In preparation for SPA 327/URB 327/LAO 327 Latino Global Cities, taught by Arcadio Díaz-Quiñones and Germán Labrador Méndez, we pulled this poster for a 1977 exhibition by the printmaker and painter José Rosa, printed “under the auspices of the Department of Hispanic Studies at the University of Puerto Rico.” The image is based on a wonderful book by Luis Rafael Sánchez, La guaracha del macho Camacho (Buenos Aires: Ediciones de la Flor, 1976). Firestone Library (F) PQ7440.S235 G8

Born in 1939, Rosa studied at the Taller del Instituto de Cultura Puertorriqueño (Graphic Arts Workshop of the Institute of Puerto Rican Culture) run by Lorenzo Homar (1913-2004) and later succeeded Homar as the workshop’s director. As this print demonstrates, he was a master of screen printing. The print was later exhibited and reproduced in the catalogue José Rosa: Exposición Homenaje: Obra Gráfica, 1963-1996: Antiguo Arsenal de la Marina Española, Viejo San Juan, Puerto Rico, 29 de abril al 31 de agosto de 1998 ([San Juan, P.R.]: Programa de Artes Plástica, Instituto de Cultura Puertorriqueña, 1998).

Paul Wunderlich (Eberswalde/Brandenburg 1927 – 2010 Saint-Pierre-de-Vassols), à deux, 1960. Farblithographie in 10 Farben, Hamburger Kunsthalle, Kupferstichkabinett. Schenkung Dieter Brusberg, Berlin, 2010 Inv.-Nr. 2011-54

Thank you to Laura Giles, Heather and Paul G. Haaga Jr., Class of 1970, Curator of Prints and Drawings, for mentioning a new online source for over 4,000 German, Netherlandish, and Italian old master drawings and 11,000 Italian prints from the Hamburger Kunsthalle.

“You are invited to stroll through the database of the Kupferstichkabinett, which you can access via the website of the Hamburger Kunsthalle: http://emp-web-48.zetcom.ch/eMuseumPlus. Over the next years . . . we will add another 120,000 works on paper to this pool of online data. For 2016 we are planning to include the last 20 % of our Italian prints as well as our collection of Spanish drawings, and major parts of our 19th-century German prints and drawings.”

Congratulations to Dr. Andreas Stolzenburg and Dr. David Klemm of the Leiter Kupferstichkabinett, Hamburger Kunsthalle, Glockengießerwall, Hamburg, Germany.

www.hamburger-kunsthalle.de
www.netzwerk-graphische-sammlungen.com

Albrecht Dürer (Nürnberg 1471 – 1528 Nürnberg), Adam und Eva, 1504. Kupferstich. Hamburger Kunsthalle, Kupferstichkabinett Inv.-Nr. 10554

This plate turned up recently depicting a bookseller identified in four languages: Latin, French, German, and Russian. The woodcut on laid paper is number 75 from an unknown publication. If you recognize the source, please let us know.

Graphic Arts Collection Unidentified GC 079 box 4.

Johann Georg Wille (sometimes Jean Georges Wille, 1715-1808) after Gerard Ter Borch II (1617-1681), L’Instruction Paternelle [Paternal Instruction], 1765. Engraving. Graphic Arts Collection

Johann Georg Wille (sometime Jean Georges Wille, 1715-1808) after Godfrey Schalken (1643-1706), Le Concert de Famille [The Family Concert], 1769. Engraving. Second state with coat of arms. Graphic Arts Collection

The Graphic Arts collection has 19 engraving by the German-born printmaker Johann Georg Wille (sometimes Jean Georges Wille, 1715-1808). Most of these are reproductions of French, Dutch, and Italian oil paintings. At one time, Wille served as an engraver to emperors and kings but as the 18th century progressed, commissions became infrequent, Wille lost most his possessions, and died in poverty.

Seen here are two engravings, one is a second state with a coat of arms but without the caption added. The other is a third state with both coat of arms and caption. The Princeton University Art Museum also has a copy of The Family Concert, given by Junius S. Morgan, Class of 1888. Theirs is the first state before letters and coat of arms.

See also:
Bibiena, Ferdinando Galli, 1657-1743. Basilica Carolina: opus grande, non homini sed Deo praeparata habitatio … : Mannhemii Palatina in metropoli aedificata … Mannhemii: Ex Typographejo Electorali Aulico, [1760]. Marquand Library (SAX): Rare Books Oversize N6923.B52 R322 1760f

Pope, Alexander, 1688-1744. Essai sur l’homme. Traduction franc̦oise en prose, par Mr. S**** [i.e. Étienne de Silhouette]. Lausanne, M. Chapuis, 1762. Temporarily Shelved at Rare Books (Ex) Oversize 2005-0451Q

Wille, Johann Georg, 1715-1808. Mémoires et journal de J.-G. Wille, graveur du roi, pub. d’après les manuscrits autographes de les manuscrits autographes de la Bibliothèque impériale, par Georges Duplessis, avec une préface par Edmond et Jules de Goncourt. Paris, Ve J. Renouard, 1857. Marquand Library (SA) NE650.W6 A3

The engraving “Fluvius Grandis,” was published as pages 620-621 in Arnoldus Montanus (1625-1683), De Nieuwe en onbekende Weereld of Beschryving van America en’t Zuid-Land or as translated into English by John Ogilby, The New and Unknown World: or Description of America and the Southland, (1671). It is only one of the book’s 125 maps and engravings.

The plate focuses on Forte dos Reis Magos (Fortress of the Three Wise Men) in the Brazilian city of Natal, along the banks of the Potengi River (later nicknamed the Rio Grande or in Latin, Fluvius Grandis).

The Dutch publisher Jacob van Meurs (ca. 1619-before 1680) also designed and printed engravings for the Dutch editions and most of the plates for the English publication.

However, a closer look at the loose engraving in the Graphic Arts Collection indicates that it was not by Meurs but is a pirated copy by Pieter van der Aa (1659-1733).

Benjamin Schmidt’s recent book Inventing Exoticism: Geography, Globalism, and Europe’s Early Modern World compares the two engravers, noting “Van der Aa . . . occupies an enviable place in the history of early modern print; he was the leading bookmaker of Leiden from the 1690s through the early 1730s and perhaps the most ambitious European publisher of his day. He mastered a slightly different form of geography than van Meurs, issuing massive, serial compilations, often comprising previously published texts, which were generously embellished with engraved maps, city views . . . and the like.”

The Graphic Arts Collection has many copies of the prints issued by the Society of Iconophiles. As beautifully described by the NYHS: “The Society of Iconophiles was formed in 1894 by William Loring Andrews (1837-1920), a member of the Grolier Club. Its stated purpose was to issue series of engraved views of New York City and portraits of prominent persons connected with New York City.

Each series of engravings was issued in an edition of 101. Eleven of these were proofs before letter, which were signed by the engraver. The plates were destroyed after this first printing. The Society initially limited itself to ten members, each of whom was to receive one of these signed proofs. The other 90 prints were sold to the public.

In 1905, the Society of Iconophiles enlarged its circle by creating 50 Associate Members, who subscribed to the upcoming print series. The initial group of ten became known as the Active Members. During its tenure, the Society produced seventeen discrete series of prints, other assorted prints, and several volumes. The Society of Iconophiles ceased to exist in 1939.”

From 1899 to 1902, Francis Scott King (1850-1913) completed six engraved portraits for the Iconophiles, including General Lafayette, George Washington, DeWitt Clinton, Admiral Dewey, and Aaron Burr. The last portrait he completed in 1902 was of Alexander Hamilton along with a view of Hamilton’s home, known as The Grange, which is now a national memorial: http://www.nps.gov/hagr/planyourvisit/index.htm.