of other prints appearing on this paper, this impression is likely datable to circa 1652.

Abraham and Isaac, 16 4 5 Etching Bartsch/White and Boon 34 i/ii; NHD 234 ii/ii Fritz Achelis Memorial Collection, Gift of Frederic George Achelis, B.A. 1907,1925.122

w aterm ark: Miscellaneous, Late, not in Hinterding, last letter of the watermark T or L (?)

(fig- 6)

FIG. 5

54 A P P E N D I X 2 FIG. 6

Jan Asselijn, Painter (‘Krabbetje’), ca. 16 4 7 Etching, engraving, and drypoint Bartsch/White and Boon 277 iii/iii; NHD 236 iv/vii Fritz Achelis Memorial Collection, Gift of Frederic George Achelis, BA 1907,1925.125

w aterm ark: Arms, unidentified, similar to Hinterding subvariant B’.a.b. (published EH 2006, II, 56; for reference: illus. Ill, 89)

(% • 7)

Saint Jerome beside a Pollard Willow, 16 4 8 Bartsch/White and Boon 103 ii/ii; NHD 244 iv/iv Gift of Mr. and Mrs. Christopher Tunnard, 1973.156.6

w aterm ark: Partial Foolscap with Seven-Pointed Collar, possibly Hinterding subvariant C.a.a. (for reference: EH 2006, II, 140; illus., Ill, 257)

Panorama near Bloemendael Showing the Saxenburg Estate (‘The Goldweigher’s Field’), 1 6 5 1 Etching and drypoint Bartsch/White and Boon 234 only state; N H D 2 5 7 only state Gift of Edward B. Greene, 1900, 1931.10

w aterm ark: Paschal Lamb, Hinterding subvariant A.c. (EH 2006, II, 164; illus. cf. Ill, 324)

n o t e : This watermark is likely to be an unidentified twinmark of the Paschal Lamb, variant A.c. Hinterding notes that it is likely the entire variant A consists of various twinmarks in different stages of deformation, FIG. 7 and that one batch of paper may encompass the whole group of watermarks.

A P P E N D I X 2 55 The Circumcision in the Stable, 16 5 4 Etching Bartsch/White and Boon 47 i/ii; NHD 280 iii/v Everett V. Meeks, BA 1901, Fund, 2007.16.2

w aterm ark: Countermark GI, Hinterding subvariant Gl.a.b. (for reference: EH 2006, II, 76; illus., Ill, 126)

n o te : This countermarks letter I is not exactly parallel with the adjacent chain line; rather it bends away from it; this matching detail confirms the subvariant.

Christ Presented to the People: Oblong Plate, 16 5 5 CAT. NO. 46 Drypoint Bartsch/White and Boon 76 viii/viii; NHD 290 viii/viii Fritz Achelis Memorial Collection, Gift of Frederic George Achelis, BA 1907,1925.137

w aterm ark: Grapes, Hinterding subvariant A.zz. (published EH 2006, II, 148)

(fig- 8)

Christ Preaching (‘La Petite Tombe’), ca. 16 5 7 Etching and drypoint Bartsch/White and Boon 67 only state; NHD 298 i/ii Fritz Achelis Memorial Collection, Gift of Frederic George Achelis, BA 1907,1925.134

w aterm ark: Foolscap with Five-Pointed Collar, Hinterding subvariant Q’.a. (published EH 2006, II, 13 5 , illus. Ill, 2 4 1)

n o te: Closer inspection confirms the Yale watermark as a subvariant Q ’.a.b. (see cat. no. 49, fig. 3 1 )

(fig- 9 )

FIG. 9

56 A P P E N D I X 2 APPEN D IX 3 Further sources for Rembrandt watermark study

Books and articles Allan H. Stevenson, “New Uses of Watermarks as Bibliographical Evidence,” in Studies in Bibliography 1, C. M. Briquet, Les filigranes. Dictionnaire historique des 1948-49,149-82. marques du papier des leur apparition vers 1282 jusquen 1600, 4 vols., Paris, 1907. Allan H. Stevenson, “Chain-Indentations in Paper as Evidence,” in Studies in Bibliography 6, 1953-54, William Algernon Churchill, Watermarks in Paper in 1 8 1 - 9 5 . Holland, England, France, etc. in the XVII and XVIII Centuries and their Interconnection, Amsterdam, 1935. Ad Stijnman, Engraving and Etching 1400-2000: A History of the Development of Manual Intaglio John Barcham Green, Papermaking by Hand, Maidstone, Printmaking Processes, London, 2012. 19 6 7.

Walter Friedrich Tschudin and Emile-Joseph Labarre, Erik Hinterding, “Watermark Research as a Tool for The Ancient Paper-Mills of Basle and their Marks, the Study of Rembrandts Etchings,” in Rembrandt the Hilversum, Netherlands, 1958. Printm aker (Amsterdam-London 2000-01), 23-35.

David L. Vander Meulen, “The Identification of Paper C. Richard Johnson, Jr., William A. Sethares, Margaret without Watermarks: The Example of Popes ‘Dunciad,’” Holben Ellis, and Saira Haqqi, “Hunting for Paper in Studies in Bibliography 37,1984, 58-81. Moldmates Among Rembrandts Prints,” IEEE Signal Processing Magazine (Special Issue on Signal Processing Henk Voorn, “Some Curious Early Experiments in for Art Investigation) 32 (July 2015), 28-37. Dutch Papermaking,” in The Paper Maker 32, no. 1, 1963,11-19. Dan Kushel, “Radiographic Methods Used in the Recording of Structure and Watermarks in Historic Papers,” in Fresh Woods and Pastures New (Chapel Hill— Ithaca 1999), 9-53. Selected online resources

Anglia TV, “Papermaking by hand at Hayle Mill, Emile-Joseph Labarre, A Dictionary of Paper and Paper- England in 1976,” video, 15:18, http://www.youtube Making Terms with Equivalents in French, German, .com/watch?v=Xs3 PfwOItto. Dutch and Italian, Amsterdam, 1937.

“Bernstein: The Memory of Paper,” last modified Emile-Joseph Labarre, “The Sizes of Paper, their Names, June 26, 2017, http://www.memoryofpaper.eu Origin & History” in Buch und Papier buchkundliche /BernsteinPortal/appl_start.disp. und papiergeschichtliche Arbeiten; H. Bockwitz zum 65. Geburtstage dargebracht, Leipzig, 1949, 35-54. Dutch University Institute for Art History, Florence, “Watermarks Database of the Dutch University Institute Johann Lindt, The Paper-Mills of Berne and their for Art History” last modified January 24, 2014, Watermarks 1465-1859, Hilversum, Netherlands, 1964. http://www.wm-portal.net/niki/index.php.

Nadine Orenstein et al., “Print Publishers in the University of Iowa Center for the Book, “Chancery Netherlands 1580-1620,” in The Dawn of the Golden Papermaking,” video, 10:00, 2013, http://now.mowa Age: Northern Netherlandish Art 1580-1620, edited by .edu/20i3/o5center-book-releases-short-film-about Ger Luijten, et al., New Haven, 1994,167-200. -papermaking.

Mark van Staalduinen, “Content-based Paper Retrieval Towards Reconstruction of Art History,” PhD thesis, Delft University of Technology, 2010.

Mark van Staalduinen, Jan C. A. van der Lubbe, Eric Backer, and Pavel Paclik, “Paper Retrieval Based on Specific Paper Features: Chain and Laid Lines,” in Multimedia Content Representation, Classification and Security, Lecture Notes in Computer Science 4105, 2006, 346 - 53 -

APPENDIX 3 57