Visscher Redrawn
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VISSCHER REDRAWN By Robin Reynolds after Claes Jansz Visscher 1 Visscher Redrawn is a pen-and-ink revision of Dutch engraver Claes Jansz Visscher’s London panorama, published in 1616. In it, 21st century artist Robin Reynolds depicts modern London, arranged on the fantastic Visscher landscape. The new work was first exhibited at London’s Guildhall Art Gallery from February to November 2016, as part of the City of London’s William Shakespeare 400th and Great Fire 350th anniversary programmes. The piece includes references to the Great Fire and the London Blitz – two events that reshaped London – and hidden in the drawing are visual references to all of Shakespeare’s major works. You can find the clues, drawn from Shakespeare’s texts, on pages 17-20. While researching Visscher Redrawn, Robin Reynolds explored the life and works of Visscher and his associates in the Dutch Golden Age. Included in this handbook is his essay, Secrets in the Sky, setting out the evidence that he believes explains how the Visscher panorama was compiled by a man who had never set eyes on London. 1 CONTENTS THE 2016 PROJECT Claes Jansz Visscher 4-5 The idea of a modern London revision would be 2016 – the 400th The secret was a scroll-box, designed view in the fashion of the 1616 anniversary of the Visscher version and built by Reading carpenter Robin Reynolds 6-7 Visscher panorama surfaced in the – so again, the idea was put on ice. Graham Kemp. This permitted the mid-1990s, when Robin Reynolds artist to work on one section of the The Visscher panorama: factfile 8-9 was pursuing fantasy drawings as Early in 2014, encouraged by drawing while the rest of it was safe a hobby. Recognising that his pen- publicist Richard Peel, a friend and inside the box. It also allowed the Secrets in the Sky 10-15 and-ink work had a flavour of many former colleague, he began work on work-in-progress to be transported Renaissance engravings, he obtained the 2016 panorama. and shown to topographers, Visscher Redrawn - Things to look for 16 a photographic copy of Visscher’s historians, city planners and others view from the Museum of London. As a first step, he sought the advice who could offer advice. The work The Shakespeare Challenge 17-20 of Berkshire paper conservationist was completed in January 2016. However the idea went no further Susan Hourigan. There were two Acknowledgements 20 until 2007, when he retired from his objectives – one, to produce a work The objective was to portray post as head of the BBC’s history that would last at least 400 years, London as it was early in 2016. projects and heritage collections. and two, to minimise wear and tear However for practical purposes on two-and-a-half metres of heavy Southwark had to be researched This gave him time to begin drawing paper during a long and earlier. As a consequence, what research, but by then it was clear labour-intensive process. you see in the foreground is an that the ideal target date for a interpretation of Southwark in 2014. Progress: The skyscrapers and Tower Bridge take shape The Kemp scroll box 2 3 About the artists CLAES JANSZ VISSCHER Biographical information is sketchy. In time he became one of the Netherlands, and Visscher, an He was born in Amsterdam around largest print publishers in Europe, arch-Calvinist, produced many 1586-7. The son of a shipyard producing maps, cityscapes and biblical maps and landscapes. carpenter, he identified his talents at other topographical publications and an early age, and is believed to have landscapes. Around 1,000 pieces He also produced a number of studied under the Flemish painter originated in his workshop, and the graphic topical prints depicting the David Vinckboons. family business generated prints from torture and execution of Catholic more than 4,000 second-hand plates. and other religious adversaries. By the age of 18 Visscher was working for the publisher Willem As an artist he appears to have Visscher died in 1652, but the Jansz Blaeu on a huge world map enjoyed creating landscape scenes, family business prospered into the printed from twenty plates. But but religion was important to him eighteenth century in the hands of within two years he was producing personally, and to his business. In his son Nicolaes Visscher I (1618– work in which he identified himself the age of the Dutch Revolt (1560s 1679), and grandson, Nicolaes as the publisher as well as the artist. to 1648) against the Catholic Visscher II (1649–1702). Spanish, new protestant bibles emerged in Germany and the Images: Rijksmuseum, Amsterdam 4 5 About the artists ROBIN REYNOLDS Born in Zimbabwe in 1952, Robin the demands of family life and work Reynolds lives and works in England. limited his activities as an artist to fantasy pieces for the amusement His professional background of friends. is journalism and business communication. He worked at the Now retired, he works full-time BBC for 23 years and was latterly on images that have historic head of the BBC’s art, history and resonance for general and specific collections unit (BBC Heritage). markets. Prospects include the New Orleans tricentennial (2018) and the As a semi-professional draughtsman 50th anniversary of the Apollo 11 he produced pocket illustrations, moon mission (2019). including a series of Dickens characters, for newspapers and He says of his work: ‘My pictures are magazines. For a time he was a about having fun with what I think regular contributor to Popular of as the human beehive. I like to Gardening magazine. offer grand-scale spectacle while at the same time drawing the observer He had an exhibition of larger pieces into the minutiae of a piece.’ in Luton in 1981, but for many years 6 7 Image: Library of Congress, Washington THE VISSCHER • When it first appeared, the • The Visscher panorama was important prints and drawings • Visscher did not visit all the cities who lived in London for some Visscher engraving was headed printed on paper which was collector of the early seventeenth that were the subject of his years, acquired sketches from an PANORAMA ‘Londinum florentissima then glued to linen, to make a century. His collection was panoramas. In fact it’s possible artist unknown. Britanniae urbs toto orbe prestigious wall-hanging. purchased for the King in 1762 by that Amsterdam was the only • Published in 1616, the Visscher celeberrimum emporiumque’ the Scottish architects James and panorama subject that he saw • In 1662 the image was adapted panorama is one of the few visual (London, Britain’s most • Proud Britons were the target Robert Adam. first hand. for King Charles II’s Great Seal. records of the mediaeval city. flourishing city, famous market, but the text was also The image, measuring over two throughout the world). It was printed in French and Dutch for • Precisely when Visscher compiled • There is no evidence that he metres in width, was engraved on accompanied by a tract of Latin European buyers. the panorama is a mystery. The corresponded with anyone in copper plates in four sections. text, running to several thousand bulk of the work on the London London. Equally, there’s no words, describing London in • None of the wall-hangings has panorama was almost certainly evidence that he travelled there • In the image Visscher is identified flattering terms. survived. Only one complete 1616 completed years before it was (although even in those times the as the artist, but it was published print remains (although there finally published. Why the publisher trip from London to Amsterdam by a rival, Ludovicus Hondius. • This text was lifted from Britannia, were subsequent issues). It is part waited so long is the subject of was not difficult). After Visscher’s death in 1652, the William Camden’s topographical of King George III’s collection, speculation. (See Secrets in the Sky, family workshop was publishing and historical survey of the British and now resides with the British Page 10) • If as many believe, Visscher did prints of at least 28 city panoramas Isles, published in several editions Library. It may originally have not visit London, what were his – many from the second-hand between 1586 and 1607. been purchased and assembled sources? Some believe that he plates of other engravers. by Cassiano del Pozzo, the most relied on John Norden’s Civitas Londini, published in 1600. In Visscher’s panorama, a water • But he could have had other tower built by Sir Bevis Bulmer sources. Anton Van den helps us date the sketches from Wyngaerde’s detailed 1543 which Visscher worked. The tower panorama, commissioned by carries the badge of the Tudor A section of the only surviving complete Henry VIII, would have been a queen, so it’s a safe guess the first edition print of Visscher’s London model for subsequent views from sketches were made after the panorama. This cartouche names the the south bank. However it seems stucture was completed in 1595, publisher as Ludovicus Hondius. more likely that the publisher’s and before the queen died in 1603. John Norden’s Civitas Londini. Image: Royal Library, Stockholm Image: British Library late father, Jodocus Hondius I, Image: British Library 8 9 VISSCHER’S LONDON: THE SECRET IN THE SKY We can only conclude that the Published in 1611, it is revealing. sketches came to him much later. Twelve years earlier Pieter Bast produced a relatively drab, Scouloudi went on to say: ‘By uninteresting view of the city, that year [1608] he had seen from across the IJ.