Materiality and the Early European Print • Conclave Prints

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November – December 2012 Volume 2, Number 4

Materiality and the Early European Print • Conclave Prints • a 16th-Century Coffret à Estampe • Remaking Dürer Dürer’s Changeable Rhinoceros • Engravings Lost in Translation • Prints and the Pursuit of Knowledge • Reviews • News RobeRt NaNteuil (1623–1678), Gilles Rousselet (1610–1686), and aNtoN WüRth (b. 1957)

Portrait of Louis XIV Surrounded by an Allegorical Composition 1667 together with N - Predella III 2012

Petitjean/Wickert (Nanteuil) 139 A first state (of four); Meyer (Rousselet) 285 first state (of three); Würth third state (of three) (from our new catalogue Neue Lagerliste 130: Rare Prints)

The exhibition ANTON WÜRTH: DAS ORNAMENT will be shown at Pocket Utopia, 191 Henry Street, New York City, from November 2 through December 9, 2012.

23 East 73rd Street New York, NY 10021 212-772-7330 www.cgboerner.com November – December 2012 In This Issue Volume 2, Number 4

Editor-in-Chief Susan Tallman 2 Susan Tallman On the Past

Associate Publisher Evelyn Lincoln 4 Julie Bernatz Publishing, Secrecy and Curiosity in a German Conclave Print Managing Editor Annkathrin Murray Séverine Lepape 9 When Assemblage Makes Sense: Associate Editor An Example of a Coffret à Estampe Amelia Ishmael

Design Director Angela Campbell & Andrew Raftery 15 Skip Langer Remaking Dürer: Investigating the Master Engravings by Masterful Engraving Design Associate Raymond Hayen Jesse Feiman 22 The Matrix and the Meaning Web Associate in Dürer’s Rhinoceros Kristina Felix Ben Thomas 28 Management Associate John Evelyn’s Project of Translation Ashley Clark

Advertising Manager Book Reviews Pilar Sanchez Armin Kunz 35 An Archeology of the Iconic World: Prints and the Pursuit of Knowledge in Early Modern Europe

Allison Rudnick 40 Conversations from the Print Studio: A Master Printer in Collaboration with Ten Artists Susan Tallman 42 Master Prints Close-Up What is a Print? Selections from the Museum of Modern Art

Exhibition Review Charles Schultz 44 Afterimage: The Prints of Bruce Conner

News of the Print World 46 Contributors 55 Membership Subscription Form 56

Cover Image: Multiple impressions of Andrew Raftery’s engraving after Dürer’s St. Paul (2012). Photo: Forest Kelley.

This Page: Jean d’Ypres, detail of Crucifixion (Paris, late 15th century), woodcut, hand-colored with stencils. British Museum, London. ©Trustees of the British Museum.

Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 This issue of Art in Print was www.artinprint.org published with the generous support of [email protected] the Samuel H. Kress Foundation. No part of this periodical may be published without the written consent of the publisher. On the Past By Susan Tallman

Hartley’s observation, “the past half-century on, however, people who han- In his review of Susan Dackerman’s L P is a foreign country: they do things dle works of art on a daily basis have become Prints and the Pursuit of Knowledge in Early differently there,” is familiar enough, but increasingly attuned to how much the func- Modern Europe Armin Kunz summarizes what follows that trenchant opening line is tion of any given ‘exactly repeatable picto- the lessons of that ground-breaking exhi- often overlooked: the finding of a battered rial statement’ depends on the specific mol- bition: printed images—as Ivins argued— red collar-box (an item long defunct by ecules of the specific impression. Several changed the way Europeans conceptualized 1953, when Hartley’s novel was published.) writers in this issue of Art in Print point out the world, enabling the kind of observation- The box is filled with oddments—dry sea problems implicit in Ivins’ bold adverb, and based enquiry that underlies modern sci- urchins, rusty magnets, photographic nega- argue in favor of a more flexible or nuanced ence, technology and epistemology. One tives, stumps of sealing wax, a diary. The view: a ‘more-or-less repeatable pictorial of the revelations is that this change did detailed listing shifts the emphasis a bit: statement.’ not happen through disembodied cerebral they do things differently there. As the nar- Jesse Feiman uses the textbook example exercise, but through the active produc- rator handles these bits and bobs, “some- of Albrecht Dürer’s Rhinoceros to challenge tion and manipulation of paper things, thing came and went between us: the inti- Ivins’ paradigm; printed in at least three many of which demanded bodily engage- mate pleasure of recognition.”1 Hartley’s different cities over the course of more than ment—turning, lifting, folding, cutting and collar-box is a vehicle for time-travel, but a century, Dürer’s woodblock gave birth to pasting. This sense of the print as a thing in the world is brought home forcefully by Séverine Lepape’s study of an early 16th- century coffret à estampe, one of a group of mysterious small boxes of similar shape and construction, with religious prints pasted into their lids, most of which harbor a secret compartment. We don’t know who owned them or what they were meant to hold. We don’t know if the prints were chosen by the buyer or the manufacturer. But through careful comparative analysis, Lepape builds a picture of how medieval piety and incipi- ent mass-production interacted at the cusp of the modern world. This issue of Art in Print was made pos- Ferdinando Gregori after Frans van Mieris, detail of A Young Woman Crying on a Balcony (1760), sible through the generous support of the etching and engraving, 22.1 cm x 16.8 cm. ©Trustees of the British Museum. Samuel H. Kress Foundation, and with the help of a number of scholars who kindly it is fundamentally different from Marcel pictorial statements that range from pre- shared their time and expertise. We owe Proust’s bit of cake: the collar-box is a sur- cisely informative to moodily atmospher- special thanks to Nadine Orenstein, Jay vivor, the freshly-baked madeleine is just an ic. Ben Thomas looks at the difficulties Clarke, Suzanne Karr Schmidt and Paul echo. encountered by the English reformer and Coldwell. Finally, I must acknowledge a debt This issue of Art in Print is given over connoisseur John Evelyn in his attempts of gratitude to Suzanne Karr Schmidt and to just such survivors and the power they to re-present the continental aesthetics of Lia Markey, whose fascinating panel on the wield to evoke a world of things differently Roland Fréart de Chambray through verbal “Materiality of Early Modern Prints” at the done. For this volume, we invited a range of and pictorial translations. 2010 College Art Association Conference scholars to consider early European prints In the labs of Ivins’ own institution, the alerted me to the breadth of vital research not just as pictures, but as objects in time Metropolitan Museum of Art, conservator taking place around what one might call and space, with specific uses, histories and Angela Campbell and artist Andrew Raftery the social anthropology of the early printed physical biographies.2 set out to answer a basic question about image. In the mid-20th century, William Ivins Albrecht Dürer’s Meisterstiche engravings— The past is indeed a foreign country, but changed the way we think about prints with works that are so familiar, and whose visual some people have visas. his emphasis on their function as ‘exactly content has been so thoroughly analyzed, repeatable pictorial statements.’ Prints, that it is startling to realize that we have no Ivins argued, revolutionized the world by idea how many were made, what percent- Susan Tallman is the Editor-in-Chief of allowing the error-free dispersal of picto- age have been lost, or how quickly the plates Art in Print. rial information. Writing in the slipstream wore down. In the absence of documenta- between Walter Benjamin and Marshall tion, Campbell and Raftery conducted an Notes: McLuhan, Ivins focused on how images investigation by way of re-creation: replicat- 1. L.P. Hartley, The Go-Between, New York: New work rather than on what he saw as the nit- ing a Dürer engraving using the same mate- York Review Books, 1953, reprint 2002: 17. picking of traditional connoisseurship, with 2. Note: Ad Stijnman and Anja Grebe’s essay on the rials and tools (in so far as possible), and earliest complete copperplate printing manual has its hierarchies of individual impressions. A printing the plate until it becomes unviable. been postponed to a later issue of Art in Print. 2 Art in Print November – December 2012 Fig. 1. Christoph Weigel (publisher), detail of Der Grund-Riß des Conclave und die Beschreibung aller Solennitaeten: welche in Rom nach Absterben eines Pabstes, und beÿ der Erwehlung seines Nachfolgers vorzugehen pflegen (c. 1700-1720), engraving, 38.2 x 47.5 cm. Anne S.K. Brown Military Collection, Brown University Library. Art in Print November – December 2012 3 Publishing, Secrecy and Curiosity in a German Conclave Print By Evelyn Lincoln

he point of the conclave prints that cir- curiosity of the many tourists who came so much curiosity remain obscure. Tculated at the death of a pope was to to Rome to marvel at its antiquities, and Single-sheet prints of papal conclaves, reveal what was, by definition, the secret pilgrims hungry for a glimpse of ancient once both popular and plentiful, are now and mysterious ritual surrounding the elec- rites such as these. The prints bristled with curiosities and rarely exhibited, although tion of a new one. The word conclave, from impenetrability, from the inscrutable fig- they were printed up to the 19th century. the Latin cum clave, “with a key,” denoted ures of identically robed cardinals, to the They are difficult to parse, and blend differ- secrecy in its very name.1 These carefully halberd-carrying militias guarding them. ent genres and cognitive styles, offering us compartmented etchings and engravings, The tiny, immobile presence of the dead clearly important information in different lined with text and crowded with images, pope gave nothing away either, except the registers of viewpoint and specificity. We began to appear in Rome in the 16th cen- certainty of his absence. Prints purporting see an ichnographic map, a procession and tury.2 They picked up momentum with the to lift the curtain on the goings-on between landscape in bird’s eye view, and emblem- increase in pomp that characterized papal the death of one pope and the election of atic cartouches and coats-of-arms. In the ceremony in the following century, and the next could not fail to be best sellers, compartments that frame the central image the market for them was further fed by the although to modern viewers the reasons for in the engraving published by Christoph

Fig. 1. Christoph Weigel (publisher), Der Grund-Riß des Conclave und die Beschreibung aller Solennitaeten: welche in Rom nach Absterben eines Pabstes, und beÿ der Erwehlung seines Nachfolgers vorzugehen pflegen (c. 1700-1720), engraving, 38.2 x 47.5 cm. Anne S.K. Brown Military Collection, Brown University Library.

4 Art in Print November – December 2012 Fig. 2. Giovanni Giacomo de Rossi (publisher) Nuova, et esatta pianta del conclave con le funtioni, e ceremonie per l’elettione del nuovo pontefice, fatto nella sede vacante di Papa Innocentio XI. Che sede anni XII mesi X Giorni XXII nel quale entrorno l’Em.mi Sig.ri Cardinali a dì XXIII di Agosto MDCLXXXIX. In Roma: Gio(vanni) Giacomo (de) Rossi le stampa in Roma alla Pace co(n) licen(sa) de Sup(erio)ri (1689), etching, 36.1 x 46.3 cm. Anne S.K. Brown Military Collection, Brown University Library.

Weigel (Fig. 1), masses of figures cluster in the empty throne, the unknown moment viewers could imagine what factions were frenzied motion or silent meditation, or between two successors to the throne of St. formed and deals might be struck. In real- they file across the page in measured pro- Peter, important choices are being made. ity, the Cardinals’ attendants freely released cession.3 Two athletic, airborne putti clam- This engraving is undated, and unlike whatever information they had, so that ber towards the heavens, struggling with most of the single-sheet conclave prints there was much betting activity as well as a heavy, fringed curtain imprinted with a issued to commemorate a specific event, political pressure on cardinals by foreign ground plan of the area around the Vatican it shows the generic rituals that occurred rulers. It was primarily because of interven- palace, annotated in German. Ascending during the sede vacante. The solemnity of tions by the latter that 17th-century con- with their odd textile, they reveal a magis- the complex rituals at the death of a pope, claves were such drawn-out affairs, which terial bird’s eye view in perspective, show- and the ostentatious secrecy of the proceed- left a comfortable space for the market in ing the same area represented in the plan, ings by which the new pope was elected, conclave prints.4 with an orderly procession in full swing. barely masked the intersection of the com- The more usual conclave prints were A shell-shaped cartouche at the bottom, petitive personal and political interests that therefore newsy and documentary—they which tells us this is a view of the Castel emerged with the first whiff of the oppor- included the list of voting and absent mem- Sant’Angelo and St. Peter’s Church in Rome, tunity to gain control of this position. The bers of the College of Cardinals, and the emphasizes an important fork: on the left, new pope was elected by the College of name of the newly deceased pope as well the official entry into Bernini’s colonnade Cardinals, made up of men from the most as the date that the conclave convened; one and the sacred space before the most impor- powerful families of Italy and Europe. As has the sense of an event still in play. The tant church in Christendom; on the right, such, they not only acted to preserve papal timeframe within which the prints were the statue-laden penitential pilgrim’s route primacy, but also, and perhaps primarily, rushed onto the market as well as the reli- to the fortified Castel Sant’Angelo, patrolled they wished to safeguard individual influ- ably unchanging rituals made it reasonable by the fierce and colorful Swiss guard, ence on the political scene. Most conclave to repeat most of the images between one offers the same choice as St. Peter with his prints included the names of the partici- sede vacante and the next. The etchings pub- keys. During the sede vacante, the time of pating cardinals, by which knowledgeable lished by Giovanni Giacomo de Rossi and

Art in Print November – December 2012 5 Fig. 3. Giovanni Bartolomichi (publisher), Nuova, et esatta pianta del’ conclave con le funtioni, e ceremonie per l’elettione del nuovo pontefice fatto nella sede vacante di Papa Clemente XIII. Si vendeno da Giovanni Bartolomichi (1769). In Roma: Giovanni Bartolomichi Sopra la Chiavicha di Fiano, (1769), etching, 43.3 x 34.3 cm. (1769) Anne S.K. Brown Military Collection, Brown University Library.

6 Art in Print November – December 2012 Fig. 4. R.V.A. Gandense (engraver), Domenico de Rossi (publisher), Nuova et esatta pianta del Conclave con le funtioni e ceremonie per l’Elettione del nuovo Pontefice fatto nella sede vacante di Papa Innocentio. XII. che sedé anni. IX. mesi. II. giorni XV. nel quale entrorno l’emin. Sig[no] n° cardinali adi IX di Ottobre MDCC, Rome, Domenico de Rossi (1700), engraving, 43.5 x 67 cm. Reproduced from the original held by the Department of Special Collections of the University Libraries of Notre Dame.

Giovanni Bartolomichi (Figs. 2 and 3) are scenes around the central groundplan, the the bottom purporting to show us the rela- typical pictorial versions of accounts of the later print is clearly modeled on the earlier tive size of what we see. All these elements conclaves, which were also narrated textu- one. The images of the cardinals gather- were copied either from the de Rossi print or ally in unillustrated brochures that inter- ing preliminarily in the Sistine Chapel in from a common earlier source; in fact, the spersed generic accounts of the rigorous orderly silence, the formal recognition of caption at the top of the earlier print clearly sequestration of the cardinals with time- the corpse of the dead pope, the entrance shows the modifications made to the plate sensitive individual names and offices. They of the cardinals into conclave, the scrutiny when de Rossi had it updated, changing the emphasized concealment and security, in the Sistine Chapel, the spare, temporary dates and name of the pope. The previous dwelling not only on the companies of fierce cells in which the cardinals were enclosed conclave would have been that of 1676, so at guardsmen, but the chaining of the palace for the duration, with bed and chair and lit- the least, the life span of the images in these doors and bricking up of the cardinal’s cells, tle windows high at the top, the Swiss Guard two prints was 93 years, and possibly more. leaving only one window near the ceiling for and other private militias visibly maintain- None of these prints bear the name of an air, and another revolving window through ing order in the city, the procession of clergy artist, though clearly artists were at work. which to pass food without being able to to the Vatican to pray for a prompt election, Even when an artist signed the print, the pass verbal messages.5 The powerful Roman the order with which food was brought in publishers were the forces behind their pro- print house of Giovanni Giacomo de Rossi personalized hampers to each sequestered duction, keeping the plates refreshed and specialized in pictorial prints, and this cardinal, and the mass invoking the Holy images on the market. The publisher named etching shows the sede vacante at the death Ghost to guide and guard the conclave (as in the top margin of Fig. 1, Christoph Weigel of Innocent X in 1689.6 The sede vacante fol- it does, in the form of a dove, at the top cen- (Bohemia, 1654–Nuremberg, 1725), was a lowing the death of Clement XIII in 1769 is ter of each print), persist unaltered in form goldsmith, bookseller, publisher and engrav- shown in the print published by the book- from 1689 to 1769.8 The ground plan of the er. This engraving, too, follows the model seller Giovanni Bartolomichi who ran a papal palace and Sistine Chapel, in which of the de Rossi print, although not quite shop on the via del Corso, and specialized the meetings of the conclave took place, as faithfully, for the small framing panels. in printed narratives of church ceremony share the middle of the print with a tromp The innovation of rolling up the ground- and reports on the papal court, as well as l’oeil parchment announcing all the cardi- plan to make our knowledge less abstract carnival plays and descriptions of the fire- nals by name, ecclesiastical rank, and—of appeared on another engraving, similarly works machines erected for extraordinary political importance—the pope who nomi- conceived and rendered, by a Flemish art- visiting dignitaries.7 Although one print nated each to office. As an added encour- ist who signed it “R. V. A. Gandense.” This is horizontal and one vertical, necessitat- agement to believe in the accuracy of the one, also published by Giovanni Giacomo ing a different disposition of the subsidiary pictorial report, a scale rule is included at de’ Rossi, showed the famously five-month-

Art in Print November – December 2012 7 long conclave of 1691, and includes a flowery ca. 1700, 47 x 37 cm. dedication to Cardinal de’ Medici at the top. 4. Baumgartner, 174. It was then re-issued in 1700 by Domenico 5. As, for example, the 8-page Diario delle Funzioni fatte dentro, e fuori del Conclave, Avanti, e doppo de’Rossi, for the conclave resulting in la Creazione del Sommo Pontefice Alessandro the election of Clement XI, with nothing Settimo, In Roma, e di nuovo in Firenze, nella stam- changed but the dates and names of the peria di S.A.S alla Condotta, 1655. 6. Giovanni Giacomo de Rossi (publisher, 1627– 9 pope and publisher (Fig. 4). 1691), Nuova, et esatta pianta del conclave con le The conceit of the angels raising the cur- funtioni, e ceremonie per l’elettione del nuovo pon- tain of secrecy and the presence of the same tefice, fatto nella sede vacante di Papa Innocentio landscape and narrative images, and the XI. Che sede anni XII mesi X Giorni XXII nel quale entrorno l’Em.mi Sig.ri Cardinali a dì XXIII di Agosto unusual fact of the print being an engraving MDCLXXXIX, in Roma: Gio(vanni) Giacomo (de) rather than an etching, make one wonder if Rossi le stampa in Roma alla Pace co(n) licen(sa) de the same artist was at work in both cases, Sup(erio)ri, (1689), etching, 36.1 x 46.3 cm, Brown although the engraving style, particularly University Library. See: Tozzi, cat.# I:22. 7. Giovanni Bartolomichi, (publisher), Nuova, et the use of cross-hatching, is less atmospher- esatta pianta del’ conclave con le funtioni, e cere- ic in Weigel’s version, which also omits all monie per l’elettione del nuovo pontefice fatto nella time-specific references. Weigel allows no sede vacante di Papa Clemente XIII. Si vendeno da Giovanni Bartolomichi, 1769 In Roma: Giovanni mention of the names of cardinals or pope, Bartolomichi, 1769, etching; 43.3 x 34.3 cm. Sopra and the papal coat of arms itself is devoid of la Chiavicha di Fiano, 1769. Vienna, Nebehay, ‘60. identifying impresa, containing only the EGd words “sede vacante.” There is no particular- 8. Marcello Fagiolo, ed., La Festa a Roma dal Rinascimento al 1870, Atlante, Torino: U. Allemandi, ized papal catafalque visible, as there is in Roma: J. Sands; Milano: Distributore esclusivo alle the earliest de Rossi print, and perhaps most librerie, Messaggerie libri, 1997, p. 10. notably, no Holy Spirit presides over this 9. Robert van Audenaerde (Ghent 1663-1748), Nuova et esatta pianta del Conclave con le funtioni German rendition of the arcane ceremonies e ceremonie per l’Elettione del nuovo Pontefice fatto of papal Rome. Instead, Weigel has collected nella sede vacante di Papa Innocentio. XII. che sedé the most interesting images from the many anni. IX. mesi. II. giorni XV. nel quale entrorno l’emin. models that preceded him, and by produc- Sig[no] n° cardinali adi IX di Ottobre MDCC. Rome, Domenico de Rossi, 1700. Audenaerde worked ing them as an engraving unmoored from in Rome with Carlo Maratti until 1732. See: Paolo particular events, he has rendered them Bellini, L’opera incisa di Carlo Maratti, Museo Civico eternal and precious, avoiding the time- Castello Visconteo, 1977, pp. 94-96. Both versions bound look of the ruder etchings with their of this engraving are pictured in Tozzi, cat. I.26 and I. 30, but identified as etchings and with the images hasty, palimpsest-like quality and breath- switched. less, documentary air. The unchanging ritual is revealed, the guarded cells rendered Wildwood Press transparent, and the sacred landscape of papal elections is mapped in impersonal segments for the commercial gain of a Eva Lundsager Nuremberg bookseller and the satisfaction New monoprints of a more disinterested curiosity. 2012 Evelyn Lincoln is an Associate Professor in the artnet.com History of Art & Architecture and Italian Studies Departments, as well as the Director of the Program in Renaissance and Early Modern Studies at Brown University.

The Weigel engraving will be part of a print exhibition, “The Festive City,” co-curated with Emily Peters, at the RISD Museum in Providence, RI, 21 December 2012 – 14 July 2013.

Notes: 1. Frederic J. Baumgartner, “I Will Observe Absolute and Perpetual Secrecy: The Historical Background of the Rigid Secrecy Found in Papal Elections,” in The Catholic Historical Review 89:2 (Apr. 2003): 168. 2. Simonetta Tozzi, Incisioni barocche di feste e avvenimenti. Rome: Gangemi, 2002, 22. 3. Christoph Weigel (Bohemia,1654–Nuremberg, 1725), Der Grund-Riss des Conclave und die Beschreibung aller Solennitäten welche in Rom nach Absterben eines Pabstes und bei der Erwehlung seines Nachfolgers vorzugehen pflegen, (The Ground-plan of the Conclave and description of all the solemnity that is maintained at the death of a pope and the election of his successor,) engraving,

8 Art in Print November – December 2012 When Assemblage Makes Sense: An Example of a Coffret à Estampe By Séverine Lepape

Fig. 1. Coffrets à estampe in the collection of the Department of Prints and Photographs, Bibliothèque national de France (BnF).

n a time of digital images, tweets, posts an excellent example. to the next, sometimes with variations, but I and SMS, it is especially meaningful Coffrets à estampe are small wooden box- defining a homogeneous corpus of about 130 when one engages with the physical sub- es, usually of beech, covered with leather boxes. Though the prints are less consistent stance of objects from the past. In compari- and laced with strips of iron, whose inner stylistically and materially than the boxes, son with sculpture, painting or architecture, lid is decorated with a hand-colored wood- more than half can be attributed to a single prints inhabit a distinct kind of materiality. cut.1 (Fig. 1) [In English these are sometimes Parisian studio active between 1490 and An object in two dimensions supporting an called “messenger boxes” or “missal boxes,” 1510, that of the Master of Very Small Hours image, the print was and still is often dis- but as their original function is not actually of Anne of Brittany, now identified with the cussed as either a simple vehicle of icono- known, we have opted to keep the French painter Jean d’Ypres.2 It should be consid- graphic content or as the servile assistant to term in this article.] The box fronts typically ered that in all known boxes of this type, the some more ‘noble’ art like painting or draw- feature a metal armature involving decora- prints are French and datable between the ing. But as all connoisseurs of the medium tive lock plates, a very simple locking device 1490s and 1550s. know, the realization of a print requires as and a hasp. The covers are of two types, flat Most of the research so far has focused many interventions, implements and mate- or domed; the flat ones feature a hollow on the uses and functions of these strange rials as a marble bust, an easel painting or several millimeters deep cut into the cen- objects. Historians, mainly print special- a pastel drawing. I would argue that, more ter of the wooden board that forms the lid. ists, have seen them as boxes of pilgrimage, than other types of work, the print’s “post- Over this is hinged a second piece of wood portable altars, messenger boxes or coffers production” uses make it a material object covered with leather; once this is closed, for missals. It is amusing to note that while by definition. The prints from the late the hollow compartment goes unnoticed. venerable print specialists have emphasized Middle Ages that were pasted into boxes are These components are found from one box how interesting it is that these prints were

Art in Print November – December 2012 9 works attributed to the Parisian workshop woodblocks printed together on the same of Jean d’Ypres) invites one to see this as a sheet, yet not referring to a single subject. medium of devotion. The shallowness of Furthermore, the styles of these four matri- the hidden compartment in the boxes with ces do not suggest a single source. (Fig. 4) flat lids, their semi-fixed locking system The block at the upper left shows a Virgin and the desire for this compartment to pass in prayer, floating in air and surrounded by unnoticed, suggest it might have served as elements symbolizing her purity. This icon- a location for a relic or something similar ographic theme, the Virgin of the Litanies, (a piece of linen that had been in contact developed in European art of the late 15th with a holy body, a medallion or an authen- century and was one of the earliest attempts tique 4). In brief, coffrets à estampecould be to represent the Immaculate Conception. At book boxes, not just for missals as has been this time in Paris, and in France as a whole, suggested,5 but for related books of devo- devotion to the Immaculate Conception of tion. These would have been consecrated by the Virgin was soaring,9 but it was thanks the presence of a relic, and the print would to the print that this particular iconogra- operate as an image of meditation. The use phy was so widely diffused. The first such of the conditional is in order, because we composition in this medium was provided currently have no iconographic source or by the atelier of Jean d’Ypres for the pub- Fig. 2. Coffret à estampe, closed. Paris, BnF, Département des Estampes et de la Photographie, contemporary writing that can shed light lisher Thielman Kerver, who as of 1497 was Réserve Ea-5q-Objet. on these objects. These conclusions arise preparing a new cycle of illustrations for a strictly from the examination of the paired printed Book of Hours (use of Rome). This object-print. print was used for the first time in an edi- pasted into boxes, they only rarely bothered It is also clear from our study that the tion produced in December 1502.10 (Fig. 5) In to discuss the box itself, (the word ‘material- prints were not made expressly for the box- execution as well as dimensions, the version ity’ does not appear in their texts, though if es. The fact that a very large number can be glued in the box is identical to the illustra- they were writing today it would certainly attributed to one workshop probably indi- tion in the Book of Hours, so we can assume do so,) perhaps because they lacked the nec- cates an opportune association between the either that both arose from a single design essary expertise. None, for example, dis- box manufacturer and the print producer, or that one is a copy of the other. The only cussed the secret hatch in the lid, and even but we should not conclude that the prints difference between them is the technique Wilhelm Ludwig Schreiber, the only histori- were made solely to be pasted into boxes, employed: the print in the box is a woodcut, an to have devoted a treatise to them, rarely not least because of their presumably large while the one in the Book of Hours is a relief- describes the boxes that contain the prints.3 editions, very much larger, in all cases, than printed metal cut, the technique known as In the study of these boxes conducted by would have been needed for making boxes. criblé, which allows greater finesse. myself and Michel Huynh, curator at the Furthermore, the sizes of the pasted-in Thus, the woodcut of the Virgin of Musée de Cluny, we made physical observa- prints often do not correspond to the cover Litanies in the box was either made short- tions of both box and prints central to our on which they are placed. The print and box ly before 1502, if it is the prototype for the efforts, to better understand the character- combination might thus have been initiated Book of Hours illustration, or just after, if istics of the whole object, and also to test by the owner of the box, in keeping with the we consider it as a copy. It affirms the style the validity of existing assumptions about practice of appropriating and customizing of Ypres, as do many of the prints that adorn how the boxes had been used. prints prevalent in the late Middle Ages (and these boxes, but to our knowledge it is a rare Given their structural fragility the cof- still today), constituting a true anthropo- example of inspiration drawn from materi- frets à estampe must not have been intend- logical dimension of the print.6 Finally, cer- als intended for printed books. Although ed to travel long distances; they could not tain boxes show an assemblage of more than have been used, for example, for direct one print, each created independently. The transport of goods on a pilgrimage nor to coffret à estampe to which we will turn our serve as boxes for professional messengers attention is one of these. plying the roads. They could, of course, be The box in question was bought at auc- transported (as the side fasteners and little tion in 2010 by the Department of Prints leather-covered straw cushions that are and Photographs at the BnF.7 (Fig. 2) Its still present on some boxes show), but cer- previous owner had assembled a consider- tainly not for a long trip, unless enclosed in able collection of typologically diverse met- a larger container. Of the various hypoth- al objects ranging from mortars to locks, eses about their function, the idea that they cooking utensils and sewing implements.8 were book boxes seems the most likely since No doubt the print box (there were in fact they constitute one of the rare instances of two) had been included for its iron cladding a medieval furnishing that is longer than it and the exterior lock and hasp, rather than is wide. The ratio of dimensions of the inte- for the prints inside or for its theoretical rior of the body (length greater by one third function. than the width) corresponds to the book From the point of view of the box, it proportions. does not differ from the known corpus. The The print affixed to the inside is also exterior, the flat lid, the fasteners and the critical to their role, and the fact that nearly metal straps are similar in all respects to 90 percent of the glued-in prints carry reli- other coffrets à estampe, and it has a func- gious iconography and are accompanied by tional hidden compartment cut in the same Fig. 3. Coffret à estampe with secret compartment in lines from the liturgy (with a strong axis manner. (Fig. 3) The use of print, however, lid, open. Paris, BnF, Département des Estampes et devoted to the Passion of Christ among the is more unusual, consisting of four separate de la Photographie, Réserve Ea-5q-Objet.

10 Art in Print November – December 2012 Fig. 4. Woodcut on interior of lid of the coffret à estampe. Paris, BnF, Département des Estampes et de la Photographie, Réserve Ea-5q-Objet. Art in Print November – December 2012 11 the character on the far right. of Christ, without the hand making the ges- The two prints in the lower register of ture of benediction, identifies the image as the box lid are reminiscent of the diptychs the Holy Face of Christ, not the iconograph- that unite Christ Blessing with the Virgin ic type known as the ‘Savior of the World.’ A in Prayer, iconographies that flourished in similar composition had enjoyed great suc- the 15th century. The style of these prints is cess several decades earlier, most notably more difficult to characterize than the two in the Holy Face panel paintings attributed above, and their compositions are more dis- to Jan Van Eyck.11 The subject was taken tant from the printed Books of Hours. Let up by other Flemish artists such as Dirk us examine them in more detail. Bouts and his workshop, who painted sev- In the print at the lower left, Christ is eral small tableaus of vera effigies of Christ, depicted full face, and the framing stops at following the same model as van Eyck, in his shoulders even if we assume the print the last quarter of the 15th century.12 (Fig. was trimmed down several millimeters. 7) The emaciated face of Christ, the closed Rays of light and plant motifs of clover and expression, the fixed gaze, long nose, forked palmettes decorate the nimbus. The artist beard, and the V-neck tunic trimmed with has drawn such a clumsy network of lines jewels are features of this print that draw around Christ’s eyes that he has a quasi- from the Flemish vein. This impression is hypnotic look. The frontal representation to our knowledge unique; no other copy has

Fig. 5. Jean d’Ypres, Virgin of the Litanies, metalcut print, Book of Hours (Use of Rome), published by Thielman Kerver, Paris, December 1502. the prints in this style found in boxes often repeat compositions provided for printed books, they are usually much larger (aver- aging 23 x 16 cm) and always differentiate themselves in certain elements, as if the workshop or artist intended to diversify some motifs rather than to multiply them identically. The subject of the woodblock on the upper right is Job on a dung heap mocked by his friends, and it is also stylistically similar to the work of Jean d’Ypres: the faces, costumes, and the efficient layout of the turrets and roofs of the landscape are all characteristic of his productions. The dimensions again suggest that it may have been inspired by an illustration for a Book of Hours printed in Paris in the late 15th or early 16th century. We have not, however, been able to locate the relevant work. The scene is framed by a column and arch surrounded by leaves, which is not found in any of the series Jean d’Ypres made for Kerver, Simon Vostre or Antoine Vérard. The only similar image is one printed by the Atelier d’Ypres for the same cycle of illustrations that includes the Virgin of the Litanies. (Fig. 6) Depicting the ‘Office of the Dead’, the foreground show a rich young man killed by Death, depicted in the guise of a skeleton, while in the background we see Job on the dung heap. This background scene presents a visible variant on the box print: Job is vis- ited by his wife and prays, hands clasped. Fig. 6. Jean d’Ypres, Young Man Encountering Death and Job on a Dung Heap, metalcut print, Book of The only element common to both prints is Hours (Use of Rome), published by Thielman Kerver, Paris, April 1499.

12 Art in Print November – December 2012 that have been attributed to him, which are Christ. It was a very important cult image usually recognized by the high forehead and and the faithful were encouraged to behold the tightened mouth.18 Here, however, the it because the beauty of the face of Christ Virgin is veiled and the artist has chosen would bring comfort and guidance. The to depict her as more aged than in his best- Virgin of the Litanies and the Virgin of known works, where she appears as a young Sorrows highlight the purity and the woman. In a print of the Crucifixion that maternal suffering of Mary, elements that appears to be in the style of this artist, the made her an essential figure of interces- Virgin figure shares traits similar to those of sion between God and man. The frontal the Virgin of Sorrows.19 (Fig. 9). She turns representation of Christ, the Virgin’s suf- from the vision of her son on the cross, and fering and the deprivations of Job are icono- inclines her head slightly to the side so her graphic springs that would have aroused face is seen in three-quarters view with eyes the emotions of those who contemplated upturned, as in the coffret. The eyes, nose the images, and would have allowed them and mouth are quite similar between the share in the suffering of Christ, his mother two prints, although the lips of the Virgin in and the biblical patriarch. The prints in the the Crucifixion print are more summary in coffret served devotion as it was practiced in execution. The artist shaded the left cheek the late 15th century, when the imitation of and the bridge of the nose in an identical Christ in his physical and moral suffering manner; the face finishes with a similar was understood as the path to redemption. small round chin; the veil falls on the face The visual impression made by the group in the same way; and in both cases there is a together is also very effective: the red color Fig. 7. Workshop of Dirk Bouts, Holy Face of Christ slight crease on the top of the head. used in the background unifies the four (c. 1460), oil on canvas. Museum Boijmans van The print of the Virgin of Sorrows is prints, and the blocks were arranged in the Beuningen, Rotterdam. not unique. It is known through another press such that the unprinted paper between copy, which is preserved in the BnF and was them forms a white cross. The prints have been identified by Schreiber or other print identified by Schreiber, who considered it a been trimmed to fit the lid such that there historians. Venetian work.20 (Fig. 10) The BnF engraving is no white margin around the outside, fur- The Virgin of Sorrows that faces Christ was heavily damaged when it was acquired ther emphasizing the white cross within. At seems a priori to form a pair with it. In works as it had been kept in a manuscript before the center of the cross, a griffonis (scribble), of the second half of the 15th century, how- being forwarded from the Department of perhaps the signature of the owner of the ever, the iconography of the grieving Virgin Manuscripts to the Department of Prints coffret, testifies to the intimate relationship is more commonly associated with Christ in 1873. The upper part of the veil is incom- between the images and the possessor. Crowned with Thorns (as is the case in the plete and has been filled out in pen, but In the coffret à estampe, box and print late 15th-century diptych after Dirk Bouts, the printing continues a centimeter down, together form a complete and coherent now reunited at the Louvre) rather than revealing a kind of framework from which physical object. Without the print, the box is with the Holy Face.13 The Holy Face, mean- the figure of the Mother of Christ emerges just a profane utilitarian container without while, is usually associated with the Virgin beneath a decorative border of dolphins and any particular character. Without the box, in Prayer, hands clasped, and not with the foliage. Above, on a small strip of paper, is a the print would not be the efficacious image Virgin of Sorrows.14 The iconographic prayer, written in pen in a late 15th-centu- it is when glued to the underside of the lid, analysis suggests the two prints were meant ry hand and still legible. It is taken from a upright and vertical like a fixed screen, a to operate separately, and this idea is con- liturgical hymn belonging to the text of the pop-up window ahead of its time. firmed by the size of the Virgin block, which Hours of the Virgin, which appears in sev- is slightly larger than that of Christ. eral canonical hours (Prime, Tierce, Sext, It may be easier to locate a French source None, Compline). It invokes the protection for the Virgin than for the Christ. The sty- of the Virgin against evil and at the time of listic characteristics of the print are remi- death of the faithful: [Maria] mater gratiae niscent of the art of Touraine in the late mater misericordia [sic] / ab hoste protege et 15th century. The veil covering the slightly hora mortis suscipe. tilted head, the modeling of the face and The print box thus brings together its expression, gazing to the side with the three prints that belong to the same sty- pupils turned upward, evoke the Madonnas listic universe, but which differ in terms of of Jean Bourdichon.15 The most convinc- their known usage—some have origins in ing comparison between this print and book illustration—and in terms of dimen- Bourdichon’s work is probably the illumi- sions. The montage of these four blocks nated page in the Musée de Cluny represent- may appear somewhat inconsistent at first ing the Virgin in prayer, dated around 1480- sight, even artificial. Should we conclude 1490.16 (Fig. 8) Some caveats are in order, that this ensemble is nothing but an assem- however: Bourdichon’s female type is softer bly of matrices scrounged up by a workshop, than the Virgin in the coffret, whose full totally meaningless, except for the purpose lips and visibly blunter nose, do not com- of making money? pletely correspond to representations of the The iconography of the subjects invite mother of Christ by the artist.17 The style us to think otherwise, as they correspond of Ypres may present a more relevant com- perfectly to the devotion of the late Middle Fig. 8. Jean Bourdichon, Virgin in Prayer (1480-90), parison, even if the figure of the Virgin is Ages. The Holy Face of Christ symbol- illumination on parchment. Paris, Musée du Moyen somewhat different from those in the prints ized both the humanity and the divinity of Age, Thermes et Hôtel de Cluny, Inv. Cl. 23798. Art in Print November – December 2012 13 Fig. 9. Jean d’Ypres, Crucifixion (Paris, late 15th century), woodcut, hand-colored with stencils. British Museum, London, Inv. 1902,0212.3. Fig. 10. Virgin of Sorrows (Paris, probably late 15th century), woodcut. Paris, BnF, Réserve du département des Estampes et de la Photographie, Réserve Ea-5 (14)-Boîte écu.

Séverine Lepape is the curator in charge of the Photographie, Réserve Ea-5 (q)-objet. 16. Paris, Musée du Moyen Age, thermes et hôtel de 8. De fer et de bronze, chefs-d’œuvre et curiosités: Cluny, Cl. 23798. 1480-1490. Tours 1500, capitale Réserve of the department of prints and photo- collection Michel Rullier, 2e vente: vente, Paris, Hôtel des arts, exposition, Tours, Musée des beaux-arts, graphs at the Bibliothèque nationale de France. Drouot, salle 10, 19 mai 2010. Fraysse & associés; 17 mars – 17 juin 2012, sous la direction de Béatrice commissaire-priseur, Me Vincent Fraysse, Paris: de Chancel-Bardelot, Pascale Charron, Pierre-Gilles Mme M. Houze, [2010], n°250. (There were three Girault, Jean-Marie Guillouët; Tours; Paris, 2012, Notes: sales in total). cat. 37 (repr.). 1. For a summary and a complete bibliography on 9. Louis Réau, Iconographie de l’art chrétien, Paris, t. 17. Particularly compared to the Virgin in the Hours the subject, please see Michael Huynh and Séverine III, 1957: 79-83; Gertrude Schiller, Ikonographie der of Charles VIII, BnF lat. 1370, 1483-1498, fol. 36. Lepape, “De la rencontre d’une image et d’une christlichen Kunst, Gütersloh, 1980: 341 Tours 1500…, cat. 35; also the Virgin in prayer, paint- boîte: les coffrets à estampe,” Revue des Musées de 10. Horae B. M. V.: 158 Stundenbuchdrucke der ing on parchment, Vic, Museu Episcopal, MEV 6386, France, 2011-4: 37-50. Sammlung Bibermühle: 1490-1550, hrg. von around 1490. Tours 1500…, cat. 36. 2. On this artist, see: François Avril and Nicole Heribert Tenschert und Ina Nettekoven, Ramsen; 18. Virgin and Child, Crowned by Angels, Schreiber Reynaud, “Les manuscrits à peintures en France: Rotthalmünster, t. 1, 2003: 229-231, and no 35: 300. II, 1115a, Paris, BnF, Estampes, Réserve Ea-5c- 1440-1520,” exhibition at Paris BnF, 1993-1994. France 1500: entre Moyen âge et Renaissance, objet. Virgin and Child with Rosary. Schreiber II, Paris, 1993: 265-269; Philippe Lorentz, “Les Primitifs Paris, Galeries nationales, Grand Palais, 6 October 1129a, Paris, BnF, Estampes, Réserve Ea-5 (i)- Français découvertes et redécouvertes: Musée 2010-10 January 2011, Paris, 2010, n°141 (repr.) objet. Virgin and Child with Saints Peter and Paul, du Louvre,” 27 February – 17 May 2004, Paris, 11. Max. J. Friedländer, Early Netherlandish Painting, Schreiber, n. d. Paris, BnF, Estampes, Réserve Ea-5 2004: 92-107; “France 1500: entre Moyen âge et vol. 1: the van Eycks-Peter Christus, pl. 63, four (d)-objet. One could multiply these examples by Renaissance,” Paris, Galeries nationales, Grand examples in Newcastle, Berlin, Bruges. I would like including book illustrations. Palais, 6 October 2010 – 10 January 2011, Paris, to thank Pascale Charron, Maître de Conférences at 19. London, BM, Inv 1902,0212.3. Crucifixion, wood- 2010: 175-183. the University François Rabelais de Tours, for having cut with gouache, Paris, end of the 15th century. 3. Wilhelm Ludwig Schreiber, Kassetten- pointed out this path. Published in S. Lepape, « La gravure en France au Holzschnitte des XV. Jahrhunderts aus Sammlungen 12. M. J. Friedländer, Early Netherlandish Painting, début du XVIe siècle: un champ à explorer » dans in Frankreich, Deutschland, Österreich, Schweiz, vol. 3: Dirk Bouts, pl. 74. France 1500: entre Moyen âge et Renaissance…: Holland, Italien, England, und Amerika, Strasbourg, 13. Paris, Musée du Louvre, La Vierge de douleurs 161. 1931 (Einblattdrucke des XV. Jahrhunderts, heraus- et le Christ couronné d’épines, painted panels, INV. 20. W. L. Schreiber, Handbuch der Holz- und gegeben von Paul Heitz; Band 76). 1986 and INV. 1994. Metallschnitte des XV. Jahrhunderts, 1926-1930, 4. An identifying strip of parchment that had been 14. See also, after Bouts, Sainte Face du Christ et n°997. Reproduced in The Illustrated Bartsch, attached to a relic, bearing the relevant saint’s name. Vierge en prières, Prüm (Eifel), Bischöfliches Konvikt, German Single-Leaf Woodcuts Before 1500, t. 164, 5. Karl Kup, “Notes on a Fifteenth-Century Cofferet”, repr. in M. J. Friedländer, Early Netherlandish …, vol. ed. By Richard S. Field, 1992. François Courboin, The London Connoisseur, 1957: 62-66. 3, pl. 74, Add. 120. Catalogue sommaire des gravures et lithogra- 6. On this aspect, see the remarkable work of David 15. I would like here to thank Nicolas Herman, who is phies composant la Réserve du département des S. Areford, The Viewer and the printed image in late preparing a thesis on Jean Bourdichon at New York Estampes, t.1, Paris, 1900, n°351, considered it to medieval Europe, London, 2010, particularly pp. University, for his advice on the connection between be a French print. BnF, Département des Estampes 269-274. the print of the Virgin of Sorrows and the style of et de la Photographie, Réserve Ea-5 (14)-Boîte écu. 7. Paris, BnF, département des Estampes et de la Bourdichon. 14 Art in Print November – December 2012 Remaking Dürer: Investigating the Master Engravings by Masterful Engraving By Angela Campbell and Andrew Raftery

For the last three years paper conservator Angela Campbell and artist-engraver Andrew Raftery have been engaged in an innovative research project aimed at answering certain questions about Albrecht Dürer’s working methods and about the physical life of engraved plates—the sources of some of the most powerful and influential images of the 16th century. Below, they talk about their collaboration.

lbrecht Dürer’s engravings, particu- A larly his three Meisterstiche (“master engravings”) Knight, Death, and the Devil, Melencolia I, and St. Jerome in His Study, have been studied, copied, and adored for the better part of 500 years. Almost every insti- tutional and many private print collections in the US and Europe have an impression of at least one of his three best-known prints. And while many of these impressions are meticulously labeled with descriptive adjec- tives, determining their comparative quality can be enormously challenging. Over the course of a two-year Andrew W. Mellon Fellowship in the Sherman Fairchild Center for Works of Art on Paper and Photograph Conservation at the Metropolitan Museum of Art, and with the indefatigable help of Andrew Raftery, engraver extraordinaire, I endeavored to provide and codify a method for quantitatively comparing Meisterstiche impressions by determining their comparative chronological place.1 These three works were, literally, Dürer’s master engravings. Dürer knew this, even as he was engraving the plates, and the hundreds of Meisterstiche impressions that remain in existence today confirm that even the earliest collectors to acquire them were aware of their extraordinary nature and value; for so many impressions to remain accessible today, they would have had to have been coveted and well-protected over the tumultuous course of centuries. These surviving impressions, not sur- Andrew Raftery’s engraved copper plate, partially finished, afterAlbrecht Dürer’s St Paul (1514). prisingly, have been the subject of endless An enlargement of Dürer’s original lies under the plate, alongside engraving tools. comparison: every print custodian wants to know that his/her impression is among the impressions subjectively with words such as chronology of impressions, on the other very best and/or the earliest (this is some- ‘rich,’ ‘clean,’ ‘with burr,’ ‘excellent’ or ‘poor,’ hand, could potentially be an objective exer- times thought to mean the same thing, ‘lighter’ or ‘darker,’ ‘silvery’ or ‘brownish.’ cise from which information about a partic- though it often does not). In 1932, Joseph Curators have striven to illustrate these ular impression or collection of impressions Meder published a detailed text2 that qualitative differences through exhibi- may be gathered and used to inform later attempted to categorize all of Dürer’s prints tions that include multiple impressions of studies. Meder understood this, but writing by state and sub-state. Meder’s text, like the same engraving, but the determina- in the 1930s, without access to the photo- other similar works, is limited by its reliance tion of a good/better/best impression will documentation tools available today, there on describing the different Meisterstiche always remain subjective. Determining the was little he could do.

Art in Print November – December 2012 15 Fine scratches in the plate, such as the horizontal scratch clearly visible in the the first Met impression (Fig. 1a), are present in various areas of all Meisterstiche impressions, whether they are early, middle or late impressions. With repeated printing, lightly engraved lines wear away more quickly than deeply engraved lines, and these fine scratches wear away still more rapidly, so can act as indicators of chronological order. Comparing these enlargements, it is clear that the highlighted scratch disappears almost entirely. In this case, the scratches only confirm what is visible in the overall impressions—the first impression is early, the second impression was printed sometime in the middle of the plate’s life, and the third impression is late. The subtleties in building the chronology lie between these impressions: using this specific scratch and comparing it to the appearance and fading of other scratches scattered throughout the impressions, a much more specific order of printed impressions can be constructed. The compiling of chronological information continues, and I hope eventually to make the material available to scholars through what will likely be an online database. In addition to chronological information about the impressions, the images revealed further evidence about the manufacturing methods used to produce Dürer’s plates and inks, as well as the artist’s meticulous selection of both engraving tools and made- to-order paper. It was with this information that I approached Andrew Raftery and asked for his assistance in creating a copy of one of Dürer’s engravings with as much historical accuracy as possible. We hoped this would produce a deeper understand- Fig. 1. Albrecht Dürer, Knight, Death, and the Devil (1513), engraving. The Metropolitan Museum of Art, ing of how Dürer engraved his plates and Harris Brisbane Dick Fund, 1943 (43.106.2). Image ©The Metropolitan Museum of Art. how those plates wore down over time, and would also help test the validity of my chro- A portable digital photography sys- be built. nology-building method. tem capable of high-resolution, magnified Close-ups were taken of a small section reproduction was developed for this study.3 of the head of the Knight’s steed in three first met Angela Campbell when she was By comparing the images captured with impressions of Knight, Death and the Devil Iresearching Melencolia I. Her close exam- this system, details of plate-wear visible in (1513) (Figs. 1 and 1a, 1b, 1c), two in the col- ination of 140 Meisterstiche impressions (59 the individual impressions could be ana- lection of The Metropolitan Museum of of Melencolia I) and her extensive knowledge lyzed and an impression chronology could Art, and one from the Frick Collection. of the physical properties of materials had

Figs. 1a, 1b, 1c. Albrecht Dürer, three details of Knight, Death, and the Devil (1513), engraving. Left: The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1943 (43.106.2). Image ©The Metropolitan Museum of Art; Middle: The Frick Collection (1916.3.03). Image ©The Frick Collection; Right: The Metropolitan Museum of Art, Harry G. Friedman Bequest, 1966 (66.521.95). Image ©The Metropolitan Museum of Art.

16 Art in Print November – December 2012 Fig. 2. Albrecht Dürer, St. Paul (1514), engraving. The Metropolitan Museum of Art, Fletcher Fund, 1919 (19.73.58). Image ©The Metropolitan Museum of Art 47.5 cm.

Art in Print November – December 2012 17 from experience that copying Dürer would be much more daunting. In 2009, while working on the “Brilliant Line” exhibition and catalogue,4 I had made a series of layered drawings on clear acetate that analyzed systems of line used by various 15th through 17th century engravers. One of the works studied was Dürer’s 1511 engraving Madonna with the Pear, which was by far the most difficult. His hatching strategies are sublimely effective at articulating form, but they defied the predictable logic that characterized every other engraver in my study. As uncomfortable as I am with the idea of genius, such close study of Dürer reaffirms what we already know: he was amazing. For the proposed copy, Angela and I selected Dürer’s St Paul (1514) (Fig. 2), which had been engraved the same year as Melencolia I. A small print showing a single, draped figure before a landscape, it was especially interesting to me because there is in Vienna a preparatory pen drawing of the figure (in reverse) in which we can see Dürer working out the hatching of the drapery, and the Berlin Kupferstichkabinett has an early state of the engraving which demonstrates that the figure was completed before the background. The Met has a fine impression of the final state and Angela made a high resolution scan for me to study as I engraved. Although it would be impossible to repli- cate perfectly Dürer’s materials or processes, my aim was to consider how an engraving might have been made in the early 16th century, starting with the raw plate. The copperplates available today are rolled in manufacture, which creates a pronounced grain in one direction that influences the action of the burin. (More resistance is felt Fig. 3. Albrecht Dürer, Melencolia I (1514), engraving. The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1943 (43.106.1). Image ©The Metropolitan Museum of Art. while going against the grain while the burin wants to move quickly in the direction of the grain.) Until well into the 20th led her to think about the printed impres- woodcuts may have been motivated by the century, however, plates were made by ham- sion’s unseen corollary, the copperplate. market, but we can see how his careful rep- mering, which resulted in an evenly hard- Angela approached me about making a plate lication of Dürer’s marks led him to a new ened surface. that could be used to test some hypotheses understanding of crosshatching that he Working with Brian Bergeron,5 techni- about how Dürer had worked and how the eventually synthesized in his engravings cian in RISD’s Department of Jewelry and plates had aged. after Raphael, which in turn were widely Metalsmithing, we set out to make a ham- At the time I happened to be engrav- copied by other artists. mered plate: we liquefied the copper using ing a copy after Cornelis Cort’s 1573 St. Coming of age in the 1980s, at the height an acetylene torch (it took a very long time), Dominic, based on a design by Bartholomeus of appropriation art, I always thought cast a ¼ inch thick ingot, hammered it on Spranger. It may seem an odd thing for a traditional copying had fresh possibili- an anvil until the “ping” of the hammer contemporary artist to do, but copying is ties that were too little discussed. My own changed tone (an indication that the copper an age-old practice. At its worst, it is simple feeling after copying a print or drawing had been compressed as much as possible), mechanical imitation (or even deception, in is that I now own something about it that annealed the copper by heating it until it the case of forgery), but it is only through can be incorporated into my own work. was red hot then plunging it into cold water, copying that an artist can internalize the When Angela approached me, I was curious and then repeated the hammering and formal qualities, visual language and tech- whether a contemporary artist could use annealing cycle. Unfortunately, though the niques of another artist. copying to create new knowledge of value to ingot had looked solid when first cast, ham- Dürer’s copies of Mantegna engravings, art history. mering revealed a crack that would only for example, explored the Italian artist’s The Cort copy, I realized, would have widen as the plate got thinner. low relief and classicizing form through limited relevance to the research on Dürer: Brian suggested that instead of an ingot, Dürer’s own florid calligraphic pen work. Cort’s deep swelling lines are very dif- we start with a thick rolled plate since “the Marcantonio’s engraved copies after Dürer’s ferent from Dürer’s wiry threads. I knew copper won’t know” how it had been formed

18 Art in Print November – December 2012 prior to hammering. A sixteen-gauge plate was hammered, annealed, hammered, annealed and given a final hammering. The plate, which started at 7 ¼ x 4 inches, grew ¼ inch in each direction, and thinned to nineteen gauge (Fig. 5). The whole process gave me new respect for our Bronze Age ancestors, not to mention 16th-century cop- persmiths. I now understand why they did those eight-year apprenticeships. After hammering I smoothed and polished the plate with an orbital sander. The final result was a revelation: The surface had a glassy quality unlike any plate I had ever used, and under the burin it was both supple and springy. Angela and I had decided that I should use a lozenge shaped burin for the entire image as it allows greater depth on fine lines that the square burins I normally use. Greater depth means longer wear for the plate and we thought the fine, clear lines would be appropriate for Dürer. On modern rolled copper, the lozenge throws up rough edges when engraving curved lines against the grain. The hammered copper made me understand why the lozenge tool even existed. The plate and tool had unlimited potential. The design was transferred onto the plate by taking a reversed photocopy of the Dürer St. Paul, placing it on the wax-coated plate and tracing over the outlines with a stylus. The outlines impressed into the wax were then reinforced with a steel drypoint tool. After the wax was removed from the plate, the burr was polished from the drypoint lines with a fine abrasive pad, leaving faint incised contours that could be followed throughout the engraving process. I began engraving with the drapery, moving from the hem through the mantle to the sleeves. I engraved the outlines first Fig. 4. Albrecht Dürer, Saint Jerome in His Study (1514), engraving. The Metropolitan Museum of Art, and then the various layers of hatching, Fletcher Fund, 1919 (19.73.68). Image ©The Metropolitan Museum of Art. completing one area at a time. From my experience on the Madonna with the Pear I of hair, and the beard of St. Paul is an exqui- St. Paul by the Flemish fine-manner engrav- knew the hatching structure of the drap- site cascade that never loses its sense of er Johannes Wierix. Completed when the ery would be complex and unpredictable. underlying volume. I had to accept that my copyist was only 17 years old, it was actually Although Dürer’s drapery forms relate to copy would be at best a humble tribute. engraved with finer lines than the Dürer, Gothic painting and sculpture, his resolu- It took me just under 40 hours to engrave using a delicate, even decorative calligra- tion of volume is much more complete than the plate and sharpen the tools. The St. Paul phy in the organization of the lines, that that found in the work of other Northern was one of eight engravings Dürer com- betrayed yet another set of artistic sensibili- Gothic engravers such as Schongauer. Dürer pleted in 1514, including the large Melencolia ties in the hand of a copyist. seems to improvise as he lays down patches I (Fig. 3) and St. Jerome in his Study (Fig. 4). Making the plate is just the start of our of hatching and then responds to them with Keeping in mind Dürer’s virtuosity and the research. The intention is to print the plate opposing lines that complete the form. It fact that he was the inventor of the St. Paul, until it wears out, using the same ink on took all my concentration to follow Dürer’s it is plausible that he completed the plate in the same paper and the same press, with lines. I regret to say that even with magnifi- less time than it took me to do my laborious consistent wiping techniques and pressure, cation and the highest level of mental focus copy. for the entire run. The hope is that such an I could muster, I was never able to fit quite The day of reckoning came when I did a experiment will give some idea of how many as many lines in any given area as existed in workshop for the paper conservation staff impressions a 16th-century plate might have the original. Dürer’s finesse eluded me. At and the print curators at the Met. Their yielded. So far we have printed well over 100 some level it was impossible to move beyond beautiful impression of St. Paul was on an impressions. Not surprisingly, the 100th my own hand as an artist. Perhaps this is the easel. I placed my copy next to it. It was crud- impression is fine, but significantly lighter greatest frustration of the copyist. er but it displayed, I felt, a vitality that made than the 10th. The burr thrown up by the And the drapery was the easy part. No it feel like a work of art in its own right. On burin was polished off as I finished engrav- engraver has ever matched Dürer’s depiction the other side was an extraordinary copy of ing each area, but enough remained on the

Art in Print November – December 2012 19 studio techniques is speculative and imaginative. But it can bring a historical artist’s work to life in the present in a way that is compelling to audiences at all levels, from the conservators and curators at the Met to the casual museum visitors who have never given any thought to engraving. I hope it enhances our understanding and experience of historical art, and builds a kind of bridge—both cognitive and visceral—across the centuries.

Angela Campbell is an Assistant Conservator at the Sherman Fairchild Center for Works of Art on Paper and Photograph Conservation at The Metropolitan Museum of Art.

Andrew Raftery is an engraver, print scholar and Professor of Printmaking at Rhode Island School of Design.

Notes: 1. The project, which initially focused on Melencolia I alone, began as part of a thesis completed in Fig. 5. Raftery hammering a copper plate in the Jewelry and Metalsmithing Studio at Rhode Island School 2008 for an MA, CAS degree in Art Conservation at of Design, 2011. Photo: Andrew Raftery. Buffalo State College, titled “The Albright’s Albrechts: A Study of Micro Plate Wear in 16 Impressions of Dürer’s Melencolia I (1514).” plate to give about twenty exceptionally forthcoming book Engraving and Etching 2. Meder, Joseph, Dürer-Katalog: ein Hanbuch über rich impressions. By the 50th impression 1400–2000 examines historical intaglio Albrecht Dürer’s Stiche, Radierungen, Holzschnitte, the plate had stabilized, giving consistently techniques, told me that he has found no deren Zustände, Ausgaben und Wasserzeichen. Vienna:Verlag Gilhofer & Ranschburg, 1932. clear, strong impressions. It will take much documentary evidence of hand wiping with 3. Campbell, Angela and Dan Kushel. Have Camera, more printing, perhaps up to 2000 impres- whiting from this period. More impor- Will Travel: Modifying a Panasonic Lumix Camera sions, before we can come to any definitive tantly, he reminded me that the project of for High-Magnification Image Capture and Optimal conclusions about the lifespan of the plate. consistently “printing a plate until it wears Portability. http://www.conservation-us.org/index. cfm?fuseaction=Page.ViewPage&PageID=1516 There is, of course, much guesswork out,” would have been an alien idea in the 4. “The Brilliant Line: Following the Early Modern here. We do not know exactly how deeply 16th century: a good printer would adjust Engraver, 1480-1650,” Museum of Art, Rhode Island Dürer’s plates were engraved to begin with ink, pressure, hydration of paper and wip- School of Design, Providence RI, 18 September 2009 – 3 January 2010; Block Museum of Art, nor what shape tool he used. Angela has ing technique to get a decent impression Northwestern University, Evanston IL, 9 April – 20 recently seen the only surviving Dürer plate, even out of a relatively worn plate. June 2010. The drawings were published in Emily the Portrait of Philip Melanchthon (1526), now Many of the discoveries from this proj- Peters, ed. The Brilliant Line: Following the Early in Gotha, Germany. She described the plate ect are personal: I now know the feel of Modern Engraver, 1480-1650, Providence: Museum of Art, Rhode Island School of Design, 2009. as very delicately engraved, but how much hammered copper; I have a clear idea of the 5. Zoe Wendel, a senior in RISD’s Department of of that delicacy is due to wear is impossible time and labor required to make a plate; I Jewelry and Metalsmithing, made the introduction. to determine. understand why a lozenge shaped burin 5. In the engravings I have made since copying St. Impressions of my St. Paul are printed does not work well in rolled copper; I have Paul the figure scale is much smaller, exactly the size of Dürer’s diminutive but monumental saint. I have with modern ink, Gamblin Stiff Portland tested myself against Dürer’s engraving of not used outlines or crosshatching for many years, Black. How different is this ink from those hair and comprehend in a new way the plea- but now I am trying out the clear contours and regular used in the 16th century and how does the sure he must have taken in elaborating this fine hatching that entered my work while making the copy. I signed my copy of St. Paul with the mono- structure of contemporary pigments con- favorite motif, and all of this has changed gram I use for my historical interpretations, and I tribute to wear on the plate? The paper my approach to my own work.5 But there would include it in a catalogue raisonne of my work. It selected for printing, Ruscombe Mills are objective discoveries as well: the print- takes its place among the many copies I have made Queen Anne Pale Laid, feels like an antique ing process has already revealed markers since I first interpreted a 16th-century German woodcut in linoleum when I was 14. I am not quite sure paper. It has a high linen content and is well that distinguish a freshly engraved plate what these copies and interpretations mean in terms sized. To what extent does the paper bear on from a matrix that has been polished by of appropriation or contemporary art theory, but I am plate degradation? What cloths were used wiping and printing. Further printing will interested in thinking about it. to wipe the plates 500 years ago? Are our provide information about the durability of starched cotton cheesecloths more abrasive the plate and chronicle the appearance and or less? We know that presses were made disappearance of scratches and stray marks. primarily of wood until the end of the 18th This approach will never have the century. How much do our steel rollers and authority of primary research done from press beds add to wear on a plate? original objects as exemplified by Angela’s Even the wiping technique is called into work on Melencolia I. Nor does it offer the question. I do cold wiping with starched kind of evidence that can be gleaned from cheesecloth (tarleton), followed by hand documents contemporary to the culture wiping with whiting and finished with a being studied as in Ad Stijnman’s research bit of paper wiping. Ad Stijnman, whose into printing techniques. Research using

20 Art in Print November – December 2012 Left: Albrecht Dürer, full image and detail of St. Paul (1514), engraving. The Metropolitan Museum of Art, Fletcher Fund, 1919 (19.73.58). Image ©The Metropolitan Museum of Art 47.5 cm. Anne S.K. Brown Military Collection, Brown University Library. Middle: Jan (Johannes) Wierix, after Albrecht Dürer, full image and detail of St. Paul (copy) (n.d.), engraving. The Metropolitan Museum of Art Purchase, Dick Fund, 1917 (17.3.3145). Image ©The Metropolitan Museum of Art. Right: Andrew Raftery, after Albrecht Dürer, full image and detail of St. Paul (copy) (2012), engraving.

Art in Print November – December 2012 21 The Matrix and the Meaning in Dürer’s Rhinoceros By Jesse Feiman

Fig. 1. Albrecht Dürer, Rhinoceros (1515), pen and brown ink on paper, 27.4 x 42 cm. The British Museum, SL,5218.161. ©Trustees of the British Museum.

illiam Ivins considered printed whatever inks and papers were available. As of visual statements. By plotting the history W images the premier technologi- a result, prints pressed from a single matrix of Rhinoceros, we can see its meaning shift cal innovation of the early modern period. could have strikingly different appearances. from a didactic source of zoological infor- He believed that the rapid and widespread Albrecht Dürer’s famous Rhinoceros (B. 136) mation to a pictorial source of aesthetic dissemination of visual information they offers a particularly rich case through which pleasure. enabled rivaled, or even superseded, the to explore the intentional and unintention- In 1515 Dürer first drew a detailed, if parallel development of printed texts. al alterations of a print over the course of its stylized, rendering of an Indian rhinoceros Ivins’ argument rests on the functioning publication. (Fig. 1) that passed through Lisbon, the of prints as “exactly repeatable pictorial For more than a century, printers from first to be seen in Europe in a millennium.3 statements,”1 images capable of delivering Nuremberg to Amsterdam published He represented it in profile, facing left. multiple and identical sets of information. impressions of Rhinoceros. The first, from O-shaped protrusions pepper the rhinocer- Joseph Koerner, writing half a century later, Dürer’s own workshop, were finely articu- os’s shoulder, belly, and hindquarters; over- similarly observes that “print[s] … conveyed lated, monochrome illustrations of a rhi- lapping scales cover its legs. Dürer rendered the same information in each impres- noceros as imagined by the artist; the last the animal’s folds of skin as sharply drawn sion.”2 But how “exact” was the repetition were chiaroscuro woodcuts that emphasized contours, giving it an armor-like appear- of those pictorial statements in actual- dramatic lighting effects over refined detail. ance.4 Otherwise, Dürer’s representation ity? Matrices gouged or etched during the Altogether, the impressions from various of surfaces was highly accurate—the ribbed 16th and 17th centuries were often printed states of Rhinoceros do not represent “exact- mid-section, knobby skin and soft, hairy over many decades and deteriorated over ly repeatable pictorial statements” so much ears. The degree of detail was surprising, time. As they passed from one workshop as situations in which wood, paper and ink given that Dürer had not actually seen the to another, where they were printed using interacted dynamically to produce a range rhinoceros, and had based his depiction on

22 Art in Print November – December 2012 a verbal description and perhaps a sketch by same didactic tone.9 the rhinoceros’s hind leg.14 By the last two another artist.5 Dürer produced very few prints of single decades of the 16th century this crack had The rhinoceros stands at rest in this animals, but the presence of a rhinoceros in grown, and impressions show it extending drawing with only pale shadows at its feet to Lisbon was news. Like The Monstrous Pig of through both of the rhinoceros’s hind legs. suggest its placement in space; its pose and Landser, an engraving he had made about The border became chipped in several plac- isolation on the page present it as a speci- twenty years earlier depicting an eight-foot- es and damage began to accumulate in the men, though details such as the hairs on ed, two-headed sow born in 1496, Rhinoceros most delicate passages of the print, such as the ears or the textured surface of the nasal offered a cogent, easily distributed report of the fine lines of the ears, chin and eyes(Figs. horn give the impression that he had drawn a sensational subject.10 3a, 3b, 3c). a specific member of the species. Dürer’s If we think about Rhinoceros as a work of An impression in the collection of the attentive drawings of plants and animals from direct observation, such as the famous 1502 Hare drawing at the Albertina in Vienna, have earned him a reputation for empiricism akin to the efforts of 16th- century intellectuals in the nascent field of natural philosophy [see the review of Prints and the Pursuit of Knowledge on p.35 of this issue]. The emphasis they placed on observation marked a break with earlier modes of inquiry. This interest found expression in accumulation of specimens and illustrations in wunderkammer.6 But of course he had not actually seen the rhinoceros. Instead, Dürer had synthesized the information he had been given and produced an imaginatively coherent creature. In contrast to his axonometric view of a hare, the rhinoceros is presented in a schematic view. The visual and tactile sensations it evokes are informational, not mimetic. In an inscription at the bottom of the drawing, Dürer related the story of the animal’s arrival in Europe along with details of its appearance and habits, such as the color of its skin and its purported antipa- thy to elephants. He described rather than illustrated the rhinoceros’s “lively and alert Fig. 2. Albrecht Dürer, Rhinoceros (1515), first edition. Woodcut and letterpress, block and inscription demeanor.”7 This text, like the drawing, together: 23.5 x 30.1 cm. Meder 273.1. Museum of Fine Arts, Boston, Stephen Bullard Memorial Fund, presented the animal as an aggregation of by exchange, 68.247. Photograph ©November 2012, Museum of Fine Arts, Boston. attributes. The woodblock maintained the preci- art, as opposed to an artifact of journalism, Sterling and Francine Clark Art Institute, sion of Dürer’s drawing, while incorporat- it is clear that the drawing and the print dated c. 1590, demonstrates the efforts of ing a few changes: Dürer enlarged the dor- entail quite different relationships between printers to mask the damage to the wood- sal horn, removed a plate from behind the the artist and the object: while the draw- block through careful application of ink. In rhinoceros’s ears, and added hairs to its chin ing is indexical and autographic, the print this example, losses threatened to disrupt and jowls. Dürer also placed the rhinoc- is only indirectly linked to the artist’s hand. the intricate network of lines in the rhinoceros in a nondescript landscape consisting It is unknown whether Dürer actually cut eros’s chin. Rather than allow this to dis- of a horizon, tufts of vegetation and some the block, and it is unlikely that he himself turb the overall appearance of the impres- stones. His rendering of the animal’s mid- printed any substantial number of impression, the printer applied extra ink to this section became more ornate, but it follows sions.11 The first impressions of Rhinoceros area of the woodblock. When the block was the same vocabulary of pictorial elements date from 1515,12 but there are no records run through the press, the excess ink filled (ribs, O-shaped protrusions, etc…) as in of how many were created. It is likely that in the areas lost from the printing surface. the drawing. Although woodcut lines are Dürer monitored the efforts of the printers Printers further mitigated the effects thicker than those of the artist’s pen, early working in his shop and enforced a certain of losses through their choices of inks and impressions of Rhinoceros8 (Figs. 2, 3) show standard in the look of their impressions, papers. While early impressions were print- that, for much of the image, Dürer followed but watermark evidence indicates that the ed in deep black ink on bright white paper, his drawing line for line, capturing all its vast majority of surviving impressions of the one at the Clark (Fig. 3) uses brown ink delicate and critical visual information— Rhinoceros were produced after Dürer’s on cream-colored paper. This was typi- the segments of the rhinoceros’s body, the death in 1528.13 cal of Rhinoceros impressions from the end textures of its skin, even the fine hairs on In the subsequent decades the of the 16th century, which often employed its ears. In both the drawing and the wood- Rhinoceros woodblock began to change, brownish or gray inks that reduced the block the animal faces left, so in the printed physically as well as heuristically. A slight contrast between printed mark and paper image it faces right. The letterpress text that crack appeared in the lower right-hand cor- support, making losses to the matrix less appears at the top differs slightly from the ner of the matrix. Prints pulled after about noticeable.15 inscription the drawing but maintains the 1540 show a horizontal white line across The deterioration of the Rhinoceros

Art in Print November – December 2012 23 compromised by the wear on the block. Though it maintained the “general idea” of a rhinoceros throughout the history of its printing, the precision and accuracy of the information it conveyed was compromised by the changes it underwent. Around 1620, Dürer’s 105-year old matrix came into the possession of Hendrik Hondius, a printmaker and publisher in The Hague. Like the printers who preceded him, Hondius applied excessive ink to select areas of the printing surface, but in some areas could only produce muddied results (Fig. 4). In the early impressions, the placement and arrangement of lines on the rhinoceros’s ears give the appearance of stiff hairs stemming from soft skin stretched over cartilage. In the prints produced by Hondius, these lines blend together, obscur- ing the visual and tactile sensations they connote. An ear may seem a minor detail, but the fact remains that these impressions no longer “convey the same information,” in Fig. 3. Albrecht Dürer, Rhinoceros (1515), woodcut on paper, 21 x 29.6 cm. Sterling and Francine Clark Art Koerner’s phrase, as the earlier examples. Institute, Williamstown, Massachusetts. In the impressions Hondius printed, the crack in the block has spread horizontally through all four of the animal’s legs, rough- ly two thirds of the length of the image. The crack is fine enough that it does not obscure much information, but its progress has been used to date and order the succession of impressions. More importantly, Hondius altered the accompanying text, translating it from German to Dutch and correcting the date from 1513 to 1515. He also added the claim— never made by Dürer—that Dürer had drawn the rhinoceros from life (“near t’leven geconterfeyt.”) While continuing to direct viewers’ attention to attributes of the animal, Hondius’s text also highlighted the role of the artist and grounded the authority of the print in the renowned (“hoog- Figs. 3a, 3b, 3c. Albrecht Dürer, details of Rhinoceros geroemde”) artist’s reputation for empirical (1515), woodcut on paper, 21 x 29.6 cm. Sterling observation. The promotion of the artist’s and Francine Clark Art Institute, Williamstown, Massachusetts. Details show fine hairs and the name suggests the image should be appreci- emerging crack in the woodblock across the back ated not just for its informational value, but leg. as an artistic achievement. Hondius also added a letterpress inscription identifying himself as the publisher of did this affect its utility? Rhinoceros, which no prior printers of the Ivins believed that “we must look at block had done. This promoted Hondius’s [prints] from the point of view of general shop as the source for the impressions,17 ideas and particular functions.”16Rhinoceros and also attached Hondius’s name to that served several “particular functions”— of Dürer, even as he altered the manner in journalistic, aesthetic and zoological. If its which Dürer’s invention was expressed. “general idea” were only the journalistic Sometime after 1620, the Amsterdam announcement of a rhinoceros in Lisbon, publisher Willem Janszoon acquired the then damage to the block would not have Rhinoceros woodblock from Hondius. By woodblock, the over-application of ink and been a problem. In fact, the image would this time, the matrix had deteriorated to the variations in colors affected the clarity have been superfluous, as the inscrip- the point where it could no longer proof Dürer’s image. These strategies aimed tion alone could have served the purpose. duce acceptable impressions, as the crack to create visually appealing impressions, Considered solely on aesthetic grounds, through the animal’s legs spanned the but obfuscated some degree of descriptive Rhinoceros remained a work of astounding entire block.18 Janszoon’s solution was information. The “pictorial statement” of artistry throughout its varied impressions. to add a second matrix, printed in color the Rhinoceros changed, but to what extent It was the zoological function that was most (Figs. 5, 6), which converted Rhinoceros into

24 Art in Print November – December 2012 a chiaroscuro woodcut with deep shadows and bright highlights. Janszoon’s tonal block imposed dramatic lighting on Dürer’s remarkable but staid image. The color, which varies among existing impressions from gray-green to bright yellow, competed with the black lines for the viewer’s attention while literally mask- ing the poor condition of the Dürer matrix. The information expressed in Dürer’s originally delicate lines is all but lost. Rather than attempt to recover that information, Janszoon continued the turn toward an aesthetic understanding of the image. In his impressions the informative inscription disappears altogether. Rhinoceros had now become a decorative rather than a didactic image. In 17th-century Holland, posthumous prints formed an important segment of the print market. Hondius, Janszoon and their con- temporaries used existing matrices to satis- fy popular demand,19 and chiaroscuro woodcuts were especially desirable as a result of their aesthetic appeal and the increased labor required to produce them.20 Ivins and Koerner sought to locate the power of the print in visual statements Fig. 4. Albrecht Dürer, Rhinoceros (1515), sixth edition, woodcut, block and inscription together. 25.4 x 30.3 that were “exactly repeatable” or conveyed cm. Published by Hendrik Hondius in The Hague, circa 1620. Meder 273.6. The British Museum, E,3.166. “the same information.” Their observations ©Trustees of the British Museum. were oriented towards the features shared in common, the lines carved into woodblock. The range of appearance amongst the various states of Rhinoceros resists the notion of uniformity. The impressions by Hondius and Janszoon were coaxed from the piece of wood that had been carved in Dürer’s workshop, but given the deterioration of the woodblock can we say they were printed from “the same” surface? The material substance of the Rhinoceros matrix was never replaced or repaired, but time altered it and prompted printing solutions that, in some cases, departed significantly from what Dürer had created. Assuming the matrix to be a stable and constant object within any given state of the print, Ivins and Koerner do not address such inconstancies of appearance.21 Their argu- ments privilege the creator of the matrix and marginalize the printers, whose efforts and intentions became increasingly visible and important as the block became further removed from the life of Albrecht Dürer. This emphasis on the matrix as the site of Fig. 5. Albrecht Dürer, Rhinoceros (1515), seventh edition, chiaroscuro woodcut, printed from two blocks, meaning may be more reflective of the 20th- 21.2 x 29.8 cm. Published by Willem Janszoon Blaeu, after 1620. Meder 273.7. The British Museum. 1877,0609.71. ©Trustees of the British Museum. century attitudes of the writers than of the 16th-century attitudes of Dürer or the 17th- century attitudes of Janszoon. Dürer’s monogram instead of his own. The as the location of meaning (and offence). I To get a sense of how these issues might Italian artist added his mark to his engrav- would argue that with Rhinoceros, neither have been thought about by Dürer, we can ing plates and continued to print his work the matrix nor the impression is of primary look at the two known instances in which with impunity.22 In the second case, against importance, but that the two have interact- Dürer or his wife Agnes sued a copyist an unnamed printmaker in Nuremberg, ed dialectically to produce meaning. of his work. In the famous case against the civil authorities impounded the prints Printmaking draws on the intentions of Marcantonio Raimondi in Venice, the but not the matrix.23 In both cases, the the artist who composes the image and the Signoria found Raimondi guilty of using impressions—not the matrices—operated intentions of the technicians—block cutters,

Art in Print November – December 2012 25 10. Colin Isler suggested the journalistic signifi- cance of Rhinoceros as well as the comparison with The Monstrous Pig of Lansder in Dürer’s Animals (Washington, D.C.: Smithsonian Institution Press, 1991), 270. 11. While documentary evidence about Dürer’s workshop has not been found, in most print shops different specialists designed, cut and printed matrices. David Landau and Peter Parshall, The Renaissance Print, 1470-1550 (New Haven: Yale University Press, 1994), 9. 12. Bartram, Albrecht Dürer and his Legacy, 287. 13. Adam von Bartsch, The Illustrated Bartsch, Walter Strauss, ed. (New York: Abaris Books, 1980- 81), 10: 414-415. 14. Ibid. 15. von Bartsch, 10: 415. 16. Ivins, 3. 17. Nadine M. Orenstein, Hendrick Hondius and the Business of Prints in Seventeenth-Century Holland, (Rotterdam: Sound and Vision Interactive, 1995), 97. 18. Landau and Parshall state, “warping will tend to split the block along its longer axis … the resulting splits in the block will register clearly in any undoc- tored impression taken from it.” The Renaissance Print, 22. This is likely what occurred in the case of the Rhinoceros matrix. A Janszoon impression in the collection of the British Museum (1913-10-15-110) shows evidence of having been retouched in order to Fig. 6. Albrecht Dürer, Rhinoceros (1515), seventh edition, published by Willem Janszoon Blaeu, mitigate the effect of the crack on the appearance of after 1620. Chiaroscuro woodcut, printed from two blocks, 21.2 x 29.8 cm. Meder 273.7. The British the print (see reproduction this article). Museum, 1913,1015.110. ©Trustees of the British Museum. 19. Orenstein, 95. 20. Angela Fritz, “Collectors of Chiaroscuro Prints,” in Beyond Black and White (Bloomington, Indiana: printers—who bring that image into being. for not just “exactly repeatable pictorial Indiana University Art Museum, 1989), 19-20. In all cases, the marks gouged or etched into statements,” but also for changing mean- 21. Ivins and Koerner obviously recognized that intentional alteration of a matrix produced different the matrix determine a set of possibilities ings, changing audiences and changing states of the image. The notion that printed images within which the image functions. In this notions of authorship and authenticity. are exactly repeatable assumes uniformity within way, the artist limits the potential for the each state. The deterioration of the matrix, however, constitutes a form of unintentional alteration that var- prints that his or her matrix can press into ies the appearance of a print within a single state. Jesse Feiman’s work explores the methods of paper. Within that set of possibilities, how- 22. Lisa Pon, Raphael, Dürer, and Marcantonio ever, the block cutters and printers can exert connoisseurship, the history of collections, and the Raimondi: Copying and the Italian Renaissance historiography of print cataloguing. He is currently their influence on the final appearance of (New Haven: Yale University Press, 2004), 39-41. pursuing a doctorate at the Massachusetts Institute 23. Koerner, 209. those prints. During their lifetimes, art- of Technology. 24. Differences between historical and contemporary ists can control the final execution of their understandings of authorship can be seen in the fact works, but when the matrix survives the that Janszoon’s impressions are commonly attrib- Notes: artist, the possibilities expand and publish- uted to Dürer, while screenprints printed by Richard 1. William J. Ivins, Prints and Visual Communication Ekstract in 1965 from Andy Warhol’s original acetates ers like Willem Janszoon can create visual (Cambridge: MIT Press, 1969), 2. have been excluded from the Warhol catalogue rai- inventions unanticipated by the artist. An 2. Joseph Koerner, “Albrecht Dürer: a Sixteenth- sonné by the Andy Warhol Art Authentication Board. image like Janszoon’s chiaroscuro woodcut Century Influenza,” inAlbrecht Dürer and His Legacy 25. von Bartsch, 10:414-415; Meder, 254-255. (Princeton: Princeton University Press, 2002), 18-19. 26. Landau and Parshall stated, “However shabby of Rhinoceros can be considered a nearly 3. Dürer dated the drawing 1515, but the inscription they may have become, [woodblocks] were often independent pictorial expression.24 states that the rhinoceros arrived in Europe in May kept in use for centuries.” The Renaissance Print, 22. As a famous work by a well-known artist, 1513. This mistake persisted through many edi- Orenstein pointed out that, “as early as the fifteenth tions of Rhinoceros, but was corrected in later ones. Rhinoceros and the history of its publication century, plates were handed down and reprinted by Joseph Meder, Dürer-Katalog, ein Handbuch über succeeding printmakers,” 95. Printmaker and famed have been particularly well-researched.25 Albrecht Dürers Stiche, Radierungen, Holzschnitte, catalogue author, Adam von Bartsch, is known to But the complexity we find in the printing deren Zustände, Ausgaben und Wasserzeichen have printed an edition of Dürer’s Triumphal Arch history of Rhinoceros is not exceptional—for (Wien, Gilhofer und Rauschburg, 1932), 254. of Emperor Maximilian I as late as 1799. Meder, 4. Erwin Panofsky, The Life and Art of Albrecht works produced before the turn of the 19th 224-225. Dürer (Princeton: Princeton University Press, 27. The practice of numbering prints, begun by Adam century, such complexity is the norm.26 The 2005), 192; Joseph Leo Koerner, “Albrecht Dürer: von Bartsch in the 18th century, imparts a single printing of matrices over decades, even cen- a Sixteenth-Century Influenza,” in Albrecht Dürer identity to all impressions pulled from a matrix. His turies, was a common practice. Catalogues and his Legacy (London: British Museum, 2002), description of Dürer’s Rhinoceros dated all of its iter- 31; Susan Dackerman, “Dürer’s Indexical Fantasy: ations to 1515, including the chiaroscuro examples. such as The Illustrated Bartsch and Hollstein’s The Rhinoceros and Printmaking” in Prints and Adam von Bartsch, Le Peintre Graveur (Vienna: J. V. German Engravings, Etchings, and Woodcuts, the Pursuit of Knowledge (Cambridge: Harvard Art Degen, 1808), 7:147-148, 12: 6. Subsequent cata- c. 1400-1700, are filled with detailed docu- Museums, 2011), 164. logues, such as Hollstein’s German Engravings… 5. Dackerman, 168. mentation on the changing conditions of and The Illustrated Bartsch, supply more refined and 6. Figures like Ulisse Aldrovandi (1522-1605) and more accurate information about the origins of par- the matrices and the printerly innovations Frederico Cesi (1585-1630) placed a particularly ticular impressions than Le Peintre Graveur, but they applied to them. The elaborations these vol- strong emphasis on pictures, which could “descibe nevertheless maintain its conceptual framework, in umes provide, however, present each all the world of nature in pictorial or graphic form.” which the origin of a print in the mind of a genius and David Freedberg, The Eye of the Lynx (Chicago: in the surface of a matrix determine its position. impression as an iteration of the same idea, University of Chicago Press, 2003), 3. pressed from the same matrix.27 Such infor- 7. Dackerman, 167. mation is often seen as minutiae of interest 8. I based my observations on the impression owned by the Museum of Fine Arts, Boston, 68.247. only to connoisseurs, but hidden within 9. For the changes in the inscription from drawing to them is also a tale of how the print allowed print, see Dackerman 167-168.

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Art in Print November – December 2012 27 John Evelyn’s Project of Translation By Ben Thomas

did once think, and absolutely resolve, “I that I had for ever done with the drudg- ery of Translating of Books,” wrote John Evelyn at the beginning of his translation of Roland Fréart de Chambray’s An Idea of the Perfection of Painting. In 1668 Evelyn could be forgiven this rather weary introduction, coming as it did towards the end of a remarkable campaign of translation of texts of all sorts from French and Italian into English,1 a campaign that deserves consideration from print historians because it is closely linked to modes of art critical writing that rely heavily on the use of prints, and also to Evelyn’s own concern to promote new methods of printmaking. The translation of Chambray’s treatise on painting had been preceded by Evelyn’s history of printmaking, the Sculptura (title page, Fig. 2) of 1662, and by his translation of Chambray’s Parallel of the Antient Architecture with the Modern (title page, Fig. 3) of 1664, and it completed Evelyn’s project of promoting the visual arts in England by making continental art theory available in English.2 Chambray’s theoretical clarity, the concision of his synthesis of complex architectural theory from the ancients to the moderns and its reduction to a set of striking diagrams, particularly recommended him in the context of post-Restora- tion national renewal in England.3 A found- ing member of the Royal Society, Evelyn had proposed schemes for improvement that extended from reducing smoke in cities to better methods of forestry and horticulture, to his plan for rebuilding London after the Great Fire of 1666, put forward with that of his friend Christopher Wren.4 For Evelyn, the principal model for emu- lation was France—the home in exile of many Royalists during the 1650s, including himself. In particular, Evelyn was impressed by the example of Louis XIII’s secretary of state François Sublet de Noyers, who aimed Robert Nanteuil, Portrait of John Evelyn (1650), engraving, 24.1 x 17.1 cm. The British Museum, to elevate the French nation through a cul- 1874,0808.2387. ©Trustees of the British Museum tural politics based on the example of Italy. The theoretical texts of Roland Fréart de the ancient Greek would seem as if “one terms. Chambray himself had found it nec- Chambray (who like his brother Paul Fréart madman had translated another”. He added essary to provide a glossary of Italian art de Chantelou was closely associated with that “we must consider in Pindar the great terms for which there were no equivalents Sublet de Noyers, their cousin) would have Difference of Time betwixt his Age and ours in French, most notably ‘stampi’ or prints.6 been of obvious interest to the Royalist which changes, as in Pictures, at least the Evelyn’s version of this glossary expanded as Evelyn. Colours of Poetry”.5 he struggled with the translation, or rather Debates about translation in 17th-cen- The key problem for technical literature paraphrase and interpretation, of continen- tury England tended to focus on poetry: of the type that occupied Evelyn, however, tal terms into English, and the result was a Evelyn’s friend the poet Abraham Cowley was not so much reconciling the sense of prose bristling with neologisms supported wrote of his translation of the Odes of a text with the beauty of its language, but by glossaries. Pindar that a word for word translation of of finding native equivalents for technical One solution, forcefully advocated in

28 Art in Print November – December 2012 the source texts Evelyn had adopted, was to in this Treatise” was Raphael. (By con- of printed images in a sort of pre-photo- employ illustration as a way to bypass lin- trast Michelangelo’s example encouraged graphic “museum without walls”.15 It is guistic translation. In selecting Chambray every licentious and capricious devia- worth noting that Chambray assumed his as his conduit for continental art theory, tion from true principles.) In order to fol- readers would have access to the prints he Evelyn chose an author who believed trans- low the argument visually, the reader was chose to analyze. Evelyn similarly chose to lation necessarily involved a type of betray- advised to have alongside him four prints rely on the readers’ own collection rather al: writing about architecture Chambray after Raphael—three by Marcantonio than publish images alongside the text: noted, “since doubtless the further men Raimondi and Giorgio Ghisi’s 1550 engrav- have wander’d from their principles, trans- ing after the School of Athens)—and one of I had once thoughts to have added the planting them as it were into a strange soile, Michelangelo’s Last Judgement.11 Stamps and Prints themselves, which the more they are become degenerate, and The use of prints as integral to the our Author does so critically discourse scarce cognoscible to their very authors”.7 process of art criticism is emphasised in upon; but then considering, that as this Like transplanted exotic plants, the archi- Chambray’s text, and forms part of an attack Piece is of most use to the Virtuosi, and tectural orders became more licentious, on ‘ekphrastic’ writing about the visual arts. that such as are Curious, must needs monstrous and gothic the further they This argument goes back to the Imagines of already be furnish’d with them; and travelled from their source. Language itself, Philostratus (early 3rd century CE,) whose that it had been doubtless impossible and the indeterminacy of terminology, to have procur’d Originals sufficient to played its part in this process. According to adorn this Impression, and would have Chambray, because the visual arts are not immensely exalted its price (I my self hav- essentially linguistic, the demonstration ing been offer’d Twenty shillings but for of their principles needed to be “sensible one of them) I soon laid those intentions and ocular.” The analysis of images—or as aside: Besides that our Author has also Evelyn put it, “ocular demonstration”— publish’d his Book without them, and to could effectively substitute for translation. have gotten them well Copied, had been Chambray’s whole philosophy of art could equally difficult.16 be pithily summarised in Evelyn’s phrase, “words are never so express as figures.”8 A similar problem had beset the trans- Like other authors before him, Chambray lation of Chambray’s architectural paral- bemoaned the loss of the original illustra- lels, which Evelyn had initially abandoned, tions to Vitruvius’s treatise on architecture, and which was finally published thanks which rendered the ancient text opaque to only to the architect Hugh May who pro- subsequent readers. As Chambray and his cured “a most accurate Edition of the brother discovered in their efforts to publish Plates”. Ironically Chambray’s own writ- a manuscript containing notes by Leonardo ing proved as vulnerable to a lack of illus- da Vinci, that text also would have been trations as Vitruvius and Philostratus had almost useless without the clarification done. Moreover, when Chambray con- provided by engraving based on the draw- ducted an ‘ocular demonstration’ based on ings of Nicolas Poussin.9 Chambray sought Marcantonio’s Judgement of Paris (Fig. 4), he to replace this lack in Vitruvius through fell into error: treating it as axiomatic that a series of ingenious engravings where Raphael used single point perspective, he the different versions of the architectural located this single point in the eye of Paris: orders propagated by treatises on architecture were distilled in diagrams that could Fig. 1. Roland Fréart de Chambray, Parallèle de The Subject of this History being chiefly be instantly compared (Fig. 1). In his com- l’Architecture (1650), engraving depicting a about Sight, and Paris the Person prin- composite profile of the Arch of Titus in Rome. mitment to establishing the principles of art cipally concern’d in it; the Paynter could Museo del Prado. through a purely visual process of compara- not have plac’d the Visive point more judi- tive analysis, Chambray could be described ciously, than in the eye of Paris, which, as the Wölfflin of the 17th century. lack of ancient illustrations Chambray also for this very cause, he has represented in Chambray advocated an idealist com- regretted, but was particularly focused on Profile, to shew that there ought to be but mitment to universal aesthetic princi- Giorgio Vasari’s Le vite de’ più eccellenti pit- One only, as Geometricians teach us in ples. These he derived wholesale from tori, scultori et architetttori (1550 and 1568).12 their Optics, where they represent Vision, Franciscus Junius’s treatise De pictura Chambray scornfully condemned the mis- or the function of seeing, by a radiated veterum of 1637, which had been com- takes in Vasari’s account of Raphael’s fres- Pyramis with an Eye fixt upon it.17 missioned by Thomas Howard, Earl of coes in the Vatican and the interpretative Arundel, and translated by the author from manoeuvres of his ‘amphibiological dis- This is an ingenious reading of the Latin into English in 1638 as The Painting course’: a good print would have removed print, and it is plausible that Raphael might of the Ancients.10 He believed that the cor- the possibility of error and replaced the need have associated the subject with art theo- rect principles of painting—invention, pro- for interpretation.13 (Ironically, Vasari’s retical claims concerning painting,18 but portion, colour, motion and what Evelyn ‘mistakes’ in fact derive from his use of Chambray is incorrect with regard to the translated as ‘collocation’ (we might term prints, since Marcantonio’s engravings were vanishing point as was pointed out by the this ‘composition’)—could be demonstrat- made after Raphael’s drawings and not after printmaker Abraham Bosse, who noted ed, as with architecture, by direct visual the frescoes themselves.)14 that there were four or five vanishing points comparison, and the artist whose works What Chambray made explicit, and what within the composition, and that Raphael’s served “as so many Demonstrations of the was implicit in other texts, was the possibil- design imitated an antique relief represent- absolute necessity of exactly observing ity of doing art history directly with prints, ing the same subject in the Villa Medici in the Principles which we have established through the comparison and arrangement Rome. Evelyn, who had known Bosse in

Art in Print November – December 2012 29 Fig. 2. Frontispiece of A Parallel of the Antient Architecture with the Modern. Fig. 3. Frontispiece of John Evelyn, Sculptura, or, The history and art of John Evelyn’s translation of Roland Fréart de Chambray. London, 1723. chalcography, and engraving in copper (1662). London. Beinecke Rare Book Beinecke Rare Book and Manuscript Library, Yale University. and Manuscript Library, Yale University.

Paris and who clearly kept up with his work, Marcantonio’s mythological print was of technical quality and reproductive reli- intervened as editor in his translation of required to carry quite a critical burden ability became urgent. Bad handling of the Chambray to report the criticisms that had here: an engraving created in the early years burin could disfigure a masterpiece, and been recently published in Paris: of the 16th century, which in the context falling into the hands of a poor printmaker of Renaissance print collecting was under- could damage the reputation of any painter The next usual reproach of Painting has stood to disseminate the distinctive ‘ disegno’ (“quel malheur c’est à un Peintre de tomber been the want of judgement in perspec- of its author, was now being pressed anach- entre les mains d’un mauvais Graveur”).21 tive, and bringing more into History, ronistically into demonstrating the endur- Abraham Bosse had previously written at then is justifiable upon one Aspect, with- ing and universal principles of painting. some length about the problematic relation- out turning the Eye to each Figure in Similarly, though Giorgio Ghisi’s engraving ships between technique, style and design in particular, and multiplying the points after Raphael’s School of Athens (Fig. 5) was printmaking.22 A follower of Jacques Callot, of Sight; which is an error into which not as good as Marcantonio’s in terms of Bosse preferred a ‘neat’ style of etching to our very Author (for all the pains he has technique (and was misleadingly titled St. a more expressive and sketchy approach. taken to magnifie that celebrated deci- Paul preaching in Athens,) Chambray none- He detailed the technical means to achieve sion of Paris) has fail’d in: For the know- theless found it preferable to Vasari’s writ- this in his Traité des manières de graver en ing in that Art do easily perceive that ten account of the fresco for establishing the taille douce of 1645, a text that Evelyn had even Raphael himself has not so exactly ‘idea of perfection in painting’ that Raphael intended to translate but which the English observ’d it; since instead of One (as had come to represent. This was because, engraver William Faithorne got to first.23 Monsieur de Cambray [sic] takes it to be, in spite of its faults, it conveyed more accu- In 1649 Bosse published his Sentimens sur la and as indeed it ought to have been) there rately Raphael’s magnificent arrangement Distinction des Diverses Manieres de Peinture, are no less than four or five, as du Bosse of figures than any written description Dessein & Graveure in which chapter VII has well consider’d in his late Treatise of could.20 When prints were required to do deals with the problem of distinguishing the Converted Painter.19 such important theoretical work, questions between the styles of different printmakers,

30 Art in Print November – December 2012 Fig. 4. Marcantonio Raimondi, after Raphael, The Judgement of Paris (1510-1520), engraving, 29.5 x 43.9 cm. The British Museum, H,2.24. ©Trustees of the British Museum. and between original prints and copies. Marcantonio’s prints display many faults in taste. This relativist conclusion was tem- Significant issues, such as whether prints the arrangement of hatchings so that every- peramentally and uncomfortable for Bosse, made by artists after their own designs are thing appears to be represented on the same and in 1653 he announced a newly discov- preferable to those engraved by professional plane.25 Bosse’s awareness of the problem of ered method by which the engraver could printmakers, and how varying styles of anachronism in the relationship between determine the conduct of hatched lines (“la engraving affect the reproduction of origi- design and engraving style, and of questions conduite de ces hacheures”) so that they nal designs at different times, are discussed around the print’s function as a reproduc- would derive their rational consistency with both professional insight and histori- tion, suggest analogies with the demands of directly from nature. cal awareness. Bosse’s 13 pages of analysis inter-linguistic translation as experienced Together with his friend the portraitist would prove seminal and they resonate by Evelyn. If one definition of a good trans- and printmaker Robert Nanteuil, Bosse had through both Chambray’s treatment of lation in the 17th century was that it con- hit on the idea of employing a frame strung prints and Evelyn’s own history of print- veyed the sense of a text above the beauty with an evenly spaced grid like a racket making, Sculptura. of its language, then Bosse saw a good print (“une forme de raquette treillissée de fils ou Bosse noted that good engravers do not as distinguished primarily by the quality of cordes”) (Fig. 6) that cast a network of shad- always coincide in the same place and at the its design rather than by the excellence of its ows onto the object the artist wanted to rep- same time as good painters. Looking at the technique. resent, whether the smooth ball or the com- work of the late 16th-century Sadeler family Bosse concluded that a plurality of print- plex surface of the antique bust shown in of engravers, for example, he was filled with making approaches could coexist, as long the diagram Bosse provided, for as he points regret that they were not in Italy at the time as each method achieved the desired end of out, a diagram is always more apt than a of Raphael.24 However, for Bosse what made reliably reproducing the design the print- written description (‘figure’ is preferable to a good print was not so much the quality of maker was working from. It did not mat- ‘discourse’).26 When lit, the strings would the technical execution as the standard of ter whether a single swelling engraved line project a pattern of curving but regular lines the design it communicates. For this rea- was employed, as in the distinctive style of over the swellings and concavities of, say, son he argued that Marcantonio’s engrav- Claude Mellan (which Bosse himself often the passage between cheek, chin and neck. ings are to be preferred even to those of emulated), or the systematic net of cross- Following these shadows the printmaker Albrecht Dürer, because Raphael’s designs hatchings punctuated with flecks and dots could achieve a greater sense of relief with are superior to those of the German art- derived from Marcantonio. As long as light lines cut into copper with a burin, or marked ist, even though the latter was incompa- and shade were accurately represented the onto the wax etching ground with the rable in the execution of engraving, while style of engraving was simply a matter of echoppe. Evelyn, in his Sculptura, termed the Art in Print November – December 2012 31 Fig. 5. Giorgio Ghisi, after Raphael, The School of Athens (1550), engraving, 51.3 x 81 cm. The British Museum, V,5.132. ©Trustees of the British Museum. method “perspective parallelism,” and repro- translated passages from French art theory the Italians term it) pieces of the Mezzo duced Bosse’s diagram in a reversed copy. including Bosse’s Sentimens of 1649 and Tinto...28 While draughtsmen had used similar Moyen Universel of 1653. ‘Perspective paral- grids before to draw objects in perspective lelism’ is the first of two new methods of Both these printmaking techniques (as in Dürer’s woodcut of an artist doing printmaking that Evelyn announced to an addressed anxieties about the functioning just this with a steeply foreshortened female English readership in this book—the other of prints as they were increasingly being nude in his book Underweysung der Messung being the more celebrated case of a purely asked to represent ‘Painting:’ ‘perspective of 1525), this is the first instance of such a tonal printmaking method, mezzotint. parallelism’ sought to make prints less arbi- device being used as part of the process of This ‘new way of Engraving, or Mezzo Tinto’ trary; mezzotint, less visibly visual trans- printmaking. The use of shadows to deter- reversed all of the usual assumptions about lations. They are responses to the semi- mine the patterns of etched or engraved the processes and properties of printmaking otic paradox identified by Descartes in his lines endowed the print with a form of that Evelyn, a knowledgeable print collector Dioptrics of 1637 when he wrote that “often, indexicality, placing it somewhere between and amateur etcher, had previously held: in order to be more perfect as images, and to a drawing and a photograph. The visual represent some object better, it is necessary syntax of dots and cross hatchings could It would appear a Paradox to discourse for engravings not to resemble it… Now we now be replaced with a ‘natural’ approach to you of a Graving without a Graver, must think in the same way about the imag- that had the clarity of Mellan’s single swell- Burin, Point, or Aqua Fortis; and yet is es that are formed in our brain”.29 ing line and the authority of real presence.27 This perform’d without the assistance of If printed images are, after all, operating The racket, however, had limitations: it was either: That what gives our most perite a code based on difference, what is their best applied to the rendering of particular and dextrous Artists the greatest trouble, advantage over descriptive writing? objects and was less helpful in addressing and is longest finishing (for such are the Matthew Hunter has recently analysed the the problem of perspective depth in a print hatches, and deepest shadowes in plates) syntactical and semantic dimensions of across a larger composition. Also, as Evelyn should be here the least considerable, thinking about prints in the circle of the pointed out, most prints were translations and the most expeditious; That, on the Royal Society, focusing particularly on of already two-dimensional drawings rath- contrary, the Lights should be in this the Robert Hooke’s theory of the impression.30 er than images worked from three-dimen- most Laborious, and yet perform’d with In order to avoid what Hooke termed ‘Mr. sional reality, and he reported in 1662 that the greatest facility: That what appears Engraver’s fancy’, which creates the ‘wrong Bosse’s ‘racket’ had not been widely adopted to be effected with so little Curiosity, impression’ in the mind of the scientific by printmakers. should yet so accurately resemble what observer, a good syntactic fit between Much work remains to be done on is generally esteem’d the very greatest; engraved image and the thing represented is Evelyn’s Sculptura, a key text in the his- viz. that a print should emulate even the required. Evelyn’s interest in these two very tory of prints, which features a mosaic of best of Drawings, Chiaro e Scuro, or (as different proposals for overcoming the

32 Art in Print November – December 2012 arbitrary syntax of engraving—like his translation project—is part of the broader theorisation of the visual arts in the early modern period. The growing demand for reproductive prints created a tension between ekphrastic writing about art, in which text and image are complementary halves of the aesthetic experience, and a new preference for the direct demonstrative evidence of prints, supplanting ‘discourse’ with ‘figure.’

Ben Thomas is a lecturer in history & philosophy of art at the University of Kent, and curator of Kent’s Studio 3 Gallery.

Notes: 1. Roland Fréart de Chambray, An Idea of the Perfection of Painting, trans. John Evelyn, London, 1668, ‘To the Reader’, unpaginated (cited hereafter as Evelyn, 1668). For Evelyn see: Gillian Darley, John Evelyn. Living for Ingenuity, New Haven and London: Yale University Press, 2006; Frances Harris and Michael Hunter (eds), John Evelyn and His Milieu, London: The British Library, 2003, Michael Hunter, ‘John Evelyn in the 1650s: A Virtuoso in Quest of a Role’ in his Science and the Shape of Orthodoxy, Woodbridge: Boydell Press, 1995, and also Antony Griffiths,The Print in Stuart Britain 1603- 1689, London: The British Museum, 1998. 2. John Evelyn, London, 1668, ‘To the Reader’, unpaginated: ‘… I did believe I might do some service not only to Architects and Sculptors, but to our Painters also, by presenting them with this curious Treatise, which does, I think, perfectly consum- mate that designe of mine, of recommending to our Countrey, and especially to the Nobless, those Three Illustrious and magnificent Arts, which are so dependent upon each other; that they can no more be separated, than the very Graces themselves, who are always represented to us holding hand in hand, and mutually regarding one another’. Roland Fréart de Chambray, Idée de la Perfection de la Peinture demonstrée par les principes de l’Art, et par des Exemples conformés aux Observations que Pline et Quintilien ont faîtes sur le plus célèbres Tableaux des Anciens Peintres, mis en Paralèlle à quelques Ouvrages de nos meilleurs Peintres Modernes, Leonard de Vinci, Raphael, Iules Romain, et le Poussin, Le Mans, 1662. 3. Roland Fréart de Chambray, Parallèle de l’architecture antique et de la moderne, Paris, 1650. The translation of Chambray’s Parallel also includes the first English translation of Alberti’s De Statua, translated by Evelyn from the Italian translation by Cosimo Bartoli. 4. In addition to books on the visual arts, Evelyn published Gabriel Naudé, Instructions concerning erect- ing of a Library… Interpreted by Jo. Evelyn, London, 1661, Fumifugium, or The Inconvenience of he aere and smoak of London dissipated, London, 1661, and Sylva, or A discourse of forest trees and the propagation of timber in His Majesties dominions, London, 1664. 5. Daniel Weissbort and Astradur Eysteinsson (eds), Translation–Theory and Practice: A Historical Reader, Oxford: Oxford University Press, 2006: 124. In 1680 in the preface to Ovid’s Epistles, John Dryden Fig. 4. Engraved illustration showing the use of a wire grid for the laying of lines in engraving, in John Evelyn, rejected Cowley’s ‘liberty’ of translation, which he Sculptura, or, The history and art of chalcography, and engraving in copper. London: 1662. Beinecke called ‘imitation’, while agreeing with his criticisms Rare Book and Manuscript Library, Yale University. of word for word translation, which he termed ‘meta- phrase’. Instead he argued for ‘translation with lat- titude’ or ‘paraphrase’ as a middle way between the Routledge, 1995. but reasonable, it gave me a great deal of trouble; two extremes, ibid: 145-46. On translation theory see 6. John Evelyn, London,1668, ‘To the Reader’, nor was I able to find out words which were purely also Lawrence Venuti (ed.), The Translation Studies unpaginated, and Chambray’s ‘Advertisement to ours, capable to express those Barbarismes, which Reader, New York and London, 2nd edition, 2004, the Reader’: … one should strive to render things Custome has as it were naturaliz’d amongst our and Lawrence Venuti, The Translator’s Invisibility: as clear and intelligible to the Reader as was pos- Painters’. These include ‘tramontano’, ‘elevato’, A History of Translation, London and New York: sible. And truly though I conceiv’d the Counsel was ‘schizzo’ etc but the most remarkable because the Art in Print November – December 2012 33 most commonly used in the discourse is ‘stampi’ or si tout estoit en un mesme plan, ainsi que cela ce ‘prints’. peut voir aux pieces cy-devant nommés’. 7. Evelyn, 1664: 2-3. 26. Abraham Bosse, Moyen Universel de pra- 8. Evelyn, 1664: 7 and 15. tiquer la perspective sur les tableaux ou surfaces 9. Roland Fréart de Chambray, Traité de la Peinture irrégulières…, Paris, 1653: 37-38. de Leonard de Vinci, Paris, 1651, dedication to 27. William M. Ivins, Jr., Prints and Visual Nicolas Poussin: iii. Communication, Cambridge, Massachusetts: 10. Keith Aldrich, Philipp Fehl, and Raina Fehl (eds), Harvard University Press, 1953: 66. Franciscus Junius: The Literature of Classical Art, 2 28. John Evelyn, Sculptura: or the History, and Art vols, Berkeley, Los Angeles and Oxford: University of of Chalcography and Engraving in Copper, London, California Press, 1991. 1662: 145. On mezzotint, see most recently: Ben 11. These prints, described by Chambray in the Thomas, ‘Noble or Commercial? The Early History unpaginated preface to his 1662 book, are The of Mezzotint in Britain’ in Michael Hunter (ed.), Massacre of the Innocents (Bartsch, XIV, 21, 20), Printed Images in early Modern Britain: Essays in The Judgment of Paris (Bartsch, XIV, 197, 245) and Interpretation, Farnham: Ashgate, 2010: 279-96, and The Descent from the Cross (Bartsch, XIV, 37, 32) by Eva-Maria Hanebutt-Benz and Isabella Fehle (eds), Marcantonio Raimondi, and The School of Athens by ‘Die also genannte Schwarze Kunst in Kupfter zu Giorgio Ghisi and published by Hieronymous Cock arbeiten’: Technik und Entwicklung des Mezzotintos, in 1550 (Bartsch, XV, 394, 24). It is not clear which Berlin and Munich: Deutscher Kunstverlag, 2009. print after Michelangelo’s Last Judgement Chambray 29. René Descartes, The Philosophical Writings of is referring to. Descartes, trans. John Cottingham, Robert Stoothoff 12. An exception here is Thomas Puttfarken, The and Dugald Murdoch, Cambridge: Cambridge Discovery of Pictorial Composition, New Haven University Press, 1984, vol. 1: 165-66. and London: Yale University Press, 2000: 234: ‘For 30. Matthew Hunter, ‘The Theory of the Impression Chambray the work, the tableau, must be transpar- According to Robert Hooke’, in Michael Hunter (ed.), ent to the pensée in the artist’s mind… It is hard Printed Images in Early Modern Britain: Essays in to avoid the conclusion that the picture as material Interpretation, Farnham: Ashgate, 2010: 167-90. object might just as well not exist.’ 13. Evelyn, 1668: 110. 14. This was something that Giovan Pietro Bellori, a defender of the ekphrastic approach to visual analysis, would later point out. Giovan Pietro Bellori, Descrizzione delle Imagini Dipinte da Raffaelle d’Urbino nelle Camere del Palazzo Apostolico Vaticano, Rome, 1695: 15. 15. For another instance, see Filippo Baldinucci, Notizie de’ Professori del Disegno da Cimabue in qua, per le quali si dimostra come, e per chi le bell’Arti di Pittura, Scultura, e Architettura lasciata la rozzezza delle maniere Greca, e Gotica, si siano in questi secoli ridotte all’antica loro perfezzione, Florence, 1681, unpaginated preface. 16. Evelyn, 1668, ‘To the Reader’, unpaginated. 17. Evelyn, 1668: 37. 18. The discriminating judgement of female beauty is linked, through the story of Zeuxis and the Maidens of Croton, to the eclectic imitation of sources. For a discussion of Marcantonio’s print as referring to theo- ries of eclectic imitation, see: Ben Thomas, ‘“The art consists of hiding the art”: Castiglione and Raphael’ in Antonello Braida and Giuliana Pieri (eds), Image and Word: Reflections of Art and Literature from the Middle Ages to the Present, Oxford: Legenda, 2003: 134-50. 19. ‘To the Reader’, unpaginated. Abraham Bosse, Le Peintre converty aux précises et universelles regles de son Art, Paris, 1667: 62. 20. Chambray, 1662: 106-107. 21. Chambray, 1662: 21. 22. On Bosse see: Marianne Le Blanc, D’Acide et d’Encre: Abraham Bosse et son siècle en perspec- tives, Paris: CNRS Editions, 2004; Maxime Préaud et al, L’oeil d’or: Claude Mellan 1598-1688, exhibition catalogue, Paris: Bibliothèque Nationale, 1988 and Dianna FriD Luigi Servolini, Abraham Bosse e il suo Trattato della Sieve #2 (detail), from a series of four, 2012 Calcografia, Bologna: Cesare Ratta, 1937. color lithograph with chine collé, collage, 23. William Faithorne, The Art of Graveing and pearlescent powder and debossing Etching…, London, 1662. 13½ x 11 inches 24. Bosse, Sentimens sur la Distinction des Diverse edition of 20 Manieres de Peinture, Dessein & Graveure, & des Originaux d’avec leur Copies. Ensemble Du choix des Sujets, & des chemins pour arriver facilement & promptement à bien Pourtraire, Paris: Bosse, 1649: 77: ‘… lesquels ont fait de si beaux Ouvrages, qu’il reste un regret en les voyans, qu’ils n’ayent esté du temps de Raphael’. 25. Abraham Bosse, Sentimens...: 75-6: ‘Ledit Marc Antoine a tesmoigné par ses Oeuvres qu’il estoit fort exact imitateur de ses Originaux, mais non pas de rechercher une grande liberté de burin, & beauté en Shark’S ink. 550 Blue Mountain Road Lyons, CO 80540 l’ordre & arrengement des hacheures, fortifement & 303.823.9190 affoiblissement d’icelles, suivant le pres & le loin à www.sharksink.com / [email protected] l’égard du Tableau ou section, ains au contraire tout y paroist d’une mesme force, que est à dire comme 34 Art in Print November – December 2012 and presents us with a highly important a progression toward an increasingly faith- segment of what one might call an archeol- ful representation of nature. In 1960, Ernst ogy of our image-saturated world. Gombrich’s celebrated book, Art and Illusion, Over the course of nine chapters and presented a similar narrative—in this case 102 catalogue entries (many of them sev- one not restricted to prints—of the develop- eral pages in length and supporting full- ment of art in the direction of an ever-closer page and even fold-out illustrations), the approximation of reality.8 For Ivins, this survey explores the function of the image trajectory finds its culmination with the within the natural sciences in early modern invention of photography. He perceives the Europe, arguing that, beyond their role as medium of the print as a syntax that is nec- descriptions, images actually made knowl- essary to translate the artist’s observations edge visible. The artists were not merely into reproducible images. With the advent illustrators but played a far more active of photomechanical reproduction the medi- part within the epistemological process, um loses this role as mediator. “facilitating the conceptualization of ideas Prints and the Pursuit of Knowledge nar- through representation.” Pragmatic reli- rows the focus from Ivins’s all-encompass- ance on images was not new. Even Plato, ing overview to a sharply defined yet com- who distrusted images as not only shad- prehensive study. This perspective enables ows, but shadows cast by idols and there- Dackerman to give a far more detailed and fore twice removed from the real world and multifaceted answer to the question “what the light of truth, remarked on the crucial made prints such effective matrices for the Prints and the Pursuit of Knowledge importance of astronomical models for the production of knowledge in the early mod- in Early Modern Europe Edited by Susan Dackerman, with essays by proper understanding of the workings of ern period?”9 Susan Dackerman, Lorraine Daston, Katharine the universe: “To declare all this [the inter- First and foremost there is, of course, Park, Suzanne Karr Schmidt, and Claudia Swan action of the cosmic bodies] without visible their materiality and inherent multiplicity, 442 pages, 297 color illustrations, $60. illustrations of their very movements were the fact that their templates are infinitely New Haven, CT: Published by Harvard Art labor lost.”3 exploitable, that they are printed on paper Museums, Cambridge MA and distributed by In early modern Europe, however, the and often modest in scale and therefore Yale University Press relationship between visual observation easily transportable. Secondly, prints were and analytic understanding was undergo- accompanied by texts—relief woodcuts ing a revolutionary change: the birth of with letterpress, or intaglio engravings and empirical and experiment-based science etchings with text engraved on the same An Archeology of the as we still understand it today. Lorraine plate. Thirdly, the matrices could be altered, Iconic World Daston’s catalogue essay carefully charts their contents revised or—as the example of the nature and new utility of observation some printed sundials shows—customized By Armin Kunz in this period, noting that while “the library for different users. They could be modified remained (and still remains) as important as and enhanced through the application of the laboratory or the field in the pursuit of color. They could be cut, folded and glued n his assessment of the major shifts in natural knowledge,”4 empirical observation into three-dimensional forms, as was clear I philosophical thinking during the course came to play an increasingly important role. from the paper globes and instruments of the 20th century, the German philoso- Printed images helped “to define what an made from modern facsimiles shown in the pher Wolfram Hogrebe came up with a suc- observation was and who was an observer, exhibition. (The catalogue includes a card- cinct summary: “The last century started as well as to consolidate the networks of stock reproduction of Peter Apian’s Terrestial with consciousness, exhausted itself with observers scattered across continents and Globe Gores (cat. 78) which the reader can language, and ended with the image.”1 centuries that made collective empiricism try out at home.) The disadvantage of their This is the age of the image. If they became a reality.”5 The development of modern sci- malleable nature, however, is that the sur- increasingly prevalent over the last hun- ence went hand in hand—and was depen- vival rate of these prints is incredibly small: dred years, they are now ubiquitous across a dent on—the invention of the printing press the only extant assembled paper instrument range of media that could hardly have been and the printed image. This is the core of is a single astrolabe by Georg Hartmann imagined a century ago. While old-timers Dackerman’s project: the exhibition not (cat. 74); another, designed by Cranach, is like the present writer nostalgically applaud only investigates the active roles played by known from a pre-1945 photograph. Most of this very magazine for adding a printed edi- artists in the effort to visualize the quickly the original prints seem to have been used tion to its initial online presence, the fact expanding territory of scientific knowledge, as intended, since even the sheets in their that daily newspapers are becoming an it also explores the specific characteristics unassembled form are also of the greatest endangered species is a more telling reflec- of printmaking within this process.6 rarity. tion of current trends. It was William Ivins who first devoted Suzanne Karr Schmidt might deservedly Prints and the Pursuit of Knowledge, the a book-length study to the importance of be called the foremost expert on this aspect remarkable exhibition organized by Susan the printed image for the dissemination of of the show. The subject of her disserta- Dackerman [see Art in Print, Vol. 2, No. 1] knowledge in his seminal 1953 study Prints tion at Yale was “Interactive and Sculptural therefore offered a timely investigation into and Visual Communication. His claim “that Printmaking in the Renaissance” (2006); her the roots of our visual, informational cul- many of the most characteristic ideas and subsequent position as Andrew W. Mellon ture.2 The show’s stupendous catalogue— abilities of our western civilization have Curatorial Fellow at the Art Institute of yes, a book printed on paper and weighing in been intimately related to our skills exactly Chicago resulted in the exhibition and cata- at 6.5 pounds, half a pound more than four to repeat pictorial statements,” is nothing logue Altered and Adorned: Using Renaissance iPads—has been stunningly designed by the if not sweeping.7 Ivins’s history of print- Prints in Daily Life in 2011 [see Art in Print, Vol. Philadelphia-based Purtill Family Business making explained different techniques as 1, No. 1]. In this new catalogue, in addition

Art in Print November – December 2012 35 to various entries on individual prints, she contributes an essay on the development of printed instruments in Nuremberg. Karr Schmidt’s sleuthing led to some spectacular loans, such as Harmann’s cruciform sundial of 1529 (cat. 68). A complex construction, designed by an unknown artist from the Dürer circle and cut by a highly accom- plished Formschneider, it survives on an untrimmed sheet in virtually perfect condition in the Germanisches Nationalmuseum in Nuremberg (it needed to be seen in the exhibition: it is reproduced rather poorly in the catalogue, a rare exception in this otherwise sumptuously illustrated book). The majority of the presented material derives from the German-speaking lands. The Dutch prints are mostly allegorical or illustrative images such as Stradanus’s set of engravings of ca. 1600 depicting “New inventions and discoveries of modern times,” (Fig. 2) that opens the catalogue (cat. 1). The set’s title-page puts the printing press at the center, the “linchpin of invention” on which all others depend. While the Stradanus prints function as a pictorial commentary on the technologi- cal innovations of the age, Hans Baldung’s ten woodcuts for the 1541 anatomical atlas by the surgeon Walter Hermann Ryff (cat. 10) are themselves part of this new science. They depict the progressive dissection of the human brain and bring us, figurative- ly, closer to the underlying thesis of the catalogue. In her catalogue entry on these woodcuts, Ronah Sadan perfectly sums up the various paths of inquiry addressed by the exhibition: since “dissection destroys the very object of its inquiry,” without prints “findings would disintegrate together with its subject’s body […]. The multiple medium of prints allowed the dissection to be preserved, reproduced, and disseminated, giving anatomists all over Europe the ability to compare observations and enhance their collective understanding of the body.”10 Baldung’s anatomical woodcuts; Dürer’s woodcut maps of the Northern and Southern Celestial Hemispheres (cat. 16) and map of Fig. 1 Peter Apian and Hans Brosamar, title page of Instrument Buch (1533), woodcut and letterpress, the world (cat. 80); Cranach’s woodcut sun- 30.3 x 20.7 cm. Collection of Owen Gingerich, Cambridge MA. Photo: Imaging Department, ©President and dial with planetary table (cat. 65) and map of Fellows of Harvard College. the Holy Land (cat. 82)—these projects are so diverse that, as Dackerman points out, “a pictorial structure that renders it avail- Stabius’s calculations. The sheer finesse and the artists must have been selected for their able for further propagation.”11 crispness of the impression of the cruci- technical skills and for their “representa- Many artists encountered here are not form sundial appeals to old-fashioned print tional authority.” They collaborated closely household names. The creator of the cru- connoisseurship, regardless of its subject with scientific scholars: Baldung with Ryff, ciform sundial mentioned above remains (the dealer in me immediately thinks “a Dürer with the cartographer Johannes unknown, and perhaps the most visually superb, sharp impression in immaculate Stabius, and Cranach with Bonifatius von arresting works in the show are the horo- condition, the relief from the block show- Zörbig, a young mathematics professor at scopes and astrolabe that Johannes Stabius ing clearly on the verso”), but the Stabius the University of Wittenberg. Dackerman designed not with Dürer, but with the lat- and Springinklee productions go much stresses repeatedly that the role of the ter’s young pupil Hans Springinklee in 1512 further. Their double horoscope for Bishop artists was not merely to provide a picto- and 1515 (cat. 64). We know relatively little Matthäus Lang, dated July 30, 1512 (fold-out rial translation of scientific findings, but to about Springinklee’s life, but he was proba- illustration on p. 283) and their imperial employ that “representational authority” to bly barely 20 years old when he invented the astrolabe for Jacob Bannisius, dated July 25, provide the information they received with representational strategies used to visualize 1515 (ill. p. 287) deploy complex webs of lines

36 Art in Print November – December 2012 Fig. 2. Hans Collaert the Younger, after Stradanus (Jan van der Straet), Title Page of Nova reperta (New inventions and discoveries of modern times) (c. 1599- 1603), engraving, 28 x 34.4 cm. Sarah Campbell Flaffer Foundation, Houston, BF.1998.9.10. and subtle coloring that, for modern view- the crudeness of Vogtherr’s design for its Instead of data, the sample instruments and ers, bring to mind the work of Bridget Riley pictorial lack of verisimilitude is to misun- instructions offered readers access to the or the later images of Sol LeWitt. Nor would derstand the prints’ purpose. research methods themselves. they look out of place in Edward Tufte’s The What Jasper van Putten calls “a different The beautifully relief-stamped image Visual Display of Quantitative Information, kind of knowledge claim” was made by the that wraps around the cover of the cata- the pioneering study of information design 1532 world of Hans Holbein the Younger and logue shows a detail of the print that in and data visualization.12 Sebastian Münster (cat. 84) (Fig. 3). While many ways stands at the center of The While Ivins saw printmaking as mov- the map was accompanied by verbal descrip- Pursuit of Knowledge: Dürer’s iconic and ing along a trajectory of ever-increasing tions of explorations, the image itself was enigmatic woodcut of a rhinoceros of 1515 naturalism, Dackerman asks whether derived from an earlier map and did not (cat. 35), which received its own chapter here. early modern prints always aimed to rep- incorporate all the discoveries described in The animal, the first of its kind to reach resent nature in the most “truthful” way the text (p. 31).14 Instead, the map’s inven- Europe since antiquity, came originally possible, or whether some had alternative tive decorations depicting peoples, animals, from India; it was forwarded by the gover- ambitions.13 The anatomical lift-the-flap- and plants from the Middle East, India, nor of Portuguese India to King Manuel I of prints first devised by Heinrich Vogtherr Southeast Asia, Africa, and America, are Portugal who regifted it to Pope Leo X. En the Elder (cat. 11) are a case in point: made given prominence over detailed topographi- route to Rome, the ship with the rhinoceros of individually printed elements, pasted in cal information (p. 342).15 on board stopped in Marseille where it was to create individual flaps that can be opened The instruments of Peter Apian’s seen by King Francis I of France. It never up, they reveal the inner workings of the Instrument Buch, published in 1533 with reached Italy since the ship sank in a storm body and model real surgical examination, woodcuts by Hans Brosamer (cat. 72) (Fig. off the coast of Italy. Dürer did not actually rarely performed at that time. The spatial 1), offered yet another tactic to access see the rhinoceros and probably just knew placing of the different layers and the mim- knowledge through print: images that proof it from a description in a Portuguese let- icking of the mechanics of a surgical proce- vided not pictures of the natural world but ter sent to Nuremberg, most likely accom- dure are clearly the main concerns here; as “tools of persuasion … demonstrations and panied by some sort of sketch. From these Dackerman rightly points out, to condemn legitimations of the processes of inquiry.”16 sources Dürer worked up a highly detailed Art in Print November – December 2012 37 Fig. 3. Hans Holbein the Younger and Sebastian Münster, Universal cosmographic map (1532), woodcut from two blocks and letterpress, 35.3 x 55 cm. The British Museum. ©Trustees of the British Museum. drawing that became, in turn, the basis for son […] Dürer treats the loosely folded skin helps account for the lasting popularity of his woodcut. Dürer’s Bildfindung (image of the Indian species like embossed sheets the print. After all, Burgkmair’s woodcut, invention) came to epitomize 16th-cen- of metal.”19 Both writers are attempting to which is far closer to reality, survives only as tury natural-history illustration, but it is reconstruct the motivation behind Dürer’s a unicum in the Albertina in Vienna, where- the multiplicity of the print that gave the willful stylization of the animal, especially as Dürer’s depiction became the Urbild and Rhinoceros its pride of place. since the rigid surface of the animal’s body model for any depiction of a rhinoceros in Dürer’s Rhinoceros remains the iconic (described in the accompanying text as European art for centuries to come. depiction of the animal to this day, despite “von dicken Schalen uberlegt fast fest”) is very What began around 1500—the urge its peculiar armor plating and dorsal horn. unlike that depicted in Hans Burgkmair the to visualize newly discovered scientific Dackerman’s attempt to reconcile these fic- Elder’s woodcut of the same year (cat. 36). information—has today become manda- tive qualities with Dürer’s genius for speci- However, instead of decontextualiz- tory: how else can the computer-generated ficity leads to my one caveat with this great ing the print “as a meditation on printed capacity to detect, track, and measure phe- book and mammoth undertaking. Starting modes of representation,” I would propose nomena and its resulting flood of data be with an impression of an anonymous another interpretation. While Dackerman sorted, organized, understood, and ulti- Flemish woodcut copy of Dürer’s print that carefully notes the changes between the mately communicated? When Gerhard was embellished with flowers and leaves text inscribed on the preliminary draw- Richter published his offset lithograph printed from inked botanical specimens ing and that of the woodcut, the essence Erster Blick (2000) based on a newspaper (cat. 38) (Fig. 4), she proceeds to the semiotic remains the same in both: two-thirds of the article, the fuzziness of the image suggested concept of an indexical image (one that is text describes not the appearance but the ironic detachment. Just 12 years later, The a physical by-product of the thing it repre- character of the rhinoceros, its cunning, New York Times reported on the smallest sents), and then goes on to speculate that dangerous nature, and the fact that it is the possible unit of magnetic storage, made by the “textured hardness [of the shells cover- archenemy of the elephant. Could it be that arranging exactly six iron atoms in two pre- ing the rhinoceros’ body] resonates with the Dürer’s embellishments were artistic means cise rows, and accompanied the article with materials of Dürer’s craft—printing plates to express what is described as the beast’s a color-enhanced image of atoms lined up and woodblocks.”17 She concludes that it terrifying fierceness? If so, it is at least pos- to store the binary representation of the let- constitutes “a deliberate exaggeration of sible that the woodcut is not just a depic- ter “S.”20 characteristics intended to draw attention tion—with plenty of artistic license—of a Today, findings on a subatomic as well as to, and thematize, the artist’s printmak- newly observed exotic species. The elaborate an intergalactic level need visualization not ing practice.”18 This echoes Joseph Leo exaggerations, together with the text, add a merely for the purposes of communication Koerner’s musings that the “goldsmith’s sensationalist aspect to the image, which but for those of comprehension. From this

38 Art in Print November – December 2012 Fig. 4. Artist after Albrecht Dürer, printed by Hans Liefrinck the Elder, Rhinoceros (c. 1550), woodcut with hand-coloring, letterpress, and impressed plants, 26.1 x 41.3 cm. The British Museum. ©Trustees of the British Museum.

perspective, Dackerman’s consideration of Notes: 19. Joseph Leo Koener, “Albrecht Dürer: A Sixteenth- how printed images “deploy representation 1. Wolfram Hogrebe, Echo des Nichtwissens, Berlin: Century Influenza,” in: Giulia Bartrum,Albrecht Dürer and his Legacy: The Graphic Work of a Renaissance to further an idea or hypothesis”21 is as Akademie Verlag, 2006: 176: “Das vergangene Artist, exhibition catalogue, British Museum, London, important for understanding our world as Jahrhundert begann mit Bewusstsein, verausgabte sich an die Sprache und endet im Bild.” 2002: 31. for understanding Dürer’s. As Horst 2. The exhibition was shown at the Harvard Art 20. John Markoff, “New Storage Device Is Very Small, at 12 Atoms,” The New York Times, January Museums in Cambridge, MA (6 September–10 Bredekamp observed, “images have taken 12, 2012 [http://www.nytimes.com/2012/01/13/sci- over large parts of our engagement with December 2011) and the Block Museum of Art in ence/smaller-magnetic-materials-push-boundaries- Evanston, IL (17 January–8 April 2012). nature,” but this started 500 years ago.22 of-nanotechnology.html]. 3. Timaeus, 40D, transl. Richard Dacre Archer-Hind, 21. Dackerman: 26. London/New York: Macmillan & Co., 1888, 135/137. 22. Horst Bredekamp, Theorie des Bildakts, Berlin: 4. Lorraine Daston, “Observation” in Susan Suhrkamp Verlag, 2010: 14f.: “In Form nachahmend- Dackerman, ed. Prints and the Pursuit of Knowledge Armin Kunz is an art historian and managing partner er Simulation wie auch modellhafter Diagramme sind in Early Modern Europe, Cambridge MA: Harvard of C.G. Boerner, a dealership for old master prints es Bilder, die weite Bereiche der Auseinanderset- University Art Museums, and New Haven CT: Yale and drawings with galleries in Düsseldorf and New University Press, 2011: 127. zung mit der Natur übernommen haben.” York. 5. Ibid. 6. Susan Dackerman, “Introduction: Prints as Instruments,” in Dackerman: 20. 7. William M. Ivins, Prints and Visual Communication, Cambridge, MA: Harvard University Press, 1953: 1. 8. Ernst H. Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation, New York: Pantheon Books, 1960. 9. Dackerman: 20. 10. Ronah Sadan in Dackerman: 64. 11. Dackerman: 23. 12. Edward Tufte, The Visual Display of Quantitative Information, Cheshire, CT: Graphics Press, 1983. 13. Dackerman: 24. 14. Dackerman: 31. 15. Dackerman: Jasper van Putten in Dackerman: 342. 16. Dackerman: 32. 17. Dackerman: 168. 18. Dackerman: 165.

Art in Print November – December 2012 39 or suite from the artist’s initial concept to drew with an enamel pen on clear Mylar the final work. The catalogue also func- film placed over one of the proofs, and the tions as an intaglio handbook of sorts as it drawing was made into a litho plate printed offers legible, detailed accounts of the pro- over the etching. The painterly red and blue cesses involved in the creation of each print, strokes, which lend the portrait the appear- including innovations in technique devel- ance of a landscape, were done à la poupée. oped by Zammiello to complete many of the In the catalogue, Smith describes her projects being examined. practice of “unfolding” faces in her portraits, At IPCNY the work was sparsely which she conceives of as an “alternative installed, with each print or suite of prints to Cubism, to see things from all sides but provided with ample wall space, lending simultaneously.” The image in My Blue Lake each a magisterial air. While such pristine also grew out of Smith’s interest in flattened treatment belies the immense amount of Etruscan funerary masks and depictions of labor involved in each print’s production, the Egyptian goddess Nuit as Hathor, who as tours de force of printmaking these works is often represented with a wide face and merit this stately display. protruding ears. The miles and time logged An example is Kiki Smith’s My Blue Lake is indicative of Zamiello’s apparent unwav- (1995), a large etching with photogravure, à ering dedication to artists—a quality that Conversations from the Print Studio: la poupée and lithography printed and pub- surfaces continuously in the catalogue’s A Master Printer in Collaboration with lished by ULAE. In it, Smith’s face and upper conversations. Ten Artists torso are splayed horizontally across the Many artists also remark on their trust By Craig Zammiello and Elisabeth Hodermarsky surface, creating an uncanny image that is of Zammiello and the comfort he provides 256 pp, 169 color illustrations, $45. at once figurative and abstract, portrait and in the often unfamiliar, even intimidat- New Haven: Yale University Art Gallery, landscape. As Zammiello and Hodermarsky ing environment of the print shop. Smith distributed by Yale University Press, 2012 indicate in the catalogue, the print could be comments that she wasn’t keen to pose easily executed today through means of new nude for other photogravure projects—she technologies such as digital printing. But in says, “if you look at the people who take 1995 the project required a periphery cam- their clothes off in art they don’t look like Conversations from the era, so Smith and Zammiello traveled to the me”—but Zammiello coaxed her, remind- British Museum, which owned one of the ing her that nudity need not necessarily be Print Studio two in existence. Smith sat on a Lazy Susan- risqué. The results are Worm (1992) and Free By Allison Rudnick style turntable as the camera recorded sev- Fall (1994), exquisite self-portraits also pub- eral 360-degree images. A large photogra- lished by ULAE, not included in the exhibi- vure was then made from the photograph tion. Similarly, Jane Hammond observed n view at the International Print Smith selected. To emphasize the pores that the mutual respect and trust that char- O Center New York earlier this fall and augment the illusion of depth, Smith acterizes her relationship with Zammiello was an exhibition of prints defined not by a shared theme or by formal congru- ities, but by a common relationship to the renowned master printer Craig Zammiello. Zammiello, who specializes in intaglio processes, brought technical ingenuity and creativity to each of the projects on view. Through its focus on the prints developed between one printer and ten artists at Universal Limited Art Editions and Two Palms Press, the exhibition pays homage to the collaborative process that is part and parcel of printmaking today. The exhibition derives from the catalogue Conversations from the Print Studio: A Master Printer in Collaboration with Ten Artists, co-authored by Zammiello and Elisabeth Hodermarsky, Sutphin Family Senior Associate Curator of Prints, Drawings, and Photographs at the Yale University Art Gallery. The book comprises conversations between the co-authors and the artists whose work is featured in the exhibition: Mel Bochner, Carroll Dunham, Ellen Gallagher, Jane Hammond, Suzanne McClelland, Chris Ofili, Elizabeth Peyton, Matthew Ritchie, Kiki Smith and Terry Winters. The lively dialogues between Kiki Smith, My Blue Lake (1995), photogravure and lithograph in 3 colors, 43 1/2 x 54 3/4 inches. printer, curator and artist offer layered Edition of 41. Printed by Craig Zammiello, John Lund, Jihong Shi, Douglas Volle and Bruce Wankel, narratives of the production of each print published by Universal Limited Art Editions. ©Kiki Smith/ ULAE, 1995. 40 Art in Print November – December 2012 allowed her to “overcome her initial trepida- tion” about modeling nude for her life-size digital print entitled Tabula Rosa (2001). The issue of trust as integral to a pro- ductive artist-printer relationship comes to the fore in Terry Winters’ discussion of the printmaking process. Winters comments that his attempt to achieve a “quality of directness”—a hallmark of his practice—is reflected in Zammiello’s approach to collaborating with artists. Winters remarks that Zammiello uses his deep knowledge of and enthusiasm for techniques “as a very direct input into how [an] image gets built rather than…[on] busy work,” demonstrating a readiness to adapt to each artist’s unique practice. Winters’ Internal and External Values (1998), published by ULAE, is a stunning example of a truly collaborative work. Undoubtedly an image that fits squarely into Winters’ oeuvre, its remarkable tonal range was achieved by layer upon layer of sugarlift aquatint and openbite etching, with the help of an airbrush, and demonstrates Zammiello’s mastery of intaglio techniques. What’s more, the work was printed from a single plate in a single color—Prussian Terry Winters, Internal and External Values (1998), sugarlift aquatint and openbite etching printed in one blue—and in a single pass through the press. color on Arches En-Tout-Cas paper torn to size, 106.7 × 126.4 cm. Edition of 35. Published by Universal Ellen Gallagher’s Bouffant Pride (2003) Limited Art Editions. ©Terry Winters/Universal Limited Art Editions, 1998. Photograph courtesy Universal and Duke (2004), the “litmus test[s],” accord- Limited Art Editions. ing to Zammiello, for her groundbreaking sixty-print portfolio DeLuxe (2004-5), evince traces of collaboration on a grand scale. These print studio conversations explore Indeed, DeLuxe involved a team of seven the varied roles that Zammiello has adopted printers at Two Palms with the assistance over many years of collaborating with a of several interns. Together, Bouffant Pride diverse roster of artists. In honing in on a and Duke incorporate photogravure, laser- single, albeit particularly influential, print- incised peeled paper, collage, hair pomade, er, the project demonstrates that a printer plasticine and toy “googly” eyes. can bring far more than technical know- The results of exceptionally complex how to the table. Motivator, nurturer, processes—Zammiello and Gallagher’s fas- friend—these descriptions apply equally to cinating account reads like a dialogue in a a vast number of printers working in collab- play—are bizarre and playful responses to orative print shops today. The exhibition advertisements from mid-century maga- should be praised for shedding light on the zines made for African-American audienc- critical artist-printer relationship. Hope- es. Repetition defines the gridded composi- fully there will be many more like it to tions of the two prints, as well as Gallagher’s come. manipulation of the images, which she incises, draws on, cuts from, pastes over, and redraws again and again. And though Allison Rudnick is a Ph.D. student in art history at the this transformation of form and meaning is Graduate Center, City University of New York. She is profoundly personal, Gallagher was obliged a frequent contributor to Art in Print. to explain her decisions to a host of printers so that each action could be recorded and employed in subsequent editions. By calling attention to actions that remain Ellen Gallagher, Duke (2004), photogravure with laser-incised peeled paper, collage, and hair unvoiced when working alone, Gallagher pomade, 35.6 × 26.7 cm. Edition of 20. Printed recognized the development of a “language by Craig Zammiello, Roger White and Hilary … you become aware of your own choices, Harnischfeger, published by Two Palms. ©Ellen having that kind of elongated process enter Gallagher/Two Palms, 2004. Photograph courtesy the work.” Because each print involves a Two Palms. “conversation,” she explains, the collaboration that distinguishes printmaking from painting and drawing renders these prints especially layered with meaning.

Art in Print November – December 2012 41 paper to light damage, the walls of even the of the included works postdate World War most print-friendly museums are domi- II. nated by other media, and no matter how The Modern’s approach is more… well… kindly the staff, print rooms, with their low modern. What is a Print? is in fact a follow- light levels and hushed ambiance can be up to the museum’s website of the same more than a little off-putting. name(www.moma.org/whatisaprint), The museum gift shop therefore beckons which offered nifty little animations of the as the easy access, unintimidating venue four basic printmaking techniques along through which to entice the general public with a gallery of works; a thorough glossary into the pleasures of the print. This is clear- and a list of recommended reading. For basic ly what these books were designed to do: print education the site is very useful, but it each acts as a showcase for the print collec- has its limitations: the images are small and tion of its respective institution, each would unzoomable, the glossary is frustratingly look handsome on a display table, and each unsearchable; the texts minimal and larger is modest enough to slip into the tote bag contextualization is absent. without breaking the bank or straining a Sarah Suzuki’s handsomely produced shoulder. book goes some way to addressing these The British Museum’s Master Prints Close shortfalls, with more works, larger repro- What is a Print? Selections from Up is the more self-effacing of the two: a ductions and short introductions to each The Museum of Modern Art compact paperback, it takes just 45 works technique. The selection of works only By Sarah Suzuki from the museum’s collection of more than partly duplicates the website, and includes 168 pp, 151 illustrations, $35.00. two million prints and flanks them with imaginative additions like the stone for New York: The Museum of Modern Art, 2011 a five-page introduction at the front and Jasper Johns’ 0-9 portfolios (1960-63); the a five-page glossary of terms at the back. copperplate for Lucian Freud’s Head of Former BM curator Paul Goldman explains an Irishman (1999); and the woodblock of the book’s purpose as simply “to introduce Donald Judd’s Untitled (7-L), which clearly the general reader and art-lover to a selec- doubles as a sculpture. tion of masterpieces.” (This oddly Victorian Suzuki’s tone is more bracing and adven- tone continues throughout; one wonders turous than Goldman’s: having defined the how many contemporary readers will be print as “a work of art that is made by trans- helped by the author’s explanation of an ferring an image from an inked surface to intaglio press as comparable to ‘a clothes a sheet of paper and that exists as one of mangle.’) Words, however, are not really the multiple impressions” she writes: “Now take point here. Images are the core of this book that simple answer and explode it.” Thus we and the images are riveting. get a 6 ½ foot tall woodcut from Gerd & Each of the 45 works, from the 15th- Uwe Tobias, one of Eugenio Dittborn’s mail century hand-colored metalcut that starts art works, and Paul Noble’s 2002 wallpaper. things off to the Richard Hamilton digi- It is no surprise to find that chronological tal print that wraps things up, receives its balance is tipped in the opposite direction own spread: the left-hand page carries a from the British Museum: there is nothing thumbnail reproduction and a couple of Master Prints Close-Up paragraphs of background information By Paul Goldman about the artist, the style or the subject 112 pp, 100 illustrations, £14.99. matter, while right-hand page is taken London: The British Museum Press, 2012 up with a full-bleed, beautifully printed, enlarged detail. This is a simple device, but effective: it offers up to the eye precisely Welcome to the Print Club those attributes about which print people wax poetic—the dynamic intricacy of that By Susan Tallman metalcut, the chalky crumble of Boucher’s crayon manner—attributes that are often oth of these appealing books aim to lost under glass on the rare occasions these B be user-friendly introductory guides things go on view. to the presumptively inaccessible world of Goldman makes the most of his format, prints. That prints are perceived as requir- selecting works of quite divergent material ing special knowledge to appreciate is one character, and he has augmented the stan- of the great ironies of the medium whose dard litany of woodcut-etching-lithograph- original raison d’être was to be both popu- screenprint with a welcome sprinkling of lar and populist. Yet it is undoubtedly the more esoteric techniques—a Gino Severini case: it is common enough to hear museum pochoir as flat and milky as wallpaper; a visitors mutter that they don’t know any- wonderfully sketchy Corot cliché verre (mys- thing about prints as they speed off to the teriously included in the Intaglio section); painting galleries. a full-color 18th-century stipple engraving Anonymous (German School), Christ Appearing The situation is exacerbated by the fact after Angelica Kauffman. Covering half a to St. Mary Magdalene (c. 1460-70), metalcut with that most people just don’t get to see many millennium of Western printmaking, this is hand-colouring, 10.2 x 7.7 cm. PD 1872.0608.380. prints. Given the susceptibility of ink and very much a historical overview; only seven ©Trustees of the British Museum.

42 Art in Print November – December 2012 Suárez Londoño for intalgio; and Terry Winters for lithography. This brings us to my one quibble with both books (which extends to almost all books on the subject), which is to do with the decision to organize the art by technique. While it is true that bafflement about how prints are made can put people off, a case could be made that the persistent foregrounding of technique in introductory books such as these sends a signal that the most important thing about prints is not how they look, or the ideas they carry, or how they function in the world, but the facts of their material production. Mass- market books on painting are rarely if ever organized by “acrylic on canvas,” “tempera” or “oil on board;” instead aspects of content or style are given pride of place, and the technical detail is filled in as necessary. My hope is that readers of these books will be sufficiently entranced by the images to ignore the chapter headings. Like Master Prints Close Up, What is a Print? is a book for looking more than for reading: beautifully and expansively laid out, it indulges each print or portfolio on its own wide white page. Though it reproduces three times the number of prints as Master Prints Close Up, only half receive any explan- atory text, and most of those texts are only a couple of sentences. They can nonetheless be essential: the knowledge that the tangled lines of Yukinori Yanagi’s 1997 etching are traces of the movements of an ant trapped on the plate changes the work’s meaning; what had been winsome bends sinister. The absence of text is sometimes a problem: it is hard to know what to make of a work like Gert and Uwe Tobias, Untitled (figure) (2005). The Museum of Modern Art, New York. Fund for the Kelley Walker’s Beogram 4000 Hi Fi System, Twenty First Century. ©2011 Gert and Uwe Tobias. Photo: John Wronn. which looks like a turntable with a plastic before Paul Gauguin’s Noa Noa woodcuts current and vital form—is further made by decal, but is described as “digital print with of 1893-94, and she includes as many prints the fact that brand-new works were com- CD-ROM.” from the first decade of the 21st century missioned to head each of the book’s chap- Both authors deserve credit for mixing as from the entire first half of the 20th. ters: Christiane Baumgartner for woodcut; obvious choices (Dürer and Rembrandt for The point—that the print is an absolutely Julian Opie for screenprint; José Antonio the BM, Picasso and Warhol for MoMA) with quirkier and less familiar works. Goldman’s selection is particularly strong in British prints: a linocut by Claude Flight (who is also included in the MoMA book), reproductive Dalziel Brothers wood engravings, Grayson Perry’s Map of an Englishman. Suzuki’s contains a global array of artists under the age of 40: Seher Shay, Tabaimo and Christoph Ruckhäberle, among others. There is, as the saying goes, something new for everyone. Both authors have put together books that are visually engaging, tidily informative, and fun to dip in and out of, but have quite different strengths and emphases. For Suzuki, the print is a locus of dynamic contemporary creativity, a pot very much on the

Spread from Master Prints Close-Up Jean Baptiste Camille Corot, Les Jardins d’Horace (The Gardens boil; for Goldman it is a glorious, historical of Horace) (1855), cliché-verre, second state, 36.7 x 29.4 cm. PD 1922.0410.222. ©Trustees of the British form “just as valid and significant as an oil Museum. painting.” They’re both right. Art in Print November – December 2012 43 Afterimage: The Prints of Bruce Conner By Charles Schultz

here are prints of Bruce Conner’s that T become gently graphed onto one’s visual cortex if given enough viewing time. The effect is fleeting, but unmistakable, and it’s what gives this exhibition its title, “Afterimage.” It is uncommon to anchor a body of offset lithographs in the viewer’s sensual experience, but that is precisely what Conner’s early efforts were meant to do. Without intent, one’s gaze deepens to a stare, tracing tightly wound, jet-black, laby- rinthine lines across a creamy white page. It is hypnotic and mildly disorienting. Because these abstract images refer primarily to themselves, to their own mitochondrial patterns and the process required to produce them, they permit few external associa- tions. They are not so much moving as still- ing, and in this way the experience of the prints becomes incredibly personal. Peter Boswell acknowledges this in a thoughtful essay accompanying the exhibition when he quotes the artist, who remarked, “this work is for the private eye, not the public.” Conner (1933-2008) was a Midwestern boy who moved to San Francisco in his late twenties just as the era of the Beatnik was giving way to that of the Hippie, and Conner’s drawing practice caught an element of the Zeitgeist. To create his maze- like compositions (most executed between 1964 and 1969) Conner would sit for hours, lifting pen from paper only when the ink was nearly gone and his unbroken line filled almost the entire page. In such a practice one can recognize the desire for a tran- scendent experience, but Conner wasn’t after that alone. He was also interested in experimenting with the formal qualities of a negative space that would oscillate with its positive counterpart. The result is a line Bruce Conner, BOMBHEAD (2002), pigment inkjet print on Somerset paper with hand-coloring, image drawing with very little pictorial depth, as 31 1/2 x 25 inches, sheet 35 x 32 inches. Edition of 20. Signed lower right in pencil. Printed by Donald Farnsworth at Magnolia Editions, published by the artist and Magnolia Editions, Oakland, CA. ©Conner flat as the plains Conner grew up in. Family Foundation. Photo courtesy Senior & Shopmaker Gallery. The titles he chose extend the self-refer- ential nature of the drawings as well as their impression that the image could extend well symmetrical and suggestive, absolutely not orientation toward process. SET OF FOUR is beyond the edge of the page. representational. a just that, a set of four drawings. SET OF SIX In other works Conner’s natural inclina- MEMORIAL INSCRIPTION (2002/1999) is a set of six. They weren’t created as sets; tion towards repetition and serialization is unique among these pieces in so far as it Conner grouped them when he began to emerges somewhat differently. In three makes a concise reference to writing (and turn the drawings into prints. Sometimes, distinct and powerful prints the artist orga- therefore language) as well as to history and as in SET OF SIX, one can see simple geo- nized inkblots into vertical lines, creating memory. It’s impossible to say what, exactly, metric themes such as a circle occurring in what looks like a hieroglyphic language. is being memorialized because Conner’s varied formations. Other times his selec- Here another kind of optical illusion occurs: “inscription” is not conventionally deci- tion seems more intuitive. The prints that in one’s peripheral vision the blots regis- pherable. This isn’t off-putting; it imbues comprise SET OF FIVE are not united by a ter as images—deer, car, bird, tree, dancer, the work with an enigmatic character that geometric motif but share an allover aes- skull—but the moment one looks directly shifts the viewer’s frame of reference away thetic that, like an Ab-Ex painting, gives the at them they reveal themselves to be merely from cognition towards imagination.

44 Art in Print November – December 2012 Bruce Conner, SET OF FIVE: 501, 502, 503, 504, 505 (1971), portfolio of 5 offset lithographs, 20.3 x 18.1 cm. Edition of 90. Signed and numbered on verso in pencil. Printed by Kaiser Graphics, Oakland, CA, published by the artist. ©Conner Family Foundation. Photo courtesy Senior & Shopmaker Gallery.

By comparison, the latest works in the exhibition, a pair of lovely lithographs of leaves, are exceptionally straightfor- ward. These prints, which Conner signed “ANONYMOUS” and “ANONYMOUSE” were made in memory of those who died in the attack on the World Trade Center. LEAF SEPTEMBER 11 – DECEMBER 7, 2001 (2001) has the appearance of decay about it, but in its brittle bits one might also recognize the swirling wispiness of galaxies. Hung rather conspicuously across the gallery from the small and delicate leaves is BOMBHEAD (2002). In this inkjet print the neck and head of someone wearing a suit (Anonymouse), PACIFIC OCTOBER 9, 2002- and tie has been replaced with a mushroom JANUARY 16, 2003 (2003), lithograph with chine collé, image 14 x 16 1/2 inches, sheet 14 1/4 x 16 cloud. It’s comical and disturbing in equal 3/4 inches. Edition of 20. Signed Anonymouse and measures. From a metaphorical perspective numbered recto in pencil. Printed by Ed Hamilton, it may be evoking the notion that aggression Venice, CA, published by the artist and Hamilton is an ultimately consuming and senseless Press. ©Conner Family Foundation, photo courtesy force. Conner replaced the seat of compre- Senior & Shopmaker Gallery. hension and awareness with an image of violence and in doing so not only dehuman- izes the individual portrayed but makes that person completely anonymous. Bruce Conner’s career spanned 50 years, and though his early offset lithographs look sharp now, it’s worth noting that the art establishment mostly snubbed them. Offset printing was considered a graceless commercial process, but Conner chose it over the more conventional processes of hand printing. He wanted precision, perfection, and preservation. That these 40-year-old (Anonymous), DARK LEAF (2001), lithograph, prints hang so beautifully alongside image 20 1/2 x 7 inches, sheet 25 1/4 x 11 1/4 inch- Conner’s late work is a testament to the art- es. Edition of 20. Signed as ANONYMOUS, titled, ist’s vision, to his artistic integrity, and numbered and dated on verso in pencil. Printed by unwillingness to follow the course of the Ed Hamilton, Venice, CA, published by the artist and Hamilton Press. ©Conner Family Foundation. mainstream. Photo courtesy Senior & Shopmaker Gallery.

Charles Schultz is a frequent contributor to Art in Print.

The show is on view at Senior & Shop- maker, New York until 17 November 2012.

Art in Print November – December 2012 45 Joscelyn Gardner, Creole Portraits III: “bringing News of the down the flowers” (2011) Individual titles: Manihot flabellifolia (Old Catalina), Print World and Cinchona pubescens (Nago Hanah). Suite of hand-colored stone lithographs on frosted mylar, 36 x 24 inches each. Edition of 10. Printed by Jill Selections from the Member Newsfeed from the Graham at Open Studio, Toronto, published by the past two months. For up-to-the-minute news, artist, $ 2000 each. check the Member Site at www.artinprint.org. Like Gardner’s earlier Creole Portraits series, these new prints are both lovely and laced with acid: the decorative botanicals depict plants used by slaves to induce abortions, an act, Gardner says, “of political resistance against their exploitation as ‘breeders’ New Editions of new slaves.” Two of the prints are included in IPCNY’s autumn exhibition. Further information at Clytie Alexander, CA12 (2012) www.joscelyngardner.com. Handmade paper with stenciled pigmented pulp, 22 x 28 inches. Variable edition of 20. Suzanne Caporael, New Ulm, Minnesota (2012), Printed by Steve Orlando at Brodsky Center etching. for Innovative Editions Rutgers University. $4,000 each. Chuck Close, Obama 2012 (I) (2012) www.brodskycenter.org Archival watercolor pigment print on Hahnemühle rag paper, image 66 1/4 x 54 3/4 inches, sheet 75 x 60 inches. Edition of 10. $50,000. Obama 2012 (II) (2012) Archival watercolor pigment print on Hahnemühle rag paper, image 47 1/2 x 39 1/2 inches, sheet 55 1/2 x 44 inches. Edition of 40. $25,000. Obama 2012 (III) (2012) Archival watercolor pigment print on Hahnemühle rag paper, image 22 1/2 x 18 3/4 inches, sheet 30 x 24 inches. Edition of 200. $5,000.

Joscelyn Gardner, Manihot flabellifolia (Old Catalina) (2011), hand-coloured stone lithograph Clytie Alexander, CA12-VE2/20 (2012), handmade on frosted mylar. paper with stenciled pigmented pulp. ©2012 Clytie Alexander and Artists Rights Society Eva Lundsager, Untitled monoprints (2012) (ARS), New York. Sizes variable, circa 60 ¼ x 39 ½ inches. Printed by Maryanne Ellison Simmons. Published by Wildwood Richard Bosman, Deep Forest I (2012) Press, Chesterfield, MO. $7500 each. and Deep Forest II (2012) www.wildwoodpress.us / www.artnet.com Hand painted pigment prints, 34 1/4 x 22 1/2 inches each. Variable editions of 4. Printed and published by Stewart & Stewart, Bloomfield Hills, MI. Price to be determined. Chuck Close, Obama 2012 (I) (2012), archival watercolor pigment print on Hahnemühle rag paper.

Dianna Frid, Sieve (2012) Suite of four color lithographs with: chine collé, collage, debossing (Sieve #1), chine collé, collage, pearlescent powder, debossing (Sieve #2), aluminum leaf and pearlescent powder (Sieve #3), copper leaf (Sieve #4), 13 1/2 x 11 inches each. Edition of 20 each. Printed by Bud Shark. Published by Shark’s Ink. $950 each or $3200 for the suite.

Eva Lundsager, Untitled Monoprint 18 (2012).

Mark Sheinkman, Baxter (2012) Aquatint and direct gravure with abrasion and Richard Bosman, Deep Forest II (2012), hand chine collé, image 23 3/8 x 16 inches, sheet 29 5/8 x painted pigment print. ©Richard Bosman 2012. 22 ¼ inches. Edition of 24. Printed by Chris Creyts. Published by the artist. $1200. Available through Gottheiner Contemporary Art. Suzanne Caporael, three new etchings (2012) Individual titles: Grasonville, Maryland (2012), Thomas Schütte, Placebos (2011) Montpelier, Ohio (2012), and New Ulm, Minnesota Suite of 12 color etchings with carborundum on (2012). Etchings, 30 x 22 3/4 inches each. Editions of mylar vellum, 62.1 x 45 cm each. Edition of 35. 30 each. Printed by Joe Freye, Jason Ruhl at Tandem Printed by Lars Dahms and Daniel Vogler, Hamburg, Press, published by Tandem Press, Madison WI. Dianna Frid, Sieve #1 (2012), color lithograph with published by the artist. $24,000. $2,000 each. chine collé, collage, debossing. Available through Carolina Nitsch, New York.

46 Art in Print November – December 2012 Artists for Obama 2012 portfolio A portfolio of 19 prints, various sizes. Edition of 150. printed and published by Gemini G.E.L. LLC., Los Angeles. $28,000. Sweepstakes tickets for the chance to win the portfolio can be purchased for $250. www.barackobama.com/art/portfolio#artists John Baldessari, Double Play: Feelings 5 color screenprint, 14 x 13 1/2 inches Jonathan Borofsky, It’s About Control 3 color screenprint with blind embossment, 14 x 14 inches Chris Burden, Married Donald Sultan, Red Poppies: July 24, 2012 (2012), 12 color screenprint, 12 x 14 inches screen print with tar and flocking. Image courtesy of Frank Gehry, In town the Arsht Center. 1 color lithograph, 11 x 14 inches Robert Gober, Obama Luc Tuymans, ALLO! (2012) 5 color screenprint, 14 x 12 inches Mark Sheinkman, Baxter (2012), aquatint and Suite of three screenprints on Rives Arches 250g Ann Hamilton, blue victory direct gravure with abrasion and chine collé. paper in linen portfolio with silver embossing, Inkjet print with fabric collage, 14 x 14 inches image 36 cm x 51 cm, sheet 56 cm x 70 cm. Edition David Hammons, Obama Shrine – 16th Century – of 50, plus 10 in Roman numerals reserved for the Obama, Japan magazine H ART. Printed by Roger Vandaele at 4 color screenprint, 9 x 11 inches Tubbax, Antwerp, published by Graphic Matter, Jasper Johns, Map Antwerp. € 8,000. 2 color lithograph, 14 x 11 1/2 inches This suite of prints grows from a recent series Ellsworth Kelly, Untitled (for Obama) of Tuyman’s paintings, which were themselves 1 color lithograph, 14 x 10 inches inspired by the 1942 film The Moon and Sixpence, Brice Marden, Obama Letter which was derived from W. Somerset Maugham’s Photogravure/etching, 14 x 14 inches novel of the same title, which is in turn clearly based Julie Mehretu, Haka on the life of Gauguin. 1 color etching with chine collé, 12 x 14 inches www.graphicmatter.be/en/detail/luc-tuymans/allo Bruce Nauman, O 1 color etching, 14 x 14 inches Claes Oldenburg, Musical Hearts 2 color screenprint, 14 x 11 1/8 inches James Rosenquist, The Meteor Hits Picasso’s Bed 1 color photogravure, 14 x 11 1/2 inches Susan Rothenberg, Moths and Peonies 2 color photogravure, 9 1/2 x 13 1/4 inches Ed Ruscha, We The People 2 color lithograph, 14 x 14 inches Richard Serra, NOROMNEY Thomas Schütte, Placebos (2011), suite of 12 color 1 color etching, 14 x 14 inches etchings with carborundum on mylar vellum. Joel Shapiro, GO (For Obama) 3 color screenprint, 13 1/2 x 14 inches Richard Tuttle, Calm Down Soft ground etching with drypoint and acrylic spray, Mickalene Thomas, Portrait of Marie Sitting in 5 1/2 x 4 1/2 inches Black and White (2012) Photogravure with chine collé, 27 x 22 inches. Luc Tuymans, ALLO! 3 (2012), one of a suite of Edition of 20. Published by Benefit Print Project LLC three screenprints on Rives Arches 250g paper in and Momenta Art, Brooklyn, NY on the occasion of linen portfolio with silver embossing. its 25th anniversary. $8500. Available through Benefit Print Project LLC.

Mickalene Thomas, Portrait of Marie Sitting in Black and White (2012), photogravure with chine collé.

Jasper Johns, Map (2012), lithograph. ©2012 Donald Sultan, Red Poppies, July 24, 2012 (2012) Jasper Johns and Gemini G.E.L. LLC. Screen print with tar and flocking, 22 x 38 3/4 inches. Edition of 75. Printed by Alexander Heinrici of Fine Art Printing. Published by Benefit Print Project LLC Liz Ward, Deep Time (2012) in support of the Adrienne Arsht Center for the Individual titles: Ice Core and Glacial Ghost with Fossil Performing Arts of Miami-Dade County. $3,200. Flowers. Etchings, images 34 x 14 inches, sheets 40 x Available through Benefit Print Project LLC. 18 inches. Editions of 30. Published by Flatbed Press. www.benefitprintproject.com/det_sultan.html Liz Ward, Ice Core (2012), etching. $1,800 each, $3,000 the pair.

Art in Print November – December 2012 47 Exhibitions of Note BOSTON, MA pollination that took place between French and Lost in Thought: Prints & Drawings Japanese printmaking in the 18th - 20th centuries. For complete listings of current print exhibitions by Raphael Soyer This exhibition will be accompanied by a catalogue worldwide see the Art in Print calendar at Through 3 December 2012 with texts that will track the history of the roles, www.artinprint.org. Childs Gallery functions, and technology of color printmaking www.childsgallery.com within a comparative cultural context. ALBUQUERQUE, NM “Lost in Thought” brings together a selection Dancing with the Dark: of prints and drawings by the American scene CINCINNATI, OH Joan Snyder Prints 1963-2010 painter Raphael Soyer (1899-1987) that emphasizes Sol LeWitt: Editions and Structures, 1970-2005 Through 15 December 2012 moments of quiet contemplation and reflection Through 22 December 2012 University of New Mexico through everyday scenes of urban life. Carl Solway Gallery www.unm.edu/~artmuse/ www.solwaygallery.com Organized by Marilyn Symmes, Curator of Prints and CHICAGO, IL Drawings at the Zimmerli Art Museum, “Dancing DRUCKWORKS: 40 Years of Books and Projects with the Dark, Joan Snyder Prints 1963 – 2010” Through 7 December 2012 is a traveling exhibition that focuses on Snyder’s Center for Book and Paper Arts Gallery printmaking. One of the pioneering voices of www.colum.edu/Academics/Interarts/events/ feminism, Snyder’s personal vocabulary of flowers, exhibitions/ hearts, seedpods, trees and words can be traced “DRUCKWORKS” is a retrospective exhibition here through over 80 rarely seen editioned and surveying Joanna Drucker’s books, graphic art, uneditioned woodcuts, etchings, and lithographs; and visual projects produced from 1972 to 2012. unique hand-colored monoprints; and progressive As a writer, typographic poet, and scholar- proofs and variant impressions. [See review of the critic, Drucker’s writings have helped shape the accompanying catalogue in Art in Print, Vol 1, No 4.] contemporary art history and theory surrounding the fields of artists’ books, graphic design, visual poetics, and digital aesthetics. Accompanying this exhibit is a catalogue which includes commentary and essays by Jerome McGann, Marjorie Perloff, Susan Bee, Emily McVarish, Brad Freeman, Kyle Schlesinger, and Craig Dworkin.

CHICAGO, IL Awash in Color: French and Japanese Prints In London: “Lucian Freud Etchings,” through 13 Through 20 January 2013 January 2013. Lucian Freud, Blond Girl (1985), Smart Museum etching. The Courtauld Gallery, London. ©The http://smartmuseum.uchicago.edu/exhibitions/ estate of the artist. awash-in-color-french-and-japanese-prints/ It is commonly perceived that the proliferation of French color printmaking in the late 19th century LONDON, UK was a sole effect of France’s exposure to Japanese Lucian Freud Etchings woodblocks, following the signing of the Convention Through 13 January 2013 of Kanagawa trade treaty in 1854. Featuring over 130 The Courtauld Gallery prints and illustrated books, “Awash in Color”— www.courtauld.ac.uk curated by Chelsea Foxwell and Anne Leonard— Nine etchings by Lucian Freud, recently presented complicates this historical oversimplification by to the Courtauld Gallery by Frank Auerbach, are exposing the parallel technical and aesthetic cross- featured in this special display. Dating from the

In Albuquerque: “Nicola López: Notes on The Tower,” through 21 December 2012. Nicola López, Infrastructure +2 (2012), five-color lithograph.

ALBUQUERQUE, NM Notes on The Tower: Nicola López Through 21 December 2012 Tamarind Institute, University of New Mexico http://tamarind.unm.edu/ Featuring new lithographs recently produced at Tamarind, combined with multi-media installation, animations, and other mixed-media prints Nicola López’s “Notes on The Tower” revisits the story of Babel by portraying urban landscapes that “struggle against themselves, that strive towards order and beauty as they verge on the edge of spinning beyond control or comprehension.” This is López’s first solo exhibition at the Tamarind Institute gallery.

AUSTIN, TX William Hogarth: Proceed with Caution Through 13 January, 2013 Blanton Museum of Art http://blantonmuseum.org Bringing together five of William Hogath’s most important print series—including Marriage à la Mode, A Rake’s Progress, and Industry and Idleness— Catherine Zinser’s “William Hogarth: Proceed with Caution” provides an opportunity to observe some of the most potent political and social satire from In Cincinnati: “Sol LeWitt: Editions and Structures, 1970-2005,” through 20 January 2013. Sol LeWitt, the first half of eighteenth-century England. Distorted Cubes, Plate 5 (2001), linocut. Photo: Chris Gomien. 48 Art in Print November – December 2012 1980s to the early 90s these prints are each from Auerbach’s collection and many are inscribed with personal dedications evidencing the close friendship that developed between the two British artists. Joining this presentation is an etching of Freud by Auerbach, a complementary gift from the Garcia Family Foundation.

LONDON, UK Renaissance to Goya: Prints and Drawings from Spain Through 6 January 2013 British Museum www.britishmuseum.org Drawn from the British Museum collection, this exhibition brings together for the first time important prints and drawings by artists working in Spain from the mid-sixteenth to the nineteenth century. The exhibition offers new insights into the visual culture and history of Spain, whose graphic arts are less well known that those of Italy and France. The exhibition will consider the reasons behind the misapprehension that Spanish artists were not interested in drawing, and will demonstrate the distinctive character of Spanish art.

In New York: “Katsutoshi Yuasa: Miraculous,” through 4 January 2013. Katsutoshi Yuasa, Pseudo Mythology #3 (2011), oil based woodcut with pigment on paper. ISE Cultural Foundation, New York.

recent works by members Shannon Gerard, Laine NEW BRUNSWICK, NJ Groenweg, Jennie Suddick, and Daryl Vocat. Art=Text=Art: Works by Contemporary Through mezzotints, etchings, screenprints, three- Artists from the Sally and Wynn Kramarsky dimensional work, and a wall installation, these four Collection artists confront melancholic themes and feelings— Through 6 January 2013 such as disappointment, fear, and anxiety—in a In London: “Renaissance to Goya: Prints and Zimmerli Art Museum playful, often comical way. Drawings from Spain,” through 6 January 2013. www.zimmerlimuseum.rutgers.edu Francisco Goya, Figures Dancing in a circle Curated by N. Elizabeth Schlatter and Rachel from Los Disparates (1816-23), print. ©Trustees MUNICH, GERMANY Nackman, “Art=Text=Art” presents a survey of of the British Museum. Honoré Daumier—Lithographs art and language through over 100 American of the Kames Foundation drawings, prints, conceptual works on paper, and 5 December 2012 - 17 February 2013 artists’ books ranging from 1960 to 2012. Selected LOS ANGELES, CA Pinakothek der Moderne from the collection of Sally and Wynn Kramarsky, Zarina—Paper Like Skin www.pinakothek.de this major exhibition features artists such as Alice Through 30 December 2012 In 2011 the Walter and Brigitte Kames Foundation Aycock, Carl Andre, William Anastasi, Suzanne Grunwald Center for the Graphic Arts, UCLA, presented the Collective Foundation of Bavarian Bocanegra, Mel Bochner, Jill Baroff, Trisha Brown, Hammer Museum State Museums with over 3,000 lithographs by Annabel Daou, Stephen Dean, Sol LeWitt, Elena www.hammer.ucla.edu Honoré Daumier. Marking the occasion of this new Del Rivero, Ed Ruscha, Jane Hammond, Christine The first retrospective of printmaker and sculptor acquisition, the Staatliche Graphische Sammlung Hiebert, Jasper Johns, Mark Lombardi, Stefana Zarina, this exhibition features approximately 60 at the Pinakothek der Moderne presents around McClure, Richard Serra, Karen Schiff, John Waters, works dating from 1961 to the present, ranging from 240 prints from this gift. Of particular note is this and Lawrence Weiner. An online catalog produced woodcuts to three-dimensional casts in paper pulp. exhibition’s exceptional ability to present numerous on the occasion of “Art=Text=Art” features essays, Zarina Hashmi was born in Aligarh, India, in 1937 series in their entirety, demonstrating how Daumier works of fiction, and sound pieces by over 35 guest and has lived and worked in New York for the past pursued a subject over several sheets. contributors. 35 years. Her work revolves around themes of home, dispossession and exile. NEW YORK, NY Katsutoshi Yuasa: Miraculous MIDDLETOWN, CT Through 4 January 2013 Andrew Raftery: Open House ISE Cultural Foundation Through 9 December 2012 www.iseny.org Davison Art Center, Wesleyan University Katsutoshi Yuasa’s “Miraculous” is a new series www.wesleyan.edu/dac/ of woodcuts based on images of natural disasters Raftery’s Open House engravings represent a culled from the Internet. Responding to the sequence of moments during a real estate open internet’s mediation of events, these meticulously house. Impeccably produced and rich with narrative hand-crafted works echo the pixelated raster- detail, this set of five copper-plate engravings brings graphic structure of digital images on an epic scale, into the 21st century the idea of the engraved measuring up to 8 by 10 feet. This exhibition was narrative cycle made famous by works like Hogarth’s curated by TAG Fine Arts’s Co-Director Diana Ewer. Rake’s Progress. NEW YORK, NY MINNEAPOLIS, MN New Prints 2012/Autumn Playing with the Dark: an Exhibition Through 17 November 2012 from Open Studio In Munich: “Honoré Daumier—Lithographs of the International Print Center New York (IPCNY) Through 21 November 2012 Kames Foundation,” 5 December 2012 through www.ipcny.org Highpoint Center for Printmaking 17 February 2013. Honoré Daumier, Inconvénient Containing of thirty-six new works by twenty- www.highpointprintmaking.org d’aller faire des graces (1844), from the series six artists, “New Prints 2012/Autumn” that ask Curated by Open Studio’s Executive Director “Paris l’Hiver,” lithograph. ©Staatliche Graphische the question “what is a print, and into what Jennifer Bhogal, “Playing with the Dark” features Sammlung München, Museumsstiftung. new territories can printmaking expand?” This Art in Print November – December 2012 49 exhibition is the forty-third presentation of IPCNY’s WASHINGTON, DC New Prints Program, a series of juried exhibitions Citizens of the Republic: Portraits from the Dutch organized by IPCNY several times each year. Golden Age Through 3 Febuary 2013 PARIS, FRANCE National Gallery of Art “Éditions: l’art sous toutes ses formes” www.nga.gov Through 21 November 2012 Stalwart Dutch citizens, distinguished for their Galerie Maeght contributions to the arts and the state, are www.maeght.com sensitively rendered in a selection of 17th- and A retrospective survey of Maeght’s 65 years of 18th-century engravings. The exhibition features publishing, this exhibition includes artists’ books, portrait prints after celebrated old masters such as multiples, prints, jewelry, carpets and kilims. Rembrandt van Rijn, Bartholomeus van der Helst, Some are historic and famous (Marcel Duchamp’s Michiel van Miereveld, and Caspar Netscher; rare cover for the 1947 book “le Surréalisme”), some are books from the National Gallery of Art Library; and recent (Fabrice Philippe Perrin). Also included are Cornelis Jonson van Ceulen’s grisaille portrait of the works by Georges Braque, Marco Del Re, Marcel eminent scholar Anna Maria van Schurman, from Duchamp, Francis Fiedler, David Hare, Olivier the Gallery’s permanent collection. This important Gagnère, Fabrice Hyber, Joan Miró, Jacques Monory, painting will be hung, for the first time, alongside Mimmo Paladino, Philippe Perrin, Raoul Ubac, and Cornelis van Dalen the Younger’s engraved portrait Manolo Valdes. Together they represent an ongoing In San Antonio: “Estampas De La Raza: of the Van Schurman, illuminating the relationship adventure in the production of modern art, as Contemporary Prints from the Romo Collection,” between painter and engraver. fabrication became outsourced, and the “edition”— through 27 January 2013. Raul Caracoza, Young in its manifold guises—became a critical object of Frida (Pink) (2006), screenprint. Art Fairs interest. ST. LOUIS, MO MIAMI, FL PHILADELPHIA, PA Mark Making: Prints From Wildwood Press INK Miami Art Fair Full Spectrum: Prints from the Through 30 November 2012 5 - 9 December 2012 Brandywine Workshop St Louis University Museum of Art Suites of Dorchester Through 25 November 2012 www.slu.edu/sluma-home-x16374 INK Miami is a contemporary art fair held annually Philadelphia Museum of Art “Mark Making” showcases large-scale works from in December during Art Basel Miami Beach. The www.philamuseum.org the diverse range of international artists who have Fair is unique among Miami’s fairs for its focus on In 2009, the Brandywine Workshop donated worked with Master Printmaker Maryanne Ellison contemporary works on paper by internationally one hundred prints by eighty-nine artists to the Simmons at the St. Louis-based printmaking studio renowned artists. It is sponsored by the International Museum in memory of the Museum’s late director Wildwood Press. Featured artists include Anne Fine Print Dealers Association and exhibitors are Anne d’Harnoncourt. Full Spectrum celebrates Appleby, Michael Berkhemer, Josely Carvalho, selected from among members of the Association this generous gift as well as the workshop’s Michele Oka Doner, Yizhak Elyashiv, Jane Hammond, for their outstanding ability to offer collectors a accomplishments over its distinguished forty-year Valerie Hammond, Jerald Ieans, Mary Judge, Eva diverse survey of 20th century masterworks and just history. The workshop’s donation is illustrated in Lundsager, Erin McKenny, Casey Rae, Juan Sanchez, published editions by leading contemporary artists. its entirety in an accompanying catalogue, which David Scanavino, Linda Schwarz, and David Shapiro. features an essay by Philadelphia native and noted contemporary print scholar Ruth Fine, former Curator of Special Projects in Modern Art at the ST. LOUIS, MO National Gallery of Art in Washington, D.C. Drawn in Copper, Italian Prints in the Age of Barocci PITTSBURGH, PA Through 13 January 2013 Whistler and Rebellion in the Art World St. Louis Art Museum Through 2 December 2012 www.slam.org Carnegie Museum of Art “Drawn in Copper, Italian Prints in the Age of web.cmoa.org Barocci” presents etchings and engravings by a Organized by Associate Curator Amanda Zehnder, selection of prints made artists such as Agostino “Whistler and Rebellion in the Art World” Carracci, Antonio Fantuzzi, Camillo Procaccini, demonstrates James Abbott McNeill Whistler’s Giovanni Benedetto Castiglione, and Pietro Testa contentious, witty, and fiercely independent who were active in the Italian cities of Bologna, personality through a selection of prints and Genoa, Rome, and at the court of Francis I at drawings. Fontainebleau from the late 16th century to the early 17th century. RICHMOND, VA Centennial Celebration: Prints by John Cage Through 28 June 2013 Harnett Museum of Art, University of Richmond http://museums.richmond.edu/ SAN FRANCISCO, CA Celebrating John Cage’s centennial, this exhibition San Francisco Fine Print Fair of prints includes highlights such as Not Wanting 18-20 January 2013 to Say Anything About Marcel, Lithograph A and Fort Mason Conference Center Lithograph B and Plexigrams (some of Cage’s earliest The San Francisco Fine Print Fair, sponsored by artworks), as well as I Ching and 30 Drawings by the International Fine Print Dealers Association, Thoreau. takes place in January at Fort Mason. Featuring 15 print dealers with specialties ranging from old SAN ANTONIO, TX masters to Ukiyo-e to modern and contemporary Estampas De La Raza: Contemporary Prints prints, the fair offers visitors the chance to view five from the Romo Collection centuries of art. Through 27 January 2013 McNay Art Museum www.mcnayart.org Surveying over 60 prints by Mexican American and Latino printmakers who were practicing between the 1960s to 2000s, “Estampas de la Raza” elucidates the Latino experience in the United States with In Richmond: “Centennial Celebration: Prints by subjects ranging from Frida Kahlo to lowriders, John Cage”, through 28 June 2013. John Cage, and from the Statue of Liberty to the Virgin of 30 Drawings by Thoreau (1974), color lithograph Guadalupe. on paper. ©John Cage Trust at Bard College.

50 Art in Print November – December 2012 Upcoming Auctions historic print collection of the Dresden Kupferstich- Kabinett. More than loose inspirations, and less Phillips de Pury & Company, New York Evening than quotations, their inventive “paraphrases” draw and Day Editions, 29 October 2012 on four diverse bodies of historic work: the 15th 327 lots, 19th Century, Modern and Contemporary century engravings – simultaneously intricate and Highlights: unpretentious – of the Master of the Playing Cards; Gerhard Richter, Grün-Blau-Rot (1993), oil on the 16th century melodrama of Ugo da Carpi’s canvas. Not a print, but a member of the edition chiaroscuro woodcuts; the hand colored chromatic of 115 paintings that Richter created for Parkett ecstasies of the 18th century Dresden Chinoiserie; Editions. This one is from the collection of critic and the prewar revolutionary rigor of Hermann Dave Hickey, who received it as a gift from the artist. Glöckner. Estimate $200,000 - 300,000. Lucio Fontana, Concetto Spaziale, Natura (1967), Pair New Online of brass sculptures. Estimate $60,000 - 90,000. Piero Manzoni, Tavole di accertamento (8 Tables of Afterimage: The Prints of Bruce Conner Assesment) (1962), Set of eight photolithographs. Essay by Peter Boswell Estimate $40,000 - 60,000. 32 pages Published by Senior & Shopmaker Gallery, NY Sotheby’s, New York: Prints, 1-2 November 2012 Free 389 lots, Modern and Contemporary An invaluable introduction to Conner’s seldom seen Highlights: offset lithographs of the 1970s. Andy Warhol, Marilyn (1967), the complete portfolio Download: http://www.pagegangster.com/p/IOXIr of ten screenprints. Estimate $1,400,000 – For a review of the show “Afterimage: The Prints of 1,800,000. Bruce Conner,” see p.44 in this issue of Art in Print. Marc Chagall, Daphnis and Chloe (1961), all 42 lithographs. Estimate $300,000 – 400,000 Conferences Chuck Close, Keith (1972), mezzotint (appearing at auction for the first time). Estimate $600,000 - Nashville Print Revival: A Central Tennessee 800,000. Printmaking Symposium Organized by printmakers and educators from Christie’s, New York: Prints and Multiples, Tennessee and Kentucky, the Nashville Print 30 – 31 October 2012 Revival: A Central Tennessee Printmaking E MANUEL V O N BAEYER 414 lots, Modern and Contemporary Symposium includes exhibitions, artist talks, CABINET Highlights: lectures, and live printing events throughout the Edvard Munch, VampyrII (1895-1902), color Nashville area. This three-day symposium will take lithograph and woodcut. Estimate $300,000 – place from 21-23 February 2013. 400,000. Featured artists include Midwest Pressed (Tim Pablo Picasso, Buste de Femme au Chapeau (1962), Dooley and Aaron Wilson), Laura Berman, Brandon linocut. Estimate $400,000 – 600,000. Sanderson, and Matt Hopson-Walker. Robert Rauschenberg, Breakthrough II (1965), Nashville Print Revival is hosted by Mark Hosford lithograph. Estimate $100,000 – 150,000. of Vanderbilt University; Andrew Kosten & Meghan Georg Baselitz. O’Connor of Middle Tennessee State University; Prints, Drawings, Watercolours Swann, New York: Maps & Atlases, Natural Jennifer Leach of Tennessee State University; Brady of Four Decades. History & Historical Prints, Ephemera, Haston of Watkins College of Art, Design, and 6 December 2012 Film; Jessica Owings of Belmont University; and Rococo. Swann Auction Galleries, New York Blake Sanders and Hannah Sanders of Murray State French Engravings University...http://orangebarrelindustries.com/ of the 18th Century. New Books nashvilleprintrevival/

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Kornelia Tamm Tammﬁnearts 531 West 36th Street Call for Papers: IMPACT 8 Conference in Dundee (entrance is Hosfelt Gallery) The eighth iteration of the influential international New York, New York 10018 USA printmaking conference IMPACT will take place Tel: 845-489 2000 in Dundee, Scotland, 28 August – 1 September Tel: 845-773 9289 2013. The theme is “Borders and crossings: the by appointment artist as explorer” through which the organizers e-mail: [email protected] www.tamm nearts.com aim to explore “the inherent experimental and interdisciplinary nature of print practices.” Presentations at IMPACT include academic peer- Gert and Uwe Tobias, Dresdener Paraphrasen / reviewed papers as well as panel discussions, Dresden Paraphrases (2012). technical demonstrations, and artist book, portfolio Gert & Uwe Tobias: Dresdener Paraphrasen / & trade sessions. The deadline for proposals is 30 Dresden Paraphrases November 2012. http://www.conf.dundee.ac.uk/ Edited by Michael Hering, foreword by Bernhard impact8/home/. Maaz, with texts by Michael Hering, Gudula Metze, and Claudia Schnitzer. In German and English Please submit announcements of 136 pages, 96 illustrations, clothbound exhibitions, publications and Published by Hatje Cantz Verlag, Stuttgart, 2012. other events to €39.80 / $60 / £35 [email protected]. Alex Katz: Blue Umbrella, 1979/80. This catalogue, clad in Rococo pink and gold, Lithograph in 11 colors. Edition of 120. documents the Tobias brothers’ responses to the

Art in Print November – December 2012 51 CAROLINA NITSCH

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52 Art in Print November – December 2012 Art in Print November – December 2012 53 J U N G L E P R E S S E D I T I O N S

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New Prints 2012/Autumn October 20 - November 17, 2012

New Prints Benefit Exhibition and Silent Auction November 29 - December 15, 2012

International Print Center New York 508 West 26th Street 5th Floor NYC 10001 212-989-5090 • www.ipcny.org • Tues-Sat, 11-6 Extended Print Week hours: Thurs, 11-8, Sun, 11-6

Images from New Prints 2012/Autumn. Credits (left to right): Lothar Osterburg, Under the El, 2011, Photogravure. Ann Aspinwall, Roma II, 2012, Collograph. Ania Matuszewska, Playground, 2012, Linocut.

54 OctoberArtinPrint2012.inddArt in Print November – December 1 2012 10/10/12 3:29 PM Contributors to this Issue

Angela Campbell is an Assistant Conservator at the Sherman Fairchild Center for Works of Art on Paper and Photograph Conservation at The Metropolitan Museum of Art. She was previously an Andrew W. Mellon Fellow in the same department. She holds an MA degree and Certificate of Advanced Study in Art Conservation from Buffalo State College as well as a BA in Art History and Italian Studies and a Certification in Museum Studies from Connecticut College.

Jesse Feiman studies printed images from the Renaissance to the present. His work explores the methods of connoisseurship, the history of collections and the historiography of print cataloguing. He holds degrees in art history from Wesleyan University and Williams College, and is currently pursuing a doctorate at the Massachusetts Institute of Technology.

Armin Kunz is an art historian and managing partner of C.G. Boerner, a dealership for old master prints and drawings with galleries in Düsseldorf and New York. His areas of special interest are Northern art of the early modern period and German Romanticism.

Séverine Lepape is the curator in charge of the Réserve of the department of prints and photographs at the Bibliothèque nationale de France. She specializes in 15th and 16th century prints and has published various articles on French woodcuts of the second half of the 16th century. She is currently preparing a exhibition at the Musée du Louvre on Northern 15th- century prints (Fall 2013).

Evelyn Lincoln is a professor of art history and Director of the Program in Renaissance and Early Modern Studies at Brown University. Her research focuses on how networks of knowledge were shared among those involved in the commerce and production of printing and printmaking in early modern Europe, and how images interact with the read and spoken word; her interests extend into early notions of intellectual property, and the visual representations of authorship, gender, and truth claims. She is the author of The Invention of the Italian Renaissance Printmaker (Yale University Press: 2000) and Pictures and Readers in Early Modern Rome (Yale University Press, forthcoming).

Andrew Raftery is an engraver and print scholar. As Professor of Printmaking at Rhode Island School of Design, he often collaborates with the RISD Museum on exhibitions and educational programs, recently as consulting curator for “The Brilliant Line: The Journey of the Early Modern Engraver” at the RISD Museum and the Block Museum at Northwestern University.

Allison Rudnick is a Ph.D. student in art history at the Graduate Center, City University of New York. Her research interests include 20th-century European art as well as modern and contemporary printmaking practices. She is a Research Assistant in the department of Drawings and Prints at the Metropolitan Museum of Art.

Charles Schultz is a New York-based art critic. He has been writing about art since moving to New York in 2007. Schultz currently contributes to the Brooklyn Rail, Modern Painters, Art in America and Artslant.

Ben Thomas is a lecturer in history and philosophy of art at the University of Kent, and curator of Kent’s Studio 3 Gallery. He has worked previously as a print cataloguer at Worcester College in Oxford, and has published widely on the history of prints from the Renaissance to the present Pele Prints day. Exhibitions he has curated focusing on prints include “The Paradox of Mezzotint” (Strang Print Room, University College London, 2008), “In Elysium: Prints by James Barry” (Studio 3 Laura Berman Gallery, 2010) and “Paul Coldwell: A Layered Practice” (Studio 3 Gallery, 2013). Umbra series

Susan Tallman is the Editor-in-Chief of Art in Print. She has written extensively about prints, issues of multiplicity and authenticity, and other aspects of contemporary art. www.peleprints.com

Art in Print November – December 2012 55 2012 Membership Subscription Form

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In This Issue In This Issue In This Issue Susan Tallman / On Art in Print Susan Tallman / On Substance Susan Tallman / On the Corner Paul Coldwell / Christiane Baumgartner Between States Catherine Bindman / Odilon Redon: Prince of Dreams Gill Saunders / Street Art: Prints and Precedents Deborah Wye (interview) / Embracing the Whole Story: (1840–1916) Charles Schultz / A Matrix You Can Move In: Thirty-One Years at the Museum of Modern Art Susan Tallman / Dreaming in Company: Redon and Bresdin Prints and Installation Art Adam Lowe / Messing About With Masterpieces: Andrew Raftery / Drawing and its Double: Selections from the Heather Hess / Changing Impressions: New Work by Giambattista Piranesi Istituto Nazionale per la Grafica, Rome Wiener Werkstätte Prints and Textiles Suzanne Karr Schmidt / Printed Bodies and the Susan Tallman / Jane Kent and Richard Ford Go Skating Jay Clarke / The Politics of Geography and Process: Materiality of Early Modern Prints John Ganz / Sturm and Drang on 53rd St. Impressions from South Africa, 1965 to Now Book Reviews Kristyna Comer / Christopher Cozier and Printmaking: Book Reviews Charles Schultz / Nicola López: Structural Detours Book Reviews

Volume 1 Volume 1 Volume 1 Number 4 Number 5 Number 6

In This Issue In This Issue In This Issue Susan Tallman / On Partisanship Susan Tallman / On Plenty Susan Tallman / On Anarchy Getting the Joke: Historical Satire in Print New Editions / 50 Reviews A – Z Sarah Kirk Hanley / Visual Culture of the Nacirema: Constance C. McPhee / How Napoleon Became Katrina Andry • Polly Apfelbaum • Ida Applebroog • Birk & Pigno- Enrique Chagoya’s Printed Codices an Emblem let • Chakaia Booker • Enrique Chagoya • Robert Cottingham • David Ensminger / The Allure of the Instant: Nadine M. Orenstein / Two Mysteries—One Solved Dorothy Cross • Amy Cutler • Richard Deacon • Carroll Dunham Postscripts from the Fading Age of Xerography Kristina Volke / Serving the Cat: Traditional Woodcut • R.M. Fischer • Tony Fitzpatrick • Mark Francis • Anne-Karn Catherine Bindman / Looking Back at Looking Back: Printing in Modern Vietnamese Society Furunes • Frank Gehry • Adriane Herman • Daniel Heyman • Collecting German Romantic Prints Jill Bugajski / Artful Coercion: The Aesthetic Extremes Carsten Höller • Jasper Johns • Jacob Kassay • Kakyoung Lee M. Brian Tichenor & Raun Thorp of Stencil in Wartime • Christian Marclay • Chris Martin • Josiah McElheny • Julie Proof: The Rise of Printmaking in Southern California Charles Schultz / Sigmar Polke: Photoworks 1964–2000 Mehretu • Annette Messager • Dave Muller • Chunwoo Nam • Susan Tallman / IPCNY New Prints 2011 / Autumn Book Reviews Enoc Pérez • David Shapiro • Stan Shellabarger • Kiki Smith • Bob Sarah Andress / Annesas Appel & Roberta Smith • Tom Spleth • Superimpose portfolio • Wayne Book Reviews Thiebaud • Carolyn Thompson • Rirkrit Tiravanija • Diane Victor News of the Print World • Rachel Whiteread • Terry Winters • Karl Wirsum • Jonas Wood • Annual Directory Richard Woods • Zachary Wollard • Witho Worms • Anton Würth Book Reviews

Volume 2 Volume 2 Volume 2 Number 1 Number 2 Number 3

In This Issue In This Issue In This Issue April Vollmer / Mokuhanga International Sarah Andress / Jacob Samuel and the Peripatetic Printshop Andrew Raftery / Genealogies: Tracing Stanley William Hayter Anna Schultz / Eugène Carrière’s Prints Britany Salsbury / The Print Portfolio in “Print/Out” & “Printin’ ” Ann Shafer / Hayter: Content and Technique Paul Coldwell / Artists’ Projects at Paupers Press John Ganz / In, Out, and Shaken All About at MoMA Julia Beaumont-Jones / Studios of Paris: Stanley Jones on Gill Saunders / The V&A Takes Street Art to Libya Aprile J. Gallant / The Art of Copying: Copycat at Hayter, Paris and Atelier Patris, 1956-58 Sarah Grant / Highlights from the Fitzwilliam Museum Collection The Clark Art Institute Liza Folman / Stanley William Hayter and Viscosity Printing Charles Schultz / Martin Kippenberger’s Raft of the Medusa Courtney R. Thompson / Prints and the Pursuit of Amelia Ishmael / Susan Tallman / Hayter—Essential Reading Paul Coldwell / Picasso’s Vollard Suite at the British Museum Knowledge in Early Modern Europe Susan Tallman / Jasper Johns / In Press; L’Estampe originale: A Charles Schultz / Nicole Eisenman at Leo Koenig M. Brian Tichenor & Raun Thorp / Ellsworth Kelly: Celebrated Album of Original Printmaking, 1893-95 Elaine Mehalakes / ReThink INK: 25 Years at Mixit Print Studio Prints and Paintings at LACMA Courtney R. Thompson / Inuit Prints, Japanese Inspiration: Courtney R. Thompson / Pulled Pressed Printed in Chicago Charles Schultz / Carlos Garaicoa; Jordi Alcaraz Early Printmaking in the Canadian Arctic; Material Assumptions: Allison Rudnick / Cecily Brown’s Monotypes Andrew Blackley / Glenn Ligon Paper as Dialogue Book Reviews Book Reviews Book Reviews News of the Print World News of the Print World News of the Print World

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New Editions 2012 January – February 2013

Articles on Contemporary and Historical Prints, Reviews, News, Commentary and the Annual International Directory March – April 2013

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Image credit: Nicole Eisenman, Contagion (2012), etching and aquatint. Courtesy Harlan & Weaver, New York.