Platemark: prints and the printmaking ecosystem

In s2e28, hosts Ann Shafer and Tru Ludwig conclude their two-part conversation about Claude Mellan. An encounter with Mellan's best-known work, The Holy Face of Christ on St. Veronica's Sudarium, is to be a witness to greatness. The engraving is an extraordinary feat by Claude Mellan and is a high-water mark in the history of prints.

The artist had a magical ability to create an image of unparalleled pathos and intricacy using a single spiraling line. In this episode, Tru and Ann talk about this miraculous engraving along with a few other goodies.

Get ready for an engaging discussion with Tru as they explore the depths of Mellan's remarkable work, uncovering the artist's mastery of technique and vision. And be prepared, they flung a few f-bombs about here and there.

Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis. [Details are at the bottom.]

Reinis Gailitis (Latvian, born 1992). A perfect spiral cut with a burin in copper.

Robert Nanteuil (French, 1623–1678). Marin Cureau de La Chambre, c. 1656. Engraving. Sheet (trimmed to platemark): 10 × 7 11/16 in. (25.4 × 19.6 cm.). Metropolitan Museum of Art, New York.

Claude Mellan (French, 1598–1688). Title Page : Le Code Louis XIV, 1667. Engraving. Sheet (trimmed to platemark): 8 1/16 x 5 3/8 in. (20.5 x 13.7 cm.). Metropolitan Museum of Art, New York.

Gian Lorenzo Bernini (Italian, 1598–1680). Bust of Louis XIV, 1665. Marble. Palace of Versailles.

Robert Nanteuil (French, 1623–1678). Louis XIV, 1686. Engraving. RMN-Grand Palais Domaine de Chantilly.

Hyacinth Rigaud (French, 1659–1743). Louis VIX, 1700–01. Oil on canvas. 277 x 194 cm. (109 x 76 3/8 in.) The Louvre, Paris.

Johann Zoffany (German, 1733–1810). The Academicians of the Royal Academy, 1771–72. Oil on canvas. 101.1 x 147.5 cm. Royal Collection Trust.

Pietro Antonio Martini (Italian, 1738–1797), after Johann Heinrich Ramberg (German, 1763–1840). Exposition au Salon du Louvre en 1787, 1787. Etching and engraving. Plate : 12 11/16 x 19 5/16 in. (32.2 x 49.1 cm.); sheet: 14 x 19 3/4 in. (35.6 x 50.2 cm.). Metropolitan Museum of Art, New York.

Claude Mellan (French, 1598–1688). Moses Before the Burning Bush, 1663. Engraving. Sheet (trimmed to platemark): 9 7/16 x 13 3/16 in. (24 x 33.5 cm.). Metropolitan Museum of Art, New York.

Claude Mellan (French, 1598–1688). Adam and Eve at the Foot of the Cross, c. 1647. Engraving. Sheet (trimmed to platemark): 15 3/8 x 22 5/8 in. (39 x 57.4 cm.). Metropolitan Museum of Art, New York.

Nicolas Poussin (French, 1594–1665). The Abduction of the Sabine Women, c. 1633–34. Oil on canvas. 60 7/8 x 82 5/8 in. (154.6 x 209.9 cm.). Metropolitan Museum of Art, New York.

Guillaume Chasteau (French, 1635–1683), after Nicolas Poussin (French, 1594–1665). The Death of Germanicus, 1663. Engraving. Sheet : 43.9 x 53.7 cm. The British Museum, London.

Raphael (Italian, 1483–1520). School of Athens. Stanza della Segnatura, 1509–11. Fresco wall painting. The Vatican.

Peter Paul Rubens (Flemish, 1577–1640). The Consequences of War, 1637–38. Oil on canvas mounted to panel. 206 x 342 cm. (81 x 134 ½ in.). Palazzo Pitti, Florence.

Claude Lorrain (French, 1604/05–1682). Pastoral Landscape, 1638. Oil on canvas. 51.1/4 x 38 ¼ in. Minneapolis Institute of Art, Minneapolis.

Claude Lorrain (French, 1604/05–1682). The Country Dance (Large Plate), c. 1637. Etching. Sheet: 8 1/4 x 10 9/16 in. (21 x 26.9 cm.) ; plate: 7 7/8 x 10 3/8 in. (20 x 26.3 cm.). Metropolitan Museum of Art, New York.

Claude Lorrain (French, 1604/05–1682). A Seaport, 16454. Oil on canvas. 103 x 131 cm. National Gallery, London.

Claude Lorrain (French, 1604/05–1682). Harbor Scene with Rising Sun, 1634. Etching. Sheet: 5 9/16 x 8 1/4 in. (14.1 x 21 cm.); plate: 5 1/8 x 7 13/16 in. (13 x 19.8 cm.). Metropolitan Museum of Art, New York.

Claude Mellan (French, 1598–1688). Death of Adonis, 1636–62. Engraving. Sheet (trimmed near platemark): 8 7/16 x 12 in. (21.5 x 30.5 cm.). Metropolitan Museum of Art, New York.

Claude Mellan (French, 1598–1688). Classical Statue of Seated Woman (Mnemosyne), c. 1670. Engraving. Plate: 15 3/4 x 11 7/16 in. (40 x 29 cm.) ; sheet: 21 1/8 x 14 ¾ in. (53.6 x 37.5 cm.). Philadelphia Museum of Art, Philadelphia.

Claude Mellan (French, 1598–1688). Philosophy Thesis of Guillaume de Longueil, 1618–88. Engraving. Sheet (trimmed near platemark): 44.2 x 58.9 cm. National Gallery of Canada, Ottawa.

Claude Mellan (French, 1598–1688). Full Moon, 1635. Engraving. Sheet (trimmed near platemark): 9 3/4 x 8 9/16 in. (24.8 x 21.7 cm.). Metropolitan Museum of Art, New York.

Claude Mellan (French, 1598–1688). The Moon in its First Quarter, 1635. Engraving. Plate: 9 3/16 × 6 7/8 in. (23.3 × 17.5 cm.); sheet: 9 3/8 × 7 1/8 in. (23.8 × 18.1 cm.). Metropolitan Museum of Art, New York.

Claude Mellan (French, 1598–1688). The Moon in its Final Quarter, 1635. Engraving. Plate: 9 1/8 × 5 3/8 in. (23.1 × 13.7 cm.); sheet: 9 3/16 × 5 1/2 in. (23.4 × 14 cm.). Metropolitan Museum of Art, New York.

Claude Mellan (French, 1598–1688). The Remorse of Saint Peter, 1687. Engraving. Plate: 17 11/16 x 11 7/8 in. (45 x 30.2 cm.); sheet: 18 1/2 x 12 1/2 in. (47 x 31.8 cm.). Philadelphia Museum of Art, Philadelphia.

Claude Mellan (French, 1598–1688). Twenty-Four Portraits. Bound volume with 24 engravings. Published by Haniq in Malines, 1837.

Evan Lindquist (American, born 1936). Claude Mellan Engraves a Self-Portrait, 2008. Engraving. Plate: 9 5/8 × 7 5/8 in. (24.4 × 19.4 cm.); sheet: 14 × 11 3/4 in. (35.6 × 29.8 cm.). Syracuse University Art Museum, Syracuse.

Reinis Gailitis (Latvian, born 1992). Face of…, 2021. Engraving. Sheet: 30 x 22 cm.; plate: 25 x 18 cm. Courtesy of the Artist.

Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis.

[DETAIL] Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis.

[DETAIL] Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis.

[DETAIL] Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis.

[DETAIL] Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis.

[DETAIL] Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis.

[DETAIL] Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis.

[DETAIL] Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis.

USEFUL LINKS:

https://press.princeton.edu/books/paperback/9780691133805/old-masters-and-young-geniuses

In s3e24, host Ann Shafer speaks with Steve Goddard, curator emerita from the Spencer Museum of Art at the University of Kansas in Lawrence. Steve's specialty is prints of northern Europe (1450–present), although he has been known to stray into the graphic arts of the World War One era, as well as prints that sit at the intersection of art and the biological sciences. I'm sharing some of his favorite prints here.

A beloved educator, Steve has inspired generations of students with his engaging and insightful approach to teaching. His connoisseurship and history of prints classes are legendary. Platemark listeners will have heard several guests remark on Steve's passion and energy for print lore. In fact, he is that particular professor for many people—the one that got them into art history.

Now retired and living in Estes Park, CO, Steve continues to research and write on favorite topics, and he is making prints himself.

Steve Goddard and Dick Field deeply looking at John Martin's The Assuaging of the Waters, 1840, at the Legion of Honor Museum, Fine Arts Museums of San Francisco, during a Print Council of America conference, 2018. Photo by Nadine Orenstein.

After Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1559. Engraving. Sheet (trimmed to platemark): 113 x 73 mm. (4 7/16 x 2 7/8 in.). Spencer Museum of Art, University of Kansas, Lawrence.

Marcantonio Raimondi (Italian, c. 1470 or 1482–1534), after Albrecht Dürer (German, 1471–1528). The Angel Brings the Message to Joachim, from the series Life of the Virgin, 1506. Engraving. Sheet (trimmed to platemark): 196 x 216 mm. (11 5/8 x 8 ½ in.). Spencer Museum of Art, University of Kansas, Lawrence.

Hendrick Goltzius (Dutch, 1558–1617). The Circumcision, from the series The Birth and Early Life of Christ, 1594. Engraving. Plate: 18 1/4 x 13 13/16 in. (464 x 351 mm.). Metropolitan Museum of Art, New York.

Albrecht Dürer (German, 1471–1528). The Circumcision, from the series The Life of the Virgin, c. 1504. Woodcut. Sheet: 17 3/16 x 11 15/16 in. (437 x 303 mm.); image: 11 11/16 x 8 1/8 in. (297 x 206 mm.). Metropolitan Museum of Art, New York.

Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Etching and engraving. Sheet (trimmed within platemark): 17 3/8 × 12 5/16 in. (441 × 312 mm.). Metropolitan Museum of Art, New York.

Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Oil on wood transferred to canvas. 248 x 170 cm. (97 1/5 x 66 in.). Vatican Art Pinacoteca, Vatican City.

Melchior Lorck (German, 1527–after 1583). The Mole, 1548. Engraving. Sheet (trimmed to platemark): 710 x 106 mm. Helmut Rumbler, Frankfurt.

Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Ixion, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 5/8 x 13 7/16 in. (34.6 x 34.1 cm). Metropolitan Museum of Art, New York.

Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Icarus, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 7/16 x 13 1/4 in. (34.2 x 33.7 cm). Metropolitan Museum of Art, New York.

Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Phaeton, from the series The Four Disgracers, 1588. Engraving. Sheet: 335 x 335 mm (13 3/16 x 13 3/16 in.). Metropolitan Museum of Art, New York.

Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Tantalus, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 1/4 x 13 1/4 in. (33.6 x 33.6 cm). Metropolitan Museum of Art, New York.

Albrecht Dürer (German, 1471–1528). St. Jerome in His Study, 1514. Engraving. Sheet (trimmed to platemark): 241 x 186 mm. (9 ½ x 7 5/16 in.). Spencer Museum of Art, University of Kansas, Lawrence.

Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 245 x 189 mm. (9 5/8 x 7 7/16 in.). Spencer Museum of Art, University of Kansas, Lawrence.

Albrecht Dürer (German, 1471–1528). Melencolia I, 1514. Engraving. Sheet (trimmed to platemark): 9 7/16 × 7 5/16 in. (240 × 185 mm.). Metropolitan Museum of Art, New York.

Johan Wierix (Netherlandish, 1549–1615), after Albrecht Dürer (German, 1471–1528). Melencolia, 1602. Engraving. Sheet (trimmed to platemark): 242 x 182 mm. (9 ½ x 7 1/8 in.). Spencer Museum of Art, University of Kansas, Lawrence.

Rembrandt (Dutch, 1606–1669). The Three Crosses (iv/v state), 1653. Drypoint. Sheet (trimmed to platemark): 389 x 456 mm. (15 ¼ x 17 15/16 in.). Spencer Museum of Art, University of Kansas, Lawrence.

After Rembrandt (Dutch, 1606–1669). The Three Crosses (iii/v state), c. 1660. Heliogravure or photogravure. Image: 381 × 451 mm. (15 x 17 ¾); sheet: 393 x 461 mm. (15 1/2 × 18 1/8 in.). Spencer Museum of Art, University of Kansas, Lawrence.

Dirk Vellert (Netherlandish, c. 1480–1547). Drummer with a Child Holding a Hoop, 1523. Etching. Sheet (trimmed to platemark): 89 x 64 mm. (3 ½ x 2 ½ in.). Spencer Museum of Art, University of Kansas, Lawrence.

Master H.L. (Hans Leinberger; German, active 1558–1570). Enraged Cupid Riding a Snail over Fungus Vegetation, c. 1533. Engraving. National Gallery of Art, Washington, D.C.

John Ruskin (British, 1819–1900). The Garden of San Miniato near Florence, 1845. Watercolor and pen and black ink, heightened with white gouache, over graphite. 342 x 492 mm. (13 7/16 x 19 3/8 in.). National Gallery of Art, Washington, D.C.

Tilman Riemenschneider (German, c. 1460–1531). Madonna and Child on the Crescent Moon, c. 1500–01. Linden wood, polychromy. 123 x 36.8 x 21 cm. (48 7/16 x 14 ½ x 8 ¼ in.). Spencer Museum of Art, University of Kansas, Lawrence.

Steve Goddard and Spencer Museum curator Kate Meyer during the Print Council of America conference in Lawrence, Kansas, 2019.

Albert Baertsoen (Belgian, 1866–1922). Huizen Spiegelend in Het Water (Houses Reflecting in Water), 1888–1922. Etching. Image: 37.2 x 35 cm.; sheet: 39.5 x 37.4 cm. Belgian Art Gallery.

Walter Vaes (Belgian, 1882–1958). Klok in de Kerktoren (Church Belltower), 1902–58. Etching. Sheet: 21.8 x 18 cm. Belgian Art Gallery.

Walter Vaes (Belgian, 1882–1958). Peculiar Insects, or, The German Invasion, 1916. Etching. Plate: 22 x 35 cm; sheet: 32 x 49 cm. Getty Research Institute, Los Angeles.

Sebald Beham (German, 1500–1550). Battle of Three Men, 1520–50. Engraving. Plate: 46 x 91 mm. National Gallery of Art, Washington, D.C.

Jasper Johns (American, born 1930). 0 through 9, 1960. Lithograph. Sheet: 69.9 x 54 cm (27 1/2 x 21 1/4 in.). Field 3. Printed by Robert Blackburn; published by Universal Limited Art Editions. National Gallery of Art, Washington, D.C.

Friedrich Wilhem Heinrich Hollstein, Karel Gerard Boon, Jan Verbeck, and Dieuwke de Hoop Scheffer, editors. Dutch and Flemish Etchings, Engravings, and Woodcuts, 1450–1700. Hollstein volumes 31 through 58. Robin Halwas Bookseller, London.

Timothy Riggs, expanded by Lauren Hewes and Nicole Simpson. The Print Council Index to Oeuvre-Catalogues of Prints by European and American Artists.

Print Council Oeuvre-Catalogues search results for Edouard Manet.

James McNeill Whistler catalogue raisonné, University of Glasgow.

Whistler impressions noted by collection. The Doorway, Glasgow 193.

Honoré Daumier Register records of all his works, including prints, paintings, sculptures, and drawings.

USEFUL LINKS

https://www.spencerart.ku.edu/collection

https://printcouncil.org/search/

https://etchings.arts.gla.ac.uk/

http://www.daumier-register.org/werklist.php?lingua=en&search=intro

In s2e27, hosts Ann Shafer and Tru Ludwig begin a two-part conversation about Claude Mellan, who engraved the most astonishing portrait of Jesus Christ in the history of art. In fact, if it weren't for his print of the Holy Face on the Sudarium, Mellan may have dropped out of sight. But, he is worth looking at. He brought something to portraiture that is worth noting: a humanity and tenderness that one might think impossible to capture in engraving.

Sir Anthony van Dyck (Flemish, 1599–1641). Self-Portrait (early state), from the series Iconography, 1628/41. Etching. Sheet (trimmed near platemark): 9 1/2 × 6 1/8 in. (24.1 × 15.6 cm). Metropolitan Museum of Art, New York.

Sir Anthony van Dyck (Flemish, 1599–1641). Self-Portrait, from the series Iconography, 1628/41. Etching and engraving. Plate: 9 5/8 × 6 3/16 in. (24.4 × 15.7 cm). National Gallery of Art, Washington, D.C.

Sir Anthony van Dyck (Flemish, 1599–1641). Lucas Vorsterman, from the series Iconography, 1628–32. Etching and engraving. Sheet (trimmed to platemark): 9 5/8 × 6 3/16 in. (24.4 × 15.7 cm). Museum of Fine Arts, Houston.

Giorgio Vasari (Italian, 1511–1574). Titlepage from Lives of the Artists (2nd edition), 1568.

Claude Mellan (French, 1598–1688). Self-Portrait, 1635. Engraving. Sheet: 9 x 6 1/4 in. (22.8 x 15.9 cm.); plate: 8 11/16 x 6 in. (22.1 x 15.3 cm.). Metropolitan Museum of Art, New York.

Claude Mellan (French, 1598–1688). Delilah Cutting Samson's Hair, 1618–88. Engraving. Sheet: 7 9/16 x 5 3/8 in. (19.2 x 13.7 cm.); plate: 6 5/8 x 4 1/2 in. (16.8 x 11.4 cm.). Metropolitan Museum of Art, New York.

Abraham Bosse (French, 1602/04–1676). Portrait of Jacques Callot, c. 1636. Etching with engraving. Sheet: 10 1/4 x 6 in. (26 x 15.3 cm.); plate: 9 3/4 x 5 1/2 in. (24.8 x 14 cm.). Metropolitan Museum of Art, New York.

Claude Mellan (French, 1598–1688). Theological Thesis of Antoine Talon, 1648. Etching. Sheet: 20 3/16 x 22 3/4 in. (51.2 x 57.8 cm.); plate: 19 1/2 x 22 1/16 in. (49.5 x 56 cm.). Metropolitan Museum of Art, New York.

Claude Mellan (French, 1598–1688). Samson and Delilah, late 1620s. Oil on canvas. 49 3/5 x 69 9/10 (126 x 177.5 cm.). Robilant+Veona, London.

Claude Mellan (French, 1598–1688), after Simon Vouet (French, 1590–1649). Charitas romana, after 1624. Engraving. Sheet (trimmed near platemark) : 374 x 286 mm. National Gallery, Prague.

Attributed to Simon Vouet (French, 1590–1649). Charitas romana, 1610–88. Oil on canvas. 95 x 73 cm. (37 3/8 x 28 ¾ in.) Artsy.

Simon Vouet (French, 1590–1649). Charitas romana, 1610–88. Oil on canvas. 80 x 63 cm. (31 3/8 x 28 ¾ in. National Museum, Warsaw.

Claude Mellan (French, 1598–1688). Girolamo Frescobaldi, 1619. Engraving. Sheet (trimmed within platemark): 13.1 x 9.9 cm. (5 3/16 x 3 7/8 in.). National Gallery of Art, Washington, D.C.

[DETAIL] Claude Mellan (French, 1598–1688). Girolamo Frescobaldi, 1619. Engraving. Sheet (trimmed within platemark): 13.1 x 9.9 cm. (5 3/16 x 3 7/8 in.). National Gallery of Art, Washington, D.C.

Claude Mellan (French, 1598–1688). Virginia de Vezzo, 1626. Engraving. Sheet (trimmed to platemark) : 250 x 95 mm. National Gallery, Prague.

[DETAIL] Claude Mellan (French, 1598–1688). Virginia de Vezzo, 1626. Engraving. Sheet (trimmed to platemark) : 250 x 95 mm. National Gallery, Prague.

Claude Mellan (French, 1598–1688). Louis XIV as a Child, 1618–1688. Engraving. Sheet (trimmed to platemark): 13 9/16 x 9 1/2 in. (34.5 x 24.2 cm.). Metropolitan Museum of Art, New York.

Claude Mellan (French, 1598–1688). Maddalena Corvina, 1636. Engraving. Plate: 11.7 x 8.5 cm. (4 5/8 x 3 3/8 in.); sheet: 12.8 x 9.9 cm. (5 1/16 x 3 7/8 in.). National Gallery of Art, Washington, D.C.

Claude Mellan (French, 1598–1688). Charles I de Crequi, Duke of Lesdiguières, 1633. Engraving. Sheet (trimmed within platemark): 24.5 x 18.9 cm. (9 5/8 x 7 7/16 in.). National Gallery of Art, Washington, D.C.

Claude Mellan (French, 1598–1688). Jean Perrault, 1652. Engraving. Sheet (trimmed within platemark): 13 9/16 x 9 7/16 in. (34.5 x 24 cm.). Metropolitan Museum of Art, New York.

Claude Mellan (French, 1598–1688). Henriette-Anne d'Angleterre, duchesse d'Orléans, after 1670. Engraving. Plate: 24.2 x 18.6 cm. (9 1/2 x 7 5/16 in.); sheet: 25.9 x 19.3 cm. (10 3/16 x 7 5/8 in.). National Gallery of Art, Washington, D.C.

Claude Mellan (French, 1598–1688). Henri-Louis Habert de Montmor, 1640. Engraving. Sheet: 13 9/16 x 9 3/16 in. (34.5 x 23.3 cm.). Metropolitan Museum of Art, New York.

Claude Mellan (French, 1598–1688). Raffaello Menicucci, 1618–1688. Engraving. Sheet: 5 7/8 x 4 1/8 in. (15 x 10.5 cm.); plate: 5 13/16 x 4 in. (14.7 x 10.1 cm.). Metropolitan Museum of Art, New York.

[DETAIL] Claude Mellan (French, 1598–1688). Raffaello Menicucci, 1618–1688. Engraving. Sheet: 5 7/8 x 4 1/8 in. (15 x 10.5 cm.); plate: 5 13/16 x 4 in. (14.7 x 10.1 cm.). Metropolitan Museum of Art, New York.

Claude Mellan (French, 1598–1688). Bust of the Adult Christ, 1652. Engraving. Sheet: 17 7/16 x 12 13/16 in. (44.3 x 32.5 cm.); plate: 17 3/16 x 12 1/2 in. (43.6 x 31.8 cm.). Metropolitan Museum of Art, New York.

USEFUL LINKS:

Sonia Del Re article on Mellan: https://www.gallery.ca/magazine/your-collection/a-familiar-face-unveiling-claude-mellan

Link to National Gallery of Prague' impression of Mellan's Virginia da Vezzo: https://sbirky.ngprague.cz/en/dielo/CZE:NG.R_181069/zoom

In Platemark s3e23, host Ann Shafer speaks with Kimberly Henrikson, Executive Director, Center for Contemporary Printmaking in Norwalk, CT. CCP offers myriad services from contract printing, to artist's residencies, classes, workshops, and exhibitions. It really does it all.

As CCP's executive director and administrator, Kimberly not only makes sure the lights are on, but also runs the budgets, raises funds, organizes programming, and curates exhibitions. Managing human resources and staffing, finance, marketing, programming, fundraising, as well as curatorial is no small feat. With a staff of four full time and three part time people, it's all hands on deck all the time. Small but mighty, CCP is a printmaking nexus in Connecticut.

Find out how she does it all while also acting as the president of the Print Club of New York.

Kimberly Henrikson. Center for Contemporary Printmaking, Norwalk, CT.

Main building with artist's residency cottage behind. Center for Contemporary Printmaking, Norwalk, CT. Photo: Norman Stewart.

Artist's residency studio. Center for Contemporary Printmaking, Norwalk, CT.

Monothon event at Center for Contemporary Printmaking, Norwalk, CT.

Claes Oldenburg (American, born Sweden, 1929–2022). Lipstick (Ascending) on Caterpillar Tracks, 1969 (reworked in 1974). Painted steel, aluminum, and fiberglass. 670.6 × 594.4 × 332.7 cm. (264 × 234 × 131 in.). Yale University Art Gallery, New Haven.

Didier William (American, born 1983). Vol, 2022. Letterpress printed relief from wood carving and polymer plate. 12 ½ x 19 in. Published by Print Club of New York.

Rowayton Elementary School visits Center for Contemporary Printmaking, Norwalk, CT.

Linda Herritt: Patterned Prose. December 11, 2022-February 19, 2023. Center for Contemporary Printmaking, Norwalk, CT.

Linda Herritt (American, born 1950). Auspicious Omen, 2022. Monotype and screenprint. Courtesy the artist and Center for Contemporary Printmaking.

Shop Swap: Center for Contemporary Printmaking Exchange with East London Printmakers. Center for Contemporary Printmaking, Norwalk, CT. June 5–August 28, 2022.

Installation shot of Text Messages curated by Kimberly Henrikson. Center for Contemporary Printmaking, Norwalk, CT. September 11–October 30, 2022.

Installation shot of Text Messages curated by Kimberly Henrikson. Center for Contemporary Printmaking, Norwalk, CT. September 11–October 30, 2022.

Zine/brochure for the exhibition Text Messages curated by Kimberly Henrikson. Center for Contemporary Printmaking, Norwalk, CT. September 11–October 30, 2022.

Judy Pfaff (American, born England, 1946). Yukata A, 2016. Woodcut printed in green. 15 x 60 in. Published by Print Club of New York. Printed by Jason Ruhl at Tandem Press.

Judy Pfaff (American, born England, 1946). Yukata B, 2016. Woodcut printed in blue. 15 x 60 in. Published by Print Club of New York. Printed by Jason Ruhl at Tandem Press.

Faith Ringgold (American, born 1930). Here Comes Moses, 2014. Screenprint. 22 ½ x 30 in. (57.2 x 76.2 cm.). Published by Print Club of New York. Printed by Curlee Raven Holton, Experimental Printmaking Institute at Lafayette College.

USEFUL LINKS

https://contemprints.org/

https://printclubofnewyork.org/about-print-club-of-new-york/

In s2e26, hosts Ann Shafer and Tru Ludwig conclude their conversation about Jacques Callot, where there is always more than meets the eye. He's of interest for many reasons, including his practice of making faster-to-create etchings look like more-time-consuming engravings using his éschoppe. He is the first printmaker in Western art to record the atrocities of war. He heads up any list of artists in the history of prints using them to spread news far and wide about societal ills through visual means.

He created some 1,400 prints in his career (no paintings!) and made some of the most remarkable and smallest prints ever. This is the second half of the conversation. If you skipped Platemark s2e25, you might go back and listen to it before starting this one.

Episode image: Jacques Callot (French, 1592–1635). Frontispiece from the series The Beggars, c. 1623. Etching. Sheet (trimmed near platemark): 5 7/16 x 3 7/16 in. (13.8 x 8.8 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Balli di Sfessania, c. 1622. Series of 24 etchings. Sheet (each, trimmed near platemark): 2 15/16 × 3 3/4 in. (7.5 × 9.6 cm.). Dorotheum.

Jacques Callot (French, 1592–1635). Cap. Cerimonia – Sig. Lauvinia from Balli di Sfessania, c. 1622. Etching. Sheet (trimmed near platemark): 2 15/16 × 3 3/4 in. (7.5 × 9.6 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Cap. Cardoni – Maramao from Balli di Sfessania, c. 1622. Etching. Sheet (trimmed near platemark): 2 15/16 × 3 3/4 in. (7.5 × 9.6 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Smaraolo cornuto – Rarsa di Boio from Balli di Sfessania, c. 1622. Etching. Sheet (trimmed near platemark): 2 15/16 × 3 3/4 in. (7.5 × 9.6 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Taglia Cantoni – Fracasso from Balli di Sfessania, c. 1622. Etching. Sheet (trimmed near platemark): 2 15/16 × 3 3/4 in. (7.5 × 9.6 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Sig. Lucia – Trastullo from Balli di Sfessania, c. 1622. Etching. Sheet (trimmed near platemark): 2 15/16 × 3 3/4 in. (7.5 × 9.6 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Razullo – Cucurucu from Balli di Sfessania, c. 1622. Etching. Sheet (trimmed near platemark): 2 15/16 × 3 3/4 in. (7.5 × 9.6 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Frontispiece from Balli di Sfessania, c. 1622. Etching. Sheet (trimmed near platemark): 2 15/16 × 3 3/4 in. (7.5 × 9.6 cm.). Metropolitan Museum of Art, New York.

Francisco Goya (Spanish, 1746–1828). Plate 58 from Los Caprichos : Swallow it, dog (Tragala perro), 1799. Etching, aquatint, and drypoint. Plate: 8 7/16 × 5 15/16 in. (21.5 × 15.1 cm); sheet: 11 5/8 x 8 1/4 in. (29.5 x 20.9 cm.). Metropolitan Museum of Art, New York.

Diego Velázquez (Spanish, 1599–1660). Las Meninas, 1656. Oil on canvas. 10' 5" x 9' 5" in. Museo del Prado, Madrid.

Jacques Callot (French, 1592–1635). Frontispiece from the series The Beggars, c. 1623. Etching. Sheet (trimmed near platemark): 5 7/16 x 3 7/16 in. (13.8 x 8.8 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). The Beggar with Crutches and Pouch from the series The Beggars, c. 1623. Etching. Sheet: 5 9/16 x 3 9/16 in. (14.2 x 9 cm.); plate: 5 7/16 x 3 7/16 in. (13.8 x 8.7 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). The Old Woman with Cats from the series The Beggars, c. 1623. Etching. Sheet (trimmed near platemark): 5 7/16 x 3 7/16 in. (13.8 x 8.8 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). The Sickly Man from the series The Beggars, c. 1623. Etching. Sheet (trimmed near platemark): 5 7/16 x 3 1/2 in. (13.8 x 8.9 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). The Beggar with Rosary from the series The Beggars, c. 1623. Etching. Sheet: 5 9/16 x 3 9/16 in. (14.2 x 9 cm.); plate: 5 7/16 x 3 7/16 in. (13.8 x 8.8 cm.). Metropolitan Museum of Art, New York.

Rembrandt (Dutch, 1606–1669). Beggars Receiving Alms at the Door of a House, 1648. Etching, engraving, and drypoint. Sheet (trimmed to platemark): 6 5/8 × 4 1/2 in. (16.8 × 11.5 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Frontispiece from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 1/2 x 8 9/16 in. (11.5 x 21.7 cm.); plate: 3 9/16 x 7 1/2 in. (9 x 19.1 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Plate two: The Enlistment of Troops from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 3/16 x 8 3/8 in. (10.6 x 21.2 cm.); plate: 3 1/4 x 7 3/8 in. (8.2 x 18.7 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Plate three: The Battle from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 3/16 x 8 3/8 in. (10.6 x 21.2 cm.); plate: 3 1/4 x 7 3/8 in. (8.2 x 18.7 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Plate four: Pilfering from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet (trimmed near platemark): 2 15/16 x 7 3/8 in. (7.5 x 18.7 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Plate five : The Looting of a Farm from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 3/16 x 8 1/4 in. (10.6 x 21 cm.); plate: 3 1/4 x 7 3/8 in. (8.2 x 18.7 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Plate six: Devastation of a Monastery from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 1/8 x 8 1/4 in. (10.5 x 21 cm.); plate: 3 1/4 x 7 5/16 in. (8.2 x 18.6 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Plate seven: A town being sacked with church in background from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet (trimmed near platemark): 2 15/16 x 7 3/8 in. (7.5 x 18.7 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Plate eight: The Attack of the Stagecoach from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 1/8 x 8 1/4 in. (10.5 x 21 cm.); plate: 3 1/4 x 7 5/16 in. (8.2 x 18.6 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Plate nine: The Discovery of the Criminals from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 1/8 x 8 1/4 in. (10.5 x 21 cm.); plate: 3 1/4 x 7 5/16 in. (8.2 x 18.6 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Plate ten: The Strappado from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 3/16 x 8 7/16 in. (10.7 x 21.5 cm.); plate: 3 1/4 x 7 9/16 in. (8.2 x 19.2 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Plate eleven: The Hanging from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 1/8 x 8 1/4 in. (10.5 x 21 cm.); plate: 3 1/4 x 7 5/16 in. (8.2 x 18.6 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Plate twelve: The Firing Squad from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 3/8 x 8 3/8 in. (11.1 x 21.3 cm.); plate: 3 1/4 x 7 5/16 in. (8.2 x 18.6 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Plate thirteen: The Pyre from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 3 5/8 x 7 3/4 in. (9.2 x 19.7 cm.); plate: 3 1/4 x 7 3/8 in. (8.2 x 18.8 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Plate fourteen: Execution on the Wheel from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 3 5/8 x 7 3/4 in. (9.2 x 19.7 cm.); plate: 3 1/4 x 7 3/8 in. (8.2 x 18.8 cm.). Cleveland Museum of Art, Cleveland.

Jacques Callot (French, 1592–1635). Plate fifteen: The Hospital from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 3 5/8 x 7 3/4 in. (9.2 x 19.7 cm.); plate: 3 1/4 x 7 3/8 in. (8.2 x 18.8 cm.). Cleveland Museum of Art, Cleveland.

Jacques Callot (French, 1592–1635). Plate sixteen: The Beggars and the Dying from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 3 5/8 x 7 3/4 in. (9.2 x 19.7 cm.); plate: 3 1/4 x 7 3/8 in. (8.2 x 18.8 cm.). Cleveland Museum of Art, Cleveland.

Jacques Callot (French, 1592–1635). Plate seventeen: Peasants' Revenge from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 3 5/8 x 7 3/4 in. (9.2 x 19.7 cm.); plate: 3 1/4 x 7 3/8 in. (8.2 x 18.8 cm.). Cleveland Museum of Art, Cleveland.

Jacques Callot (French, 1592–1635). Plate eighteen: Distribution of Recompense from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 3 5/8 x 7 3/4 in. (9.2 x 19.7 cm.); plate: 3 1/4 x 7 3/8 in. (8.2 x 18.8 cm.). Cleveland Museum of Art, Cleveland.

Peter Paul Rubens (Flemish, 1577–1640). The Consequences of War, 1637–38. Oil on canvas mounted to panel. 206 x 342 cm. (81 x 134 ½ in.). Palazzo Pitti, Florence.

Diego Velasquez (Spanish, 1599–1660). Surrender of Breda, 1634–35. Oil on canvas. 307 x 367 cm. (121 x 144 in.) Museo del Prado, Madrid.

Jacques Callot (French, 1592–1635). The Little Miseries of War, 1636. Set of seven etchings. Sheet (each): 2 5/16 x 4 5/8 in. (5.9 x 11.8 cm); plate: 2 3/16 x 4 9/16 in. (5.6 x 11.6 cm.). Metropolitan Museum of Art, New York.

Pablo Picasso (Spanish, 1881–1973). The Dream and Lie of Franco I and II, 1937. Two etchings with lift ground aquatint. Plate (each): 12 7/16 x 16 9/16 in. (31.6 x 42.1 cm.); sheet (each): 15 3/16 x 22 1/2 in. (38.6 x 57.2 cm.). Metropolitan Museum of Art, New York.

Pablo Picasso (Spanish, 1881–1973). Guernica, 1937. Oil on canvas. 11 ft. 6 in. x 25 ft. 6 in. Museo Nacional Centro de Arte Reina Sofia, Madrid.

Jacques Callot (French, 1592–1635). The Temptation of Saint Anthony, 1635. Etching. Sheet (trimmed to platemark): 35.6 x 46.6 cm. (14 1/19 x 18 3/8 in.). Art Institute of Chicago, Chicago.

Martin Schongauer (German, c. 1435/50–1491). Saint Anthony Tormented by Demons, c. 1470–75. Engraving. Sheet: 30 x 21.8 cm (11 13/16 x 8 9/16 in). Metropolitan Museum of Art, New York.

Pieter van der Heyden (Netherlandish, c. 1525–1569) after Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Temptation of St. Anthony, 1556. Engraving. Sheet (trimmed to platemark): 10 5/16 x 13 3/8 in. (26.2 x 33.9 cm). Metropolitan Museum of Art, New York.

[DETAIL] Jacques Callot (French, 1592–1635). The Temptation of Saint Anthony, 1635. Etching. Sheet (trimmed to platemark): 35.6 x 46.6 cm. (14 1/19 x 18 3/8 in.). Art Institute of Chicago, Chicago.

[DETAIL] Jacques Callot (French, 1592–1635). The Temptation of Saint Anthony, 1635. Etching. Sheet (trimmed to platemark): 35.6 x 46.6 cm. (14 1/19 x 18 3/8 in.). Art Institute of Chicago, Chicago.

[DETAIL] Jacques Callot (French, 1592–1635). The Temptation of Saint Anthony, 1635. Etching. Sheet (trimmed to platemark): 35.6 x 46.6 cm. (14 1/19 x 18 3/8 in.). Art Institute of Chicago, Chicago.

[DETAIL] Jacques Callot (French, 1592–1635). The Temptation of Saint Anthony, 1635. Etching. Sheet (trimmed to platemark): 35.6 x 46.6 cm. (14 1/19 x 18 3/8 in.). Art Institute of Chicago, Chicago.

[DETAIL] Jacques Callot (French, 1592–1635). The Temptation of Saint Anthony, 1635. Etching. Sheet (trimmed to platemark): 35.6 x 46.6 cm. (14 1/19 x 18 3/8 in.). Art Institute of Chicago, Chicago.

Jacques Callot (French, 1592–1635). The Temptation of Saint Anthony, 1617. Etching. Sheet (trimmed to platemark): 37 x 49.3 cm. (14 9/16 x 19 7/16 in.). Princeton University Art Museum, Princeton.

Sandow Birk (American, born 1962). The Depravities of War, 2006–07. Series of 15 woodcuts. Each : 48 x 96 in. Hui Press, Makawao, Hawaii.

Abraham Bosse (French, 1602/04–1676). Portrait of Jacques Callot, c. 1636. Etching with engraving. Sheet: 10 1/4 x 6 in. (26 x 15.3 cm.); plate: 9 3/4 x 5 1/2 in. (24.8 x 14 cm.). Metropolitan Museum of Art, New York.

Tru Ludwig (American, born 1959). TapHistory (Repeated), 2005. 4-plate etching. 29 ½ x 76 ½. The Purple Crayon Press, Baltimore.

USEFUL LINKS

https://www.annshafer.com/annshaferblog/tru-ludwig-taphistory-repeated

www.thepurplecrayonpress.com

In Platemark s3e22, host Ann Shafer talks with Laura Einstein, manager of the Gallery at the Met Store. Tucked away on the mezzanine of the bookstore at the Metropolitan Museum of Art is a gallery space where limited edition, fine art prints are available for purchase. The Gallery (formerly known as the Mezzanine Gallery) has been a somewhat hidden gem at the Met since opening in the 1970s. Really affordable, wonderful prints are selected by Laura who always has time to talk shop with artist, buyers, students, and scholars. Make it a must-see on your next visit to the Met. Best to make an appointment to be sure Laura is available.

In s2e25, hosts Ann Shafer and Tru Ludwig take an in-depth look at Jacques Callot, who is the first printmaker in Western art to record the atrocities of war. He heads up any list of artists using prints to spread news far and wide about societal ills through visual means. He created some 1,400 prints in his career (no paintings !) and made some of the most remarkable and smallest prints ever. This is a first half of a longer conversation. Stay tuned for part two.

Episode image: [DETAIL] Jacques Callot (French, 1592–1635). The Fan, 1619. Etching and engraving. Sheet (trimmed near platemark): 44.3 x 33.9 cm. (17 3/8 x 13 3/8 in.). National Gallery of Art, Washington, D.C.

Peter Paul Rubens' portraits of Marie de' Medici (1622–24) in the Richelieu wing of the Louvre. By Ivo Jansch - Flickr, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=7920324

Francisco Goya (Spanish, 1746–1828). Saturn Devouring His Son, c. 1819–23. Mixed media mural transferred to canvas. 143.5 x 81.4 cm. (56 ½ x 32 in.). Museum del Prado, Madrid.

Anthony van Dyck (1599–1641). Jacobus Callot, c. late 1600s–early 1700s. Engraving. Sheet (trimmed within platemark): 23.5 x 16.2 cm (9 ¼ x 6 3/8 in.). Masterworks Fine Art, Palo Alto, CA.

Christoffel Jegher (Flemish, 1596–1652/53) after Peter Paul Rubens (Flemish, 1577–1640). Hercules Triumphant over Discord, 1633–34. Woodcut. Sheet: 23 3/4 x 14 7/16 in. (60.33 x 36.67 cm.). Minneapolis Institute of Art, Minneapolis.

Niccolò della Casa (French, active Italy, c. 1543–48). Portrait of Cosimo de' Medici in full armor, 1544. Engraving. Sheet: 17 1/8 in. × 12 in. (435 × 305 mm.); plate: 16 13/16 × 11 9/16 in. (427 × 294 mm.). Metropolitan Museum of Art, New York.

Laocoön and His Sons, c. 200 BCE–70 CE. Marble. 208 × 163 × 112 cm. (6' 10 » × 5' 4 » × 3' 8 »). Vatican Museums, Vatican City.

Peter Paul Rubens (Flemish, 1577–1640). The Garden of Love, 1630–35. Oil on canvas. 199 x 286 cm. Museo del Prado, Madrid.

Peter Paul Rubens (Flemish, 1577–1640). The Consequences of War, 1637–38. Oil on canvas mounted to panel. 206 x 342 cm. (81 x 134 ½ in.). Palazzo Pitti, Florence.

Sir Anthony van Dyck (Flemish, 1599–1641). Lucas Vorsterman, from the series Iconography, 1628–32. Etching and engraving. Sheet (trimmed to platemark): 9 5/8 × 6 3/16 in. (24.4 × 15.7 cm). Museum of Fine Arts, Houston.

Compare engraving and etching

Eschoppe tool with ovoid tip. Photo: London Fine Art Studio.

Jacques Callot (French, 1592–1635). The Fan, 1619. Etching and engraving. Sheet (trimmed near platemark): 44.3 x 33.9 cm. (17 3/8 x 13 3/8 in.). National Gallery of Art, Washington, D.C.

[DETAIL] Jacques Callot (French, 1592–1635). The Fan, 1619. Etching and engraving. Sheet (trimmed near platemark): 44.3 x 33.9 cm. (17 3/8 x 13 3/8 in.). National Gallery of Art, Washington, D.C.

[DETAIL] Jacques Callot (French, 1592–1635). The Fan, 1619. Etching and engraving. Sheet (trimmed near platemark): 44.3 x 33.9 cm. (17 3/8 x 13 3/8 in.). National Gallery of Art, Washington, D.C.

[DETAIL] Jacques Callot (French, 1592–1635). The Fan, 1619. Etching and engraving. Sheet (trimmed near platemark): 44.3 x 33.9 cm. (17 3/8 x 13 3/8 in.). National Gallery of Art, Washington, D.C.

ZOOM IN https://www.nga.gov/collection/art-object-page.51537.html

[DETAIL] Rembrandt (Dutch, 1606–1669). Presentation in the Temple, c. 1640. Etching and drypoint. Sheet: 218 × 296 mm. (8 9/16 × 11 5/8 in.); plate: 213 × 290 mm. (8 3/8 × 11 7/16 in.). Baltimore Museum of Art, Baltimore.

Jacques Callot (French, 1592–1635). Noble Coats of Arms, c. 1612–35. Etching. Sheet: 302 x 227 mm. (11 9/10 x 8 9/10 in. Artsy.

Jacques Callot (French, 1592–1635). The Fair at Impruneta, after 1619. Etching. Sheet (trimmed near platemark): 418 x 670 mm. Bibliothèque Nationale, Paris.

[DETAIL] Jacques Callot (French, 1592–1635). The Fair at Impruneta, after 1619. Etching. Sheet (trimmed near platemark): 418 x 670 mm. Bibliothèque Nationale, Paris.

[DETAIL] Jacques Callot (French, 1592–1635). The Fair at Impruneta, after 1619. Etching. Sheet (trimmed near platemark): 418 x 670 mm. Bibliothèque Nationale, Paris.

[DETAIL] Jacques Callot (French, 1592–1635). The Fair at Impruneta, after 1619. Etching. Sheet (trimmed near platemark): 418 x 670 mm. Bibliothèque Nationale, Paris.

[DETAIL] Jacques Callot (French, 1592–1635). The Fair at Impruneta, after 1619. Etching. Sheet (trimmed near platemark): 418 x 670 mm. Bibliothèque Nationale, Paris.

Rembrandt (Dutch, 1606–1669). The Three Trees, 1643. Etching, engraving, and drypoint. Plate: 8 3/8 x 10 15/16 in. (21.3 x 27.8 cm.); sheet: 8 3/8 x 11 1/8 in. (21.3 x 28.3 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Varie figure gobbi, c. 1621–25. Series of 21 etchings. Plate (each): 2 3/8 x 3 3/8 in. (6 x 8.5 cm.). Stanza del Borgo.

Jacques Callot (French, 1592–1635). Title page from Varie figure gobbi, c. 1621–25. Etching. Plate: 2 3/8 x 3 3/8 in. (6 x 8.5 cm.); sheet: 3 1/16 x 4 1/8 in. (7.7 x 10.4 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Small Male Figure in feathered cap with upraised hand holding cup from Varie figure gobbi, c. 1621–25. Etching. Plate: 2 3/8 x 3 3/8 in. (6 x 8.5 cm.); sheet: 3 1/16 x 4 1/8 in. (7.7 x 10.4 cm.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Small Male Figure in feathered hat with walking stick from Varie figure gobbi, c. 1621–25. Etching. Plate: 2 1/2 x 3 3/8 in. (6.3 x 8.5 cm.); sheet: 3 3/4 x 5 3/8 in. (9.6 x 13.7 cm.). Metropolitan Museum of Art, New York.

In Platemark s3e21, host Ann Shafer talks with Pam Paulson, founder of Paulson Fontaine Press, Berkeley, California. After earning her MFA in painting from the San Francisco Art Institute in 1982 (she was a teaching assistant for Robert Colescott), Pam cut her teeth in printmaking at Crown Point Press in downtown San Francisco. There she worked with luminaries such as John Cage and Richard Diebenkorn.

In 1996, she started publishing prints as Paulson Press. She and Renée Bott joined forces as Paulson Bott Press, and following Renée's retirement in 2016, Pam is joined by Rhea Fontaine precipitating the change in name to Paulson Fontaine Press. The Press works with a fabulous array of artists and specializes in intaglio printmaking.

Our conversation focuses on some of the intriguing projects Pam has worked on over the years, leading off with projects at Crown Point with artist John Cage during which the press was set on fire (on purpose).

Episode image: Alex Wein

Pam Paulson and Rhea Fontaine at Paulson Fontaine Press.

John Cage. Dramatic Fire, 1989. Aquatint on smoked paper. Sheet: 18 ¼ x 23 inches. Published by Crown Point Press and printed by Pam Paulson.

Richard Diebenkorn. High Green Version I, 1992. Color spit bite and soap ground aquatint with hardground etching and drypoint. Plate: 39 ¾ x 22 ¾ in.; sheet: 52 ¾ x 33 ¾ in. Crown Point Press, San Francisco.

Caio Fonseca. Three String Etching Giallo, 2006. Color aquatint, spit bite aquatint, soap ground, sugar lift, and softground etching. Sheet: 39 x 50 in. Paulson Fontaine Press. Berkeley.

Gary Simmons. Double Swing Hallway, 2012. Color aquatint etching. Sheet (each of 6 panels): 19 ½ x 25 in. Paulson Fontaine Press. Berkeley.

Gary Simmons working on Double Swing Hallway, 2012, at Paulson Fontaine Press.

Caroline Kent. The Charlatan's Sleight of Hand; Forest and Shadow; We Hold Them Inside Us; A Poem About the Cosmos, 2022. Set of four color aquatints with sugar lift, spit bite, and softground etching. Sheet (each): 50 ½ x 36 in. Paulson Fontaine Press. Berkeley.

Judy Pfaff. Six of One–Las Margaritas, 1987. Color Woodcut. Sheet: 41 x 69 in. Crown Point Press, San Francisco.

Squeak Carnwath. Medicine, 2011. Color aquatint etching. 37 x 36 in. Paulson Fontaine Press, Berkeley.

Louisiana Bendolph. As I Leave Shall I Return, 2013. Color aquatint and softground etching. Plate: 34 x 26 1/5 in. Paulson Fontaine Press, Berkeley.

Woody De Othello. Steppin Through the Night, 2021. Color softground and aquatint etching. Sheet: 43 ½ x 37 in. Paulson Fontaine Press, Berkeley.

Chris Johanson. Abstract Art with Cosmic Narrative, 2014. Color sugar list, soap ground, spit bite aquatint with hardground etching and drypoint. Sheet: 40 x 44 in. Paulson Fontaine Press, Berkeley.

Martin Puryear. Untitled (State II), 2014. Color softground etching with drypoint and chine collé. Sheet: 35 x 28 in. Paulson Fontaine Press, Berkeley.

Tauba Auerbach. Plate Distortion II, 2011. Color aquatint etching. Sheet: 44 x 33 ½ in. Paulson Fontaine Press, Berkeley.

Sam Levi Jones. Water and Air, 2018. Color flatbite and aquatint etching. 65 ½ x 65 ½ in. Paulson Fontaine Press, Berkeley.

Charles Gaines. Numbers and Trees, Tiergarten Series 3: Tree #6, 2018. Color aquatint and spit bite aquatint etching with printed acrylic box. 41 ¼ x 32 x 3 in. Paulson Fontaine Press, Berkeley.

Charles Gaines. Numbers and Trees: Palm Canyon, Palm Trees Series 4, Tree #1–#4, 2021. Set of four color aquatint and spit bite aquatint etchings and chine collé with printed acrylic boxes. Each: 62 x 35 x 3 ½ in. Paulson Fontaine Press, Berkeley.

Alicia McCarthy. ZAPCRLM, 2021. Color aquatint. Plate: 51 x 51 in.; sheet: 57 ½ x 57 in. Paulson Fontaine Press, Berkeley.

Alicia McCarthy and printer Z Groshong working at Paulson Fontaine Press.

Chris Brown. Arrival, 2010. Color spit bite aquatint, aquatint, and softground etching. Sheet: 33 x 45 in. Paulson Fontaine Press, Berkeley.

Kerry James Marshall. Untitled (Handsome Young Man), 2010. Hardground etching with aquatint. Plate: 16 x 12 in.; sheet: 24 ½ x 19 in. Paulson Fontaine Press, Berkeley.

Tauba Auerbach. Plate Distortion III, 2011. Color aquatint etching. Sheet: 44 x 33 ½ in. Paulson Fontaine Press, Berkeley.

Tauba Auerbach working at Paulson Fontaine Press.

https://paulsonfontainepress.com/

In Platemark s3e20, host Ann Shafer talks with Kimberli Gant, curator of Modern and Contemporary Art at the Brooklyn Museum. While Kimberli's specialty isn't in prints per se, she is one of those unusual non-print curators who likes and appreciates prints and incorporates them into her projects.

Among many projects, her work on Jacob Lawrence and his time in Nigeria led to the exhibition, Black Orpheus: Jacob Lawrence and the Mbari Club, which traveled to the Chrysler Museum, the New Orleans Museum of Art, and the Toledo Museum of Art, and unlocks an area of Lawrence's oeuvre that has been overlooked. If you missed the exhibition, Kimberli's beautiful catalogue is worth acquiring.

Episode image: Andar Sawyers

Judy Chicago (American, born 1939). The Dinner Party, 1979. Mixed media. Brooklyn Museum, New York.

Faith Ringgold (American, born 1930). Woman on a Bridge #1 of 5: Tar Beach, 1988. Acrylic paint, canvas, printed fabric, ink, and thread. 74 5/8 x 68 ½ in. Solomon R. Guggenheim Museum, New York.

Sandro Botticelli (Italian, c. 1445–1510). The Birth of Venus, 1485–86. Tempera. Galleria degli Uffizi, Florence.

Jan van Eyck (Netherlandish, 1390–1441). Arnolfini Portrait, 1434. Oil on wood. 32 x 24 in. National Gallery, London.

Jacob Lawrence (American, 1917–2000). The Migration Series, Panel No. 23: The Migration Spread, 1940–41. Casein tempera on hardboard. 12 x 18 in. (30.5 x 45.7 cm. Phillips Collection, Washington, D.C.

Black Orpheus No. 7, literary magazine, June 1960. British Library, London.

https://chrysler.org/exhibition/jacob-lawrence/

Platemark s2e24 concludes hosts Ann Shafer and Tru Ludwig's conversation on reproductive prints. The stars of this episode are Hendrick Goltzius and Peter Paul Rubens. It's about the business of prints, artists getting their designs out there, and how these very transportable pieces of paper travelled throughout Europe and became catalogues of images for artists. Paper museums, if you will.

Once again, for clarity, a reproductive print is one in which an artist creates a design (a drawing, painting, sculpture) and another artist creates a print after that original design. These can be sanctioned by the first artist or not or they can occur long after the first artist's death. It is customary to acknowledge all the artists in the strip of lettering at the bottom of the print (called the address). This way credit is given where due. Over time, reproductive prints became quite formulaic and staid—wait until we get to the early-nineteenth century. When photography was developed in the 1830s, it wasn't long before there was little need for the reproductive print. But without them, there is virtually no history of prints in the West.

Episode image: Christoffel Jegher (Flemish, 1596–1652/53) after Peter Paul Rubens (Flemish, 1577–1640). Hercules Triumphant over Discord, 1633–34. Woodcut. Sheet: 23 3/4 x 14 7/16 in. (60.33 x 36.67 cm.). Minneapolis Institute of Art, Minneapolis.

Hans Sebald Beham (German, 1500–1550). The Large Village Fair, 1535. Woodcut from four blocks. Sheet: 36.7 × 114.9 cm. (14 1/2 × 45 1/4 in.). Metropolitan Museum of Art, New York.

Johann Theodor de Bry (Netherlandish, 1561–1623) after Hans Sebald Beham (German, 1500–1550). Little Village Fair, 1588–1623. Engraving. Sheet: 109 x 281 mm. Rijksmuseum, Amsterdam.

Jasper Isaac (French, active 1585–1654) after Hans Sebald Beham (German, 1500–1550). The Village Fair, 1620–1640. Engraving. Sheet: 154 x 403 mm. British Museum, London.

Albrecht Dürer (German, 1471–1528). Agony in the Garden, 1515. Etching. Sheet: 9 3/16 × 6 9/16 in. (234 × 166 mm.). Metropolitan Museum of Art, New York.

Parmigianino (Italian, 1503–1540). Entombment, c. 1527–30. Etching. Sheet: 13 1/16 x 9 7/16 in. (332 x 240 mm.). Metropolitan Museum of Art, New York.

Federico Barocci (Italian, 1528–1612). The Stigmatization of Saint Francis, c. 1575. Etching, engraving, and drypoint. Sheet (trimmed to platemark): 228 x 145 mm. Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco.

Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Etching and engraving. Sheet (trimmed within platemark): 17 3/8 × 12 5/16 in. (441 × 312 mm.). Metropolitan Museum of Art, New York.

Pieter van der Heyden (Netherlandish, c. 1525–1569), after Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Big Fish East Little Fish, 1557. Engraving. Sheet (trimmed to platemark): 9 x 11 5/8 in. (22.9 x 29.6 cm.). Metropolitan Museum of Art, New York.

Martin Schongauer (German, c. 1435/50–1491). Saint Anthony Tormented by Demons, c. 1470–75. Engraving. Sheet: 30 x 21.8 cm (11 13/16 x 8 9/16 in). Metropolitan Museum of Art, New York.

Hieronymus Bosch (Netherlandish, 1450–1516). The Garden of Earthly Delights, 1490–1500. Oil on wood (triptych). Overall: 328.2 x 185.8 cm. Museo del Prado, Madrid.

Philips Galle (Netherlandish, 1537–1612), after Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Justice, from the series The Seven Virtues, 1559–60. Engraving. Sheet: 10 1/4 x 13 3/16 in. (26 x 33.5 cm); plate: 8 7/8 x 11 7/16 in. (22.5 x 29 cm). Metropolitan Museum of Art, New York.

Pieter van der Heyden (Netherlandish, c. 1525–1569), after Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Lust, from the series The Seven Deadly Sins, 1558. Engraving. Sheet (trimmed to platemark): 8 7/8 x 11 11/16 in. (22.6 x 29.7 cm.). National Gallery of Art, Washington, D.C.

Titian (Venetian, 1488/1490–1576). The Submersion of Pharaoh's Army in the Red Sea, 1514–15, printed 1549. Twelve woodcuts joined. 40 x 55 cm (15 3/4 x 21 5/8 in.). Cleveland Museum of Art, Cleveland.

Cornelis Cort (Netherlandish, c. 1533–1578), after Titian (Italian, c. 1485/90–1576). Martyrdom of St. Lawrence, 1571. Engraving. Sheet: 19 13/16 x 13 3/4 in. (50.3 x 34.9 cm.). Metropolitan Museum of Art, New York.

Hendrick Goltzius (Dutch, 1558–1617), after Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Ixion, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 5/8 x 13 7/16 in. (34.6 x 34.1 cm). Metropolitan Museum of Art, New York.

Hendrick Goltzius (Dutch, 1558–1617), after Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Icarus, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 7/16 x 13 1/4 in. (34.2 x 33.7 cm). Metropolitan Museum of Art, New York.

Hendrick Goltzius (Dutch, 1558–1617), after Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Phaeton, from the series The Four Disgracers, 1588. Engraving. Sheet: 335 x 335 mm (13 3/16 x 13 3/16 in.). Metropolitan Museum of Art, New York.

Hendrick Goltzius (Dutch, 1558–1617), after Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Tantalus, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 1/4 x 13 1/4 in. (33.6 x 33.6 cm). Metropolitan Museum of Art, New York.

Hendrick Goltzius (Dutch, 1558–1617). Farnese Hercules, 1617. Engraving. Sheet (trimmed to platemark): 16 9/16 x 11 15/16 in. (421 x 304 mm.). Metropolitan Museum of Art, New York.

Hendrick Goltzius (Dutch, 1558–1617). The Great Hercules, 1589. Engraving. Sheet (trimmed to platemark): 21 7/8 x 15 7/8 in. (555 x 404 mm.). Metropolitan Museum of Art, New York.

Hendrick Goltzius (Dutch, 1558–1617). The Circumcision, from the series The Birth and Early Life of Christ, 1594. Engraving. Plate: 18 1/4 x 13 13/16 in. (464 x 351 mm.). Metropolitan Museum of Art, New York.

Albrecht Dürer (German, 1471–1528). The Circumcision, from the series The Life of the Virgin, c. 1504. Woodcut. Sheet: 17 3/16 x 11 15/16 in. (437 x 303 mm.); image: 11 11/16 x 8 1/8 in. (297 x 206 mm.). Metropolitan Museum of Art, New York.

Hendrick Goltzius (Dutch, 1558–1617). Pietà, 1596. Engraving. Sheet: 7 1/8 x 5 3/16 in. (181 x 131 mm.). Metropolitan Museum of Art, New York.

Michelangelo (Italian, 1475–1564). Pietà, 1498–99. Marble. 174 × 195 cm (68.5 × 76.8 in). St. Peter's Basilica, Vatican City.

Albrecht Dürer (German, 1471–1528). The Virgin with the Swaddled Child, 1520. Engraving. 14.2 × 9.6 cm. (5 9/16 × 3 ¾ in.). Yale University Art Gallery, New Haven.

Hendrick Goltzius (Dutch, 1558–1617), after Bartholomaeus Spranger (Netherlandish, 1546–1611). Judith with the Head of Holofernes, c. 1585. Engraving. Tondo: 6 11/16 in. Metropolitan Museum of Art, New York.

Aegidius Sadeler II (Netherlandish, 1568–1629) after Adriaen de Vries (Netherlandish, c. 1545–1629). Portrait of Emperor Rudolph II on Horseback, 1586–1629. Engraving. Sheet: 19 15/16 × 15 1/2 in. (50.7 × 39.3 cm.); plate: 19 3/8 × 15 in. (49.2 × 38.1 cm.). Metropolitan Museum of Art, New York.

Aegidius Sadeler II (Netherlandish, 1568–1629), after Bartholomaeus Spranger (Netherlandish, 1546–1611). Portrait of Bartholomeus Spranger with an Allegory on the Death of his Wife, Christina Muller, 1600. Engraving. Sheet: 11 3/4 x 16 9/16 in. (29.9 x 42.1 cm). Metropolitan Museum of Art, New York.

Hendrick Goltzius (Dutch, 1558–1617), after Bartholomaeus Spranger (Netherlandish, 1546–1611). The Feast of the Gods at the Marriage of Cupid and Psyche, 1587. Engraving from three plates. Sheet: 16 15/16 x 33 5/8in. (43 x 85.4 cm.). Metropolitan Museum of Art, New York.

Peter Paul Rubens (Flemish, 1577–1640). The Descent from the Cross, 1612–14. Oil on panel. 420.5 × 320 cm. (165.6 × 130 in.). Cathedral of Our Lady, Antwerp.

Gian Lorenzo Bernini (Italian, 1598–1680). The Ecstasy of Saint Teresa, 1647-52. White marble set in an elevated aedicule in the Cornaro Chapel, Santa Maria della Vittoria, Rome.

Peter Paul Rubens (Flemish, 1577–1640). The Honeysuckle Bower, c. 1609. Oil on canvas. 178 x 136.5 cm. (70 x 54 in.). Alte Pinakothek, Munich.

Peter Paul Rubens (Flemish, 1577–1640). Saint Catherine in the Clouds, c. 1625–30. Etching and engraving. Sheet: 298 x 199 mm. (11 3/4 x 7 13/16 in.). Baltimore Museum of Art, Baltimore.

Peter Paul Rubens (Flemish, 1577–1640). The Elevation of the Cross, 1610–11. Oil on wood. 462 x 341 cm. (182 x 134 in.). Cathedral of Our Lady, Antwerp.

Sir Anthony van Dyck (Flemish, 1599–1641). Lucas Vorsterman, from the series Iconography, 1628–32. Etching and engraving. Sheet (trimmed to platemark): 9 5/8 × 6 3/16 in. (24.4 × 15.7 cm). Museum of Fine Arts, Houston.

Sir Anthony van Dyck (Flemish, 1599–1641). Self-Portrait, from the series Iconography, 1628/41. Etching and engraving. Plate: 9 5/8 × 6 3/16 in. (24.4 × 15.7 cm). National Gallery of Art, Washington, D.C.

https://www.artic.edu/artworks/24255/title-page-from-the-iconography

Lucas Vorsterman I (Flemish, 1595–1675), after Peter Paul Rubens (Flemish, 1577–1640). The Descent from the Cross, 1620. Engraving. 567 x 430 mm. Victoria and Albert Museum, London.

Peter Paul Rubens (Flemish, 1577–1640). The Garden of Love, 1630–35. Oil on canvas. 199 x 286 cm. Museo del Prado, Madrid.

Christoffel Jegher (Flemish, 1596–1652/53), after Peter Paul Rubens (Flemish, 1577–1640). The Garden of Love (left half), 1630s. Woodcut. Sheet: 18 1/4 x 23 3/4 in. (46.4 x 60.3 cm.). Metropolitan Museum of Art, New York.

Christoffel Jegher (Flemish, 1596–1652/53) after Peter Paul Rubens (Flemish, 1577–1640). The Garden of Love (right half), 1630s. Woodcut. Sheet: Sheet: 18 1/8 x 21 1/16 in. (46 x 53.5 cm.). Metropolitan Museum of Art, New York.

Christoffel Jegher (Flemish, 1596–1652/53) after Peter Paul Rubens (Flemish, 1577–1640). Hercules Triumphant over Discord, 1633–34. Woodcut. Sheet: 23 3/4 x 14 7/16 in. (60.33 x 36.67 cm.). Minneapolis Institute of Art, Minneapolis.

Rembrandt (Dutch, 1606–1669). The Descent from the Cross, 1633. Etching. Sheet: 20 9/16 x 15 1/16 in. (52.2 x 38.3 cm.). Metropolitan Museum of Art, New York.

Selected Bibliography

Linda Hults. The Print in the Western World: An Introductory History. Madison, WI: University of Wisconsin Press, 1996.

Rebecca Zorach and Elizabeth Rodini, editors. Paper Museums: The Reproductive Print in Europe, 1500–1800. Chicago: Smart Museum of Art, University of Chicago, 2005.

Antony Griffiths. The Print Before Photography: An Introduction to European Printmaking 1550–1820. London: British Museum, 2016.