Introduction

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[ Background conversations ]

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> I am delighted to introduce our
next speaker, Andrew Weislogel.

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Who is the Seymour R. Askin, Jr. 47 curator
of earlier European and American art

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at the Herbert F. Johnson Museum of Art at
Cornell University, in Ithaca, New York.

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He holds a BA in Medieval Studies from
Hamilton College, and an MA and PhD in Italian

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and French Renaissance art from Cornell.

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He has organized numerous exhibitions at
the Johnson, including Etchings by Rembrandt

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from the collection of S.
William Pelletier in 2004.

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The New and Unknown World: Exploration and
Trade in the Dutch Golden Age from 2011.

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And the catalogue from his most recent
exhibition is called Lines of Inquiry:

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Learning from Rembrandt’s Etchings.

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It won the College Art Association’s
Alfred H. Barr prize

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for distinction in museum scholarship.

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We do have a few copies of that catalogue
here, along with books by our other speakers.

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And they’ve all asked me to
inform you that they really don’t want

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to take all those copies back home again.

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[laughter] So I hope you
will find them of interest.

1:22

Doctor Weislogel is going to talk
to us today about the project

1:28

that is related to that recent exhibition.

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Its called, he has a longstanding interest
in technical art history and has participated

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in dendrochronological dating
and X-ray fluorescence mapping

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of paintings using Cornell’s synchrotron.

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And I don’t even know what that
is so you’ll have to tell us.

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It sounds extremely impressive, and it is.

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This is really what’s brilliant about this,
is that it’s a marriage of science and art.

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And the WIRE Project, which
he’s involved with stands

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for Watermark Identification
in Rembrandt’s Etchings.

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Its an innovative, interdisciplinary project
that brings together students from art history

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and computer science designed to expand access
to knowledge about Rembrandt’s printmaking

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and our understanding of his
techniques as a printmaker.

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So we will hear about that
now, Doctor Weislogel.

2:22

[ Applause ]

2:33

> Thank you, Stephanie for that wonderful
introduction and for the invitation.

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Its such a pleasure to be
with you all this afternoon.

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I also want to extend my
thanks to Max Valsamas too,

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for his wonderful organizational efforts.

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And all the lovely fellow scholars
that we get to spend the morning

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with today before the program
began, in the beautiful

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and bountiful exhibition here at the Agnes.

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Today I’d like to cover the
following as time permits.

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So its good that we’ve all been re-caffeinated.

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Hold onto your seats.

3:06

I’d like to start with some papermaking
and watermarks background of course.

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Then introduce the WIRE Project at Cornell
and some of its goals and progress.

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Share some examples of watermark
discoveries encountered along the way.

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Briefly touch on watermarks as they relate
specifically to Rembrandt’s Leiden period

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since that’s what we’re about today.

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And discuss some future directions
for the project.

3:30

And hopefully I can fit that
all into the next 25 minutes.

3:36

So.

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It all starts and ends with paper.

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As my colleagues here all well know,
every sheet of paper made in Europe

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in Rembrandt’s time regardless of its
ultimate use comes from one of these.

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A paper mould and the deckle
that keeps the sheet rectangular

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when the mould is dipped into the vat.

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Here we see the three main components of
every paper mould in Europe at this time.

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The laid wires running horizontally.

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The chain wires running vertically.

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And the watermark sewn with
fine wire to the mould.

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At right you see a freshly couched
sheet of paper from this modern mould.

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You can see the indentation or thin area
left on the paper by the watermark wire,

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as well as the chain and laid lines there
before the sheet of paper actually dries.

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Here’s an example of a more
complex post-torn type watermark,

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probably from the 19th century,
again sewn to a mould.

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So just a few words about
the paper-making process.

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Because this is important to understanding
Rembrandt’s process and how we date his prints.

Paper Making Process

4:53

So let’s see.

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The first important thing to know is
that the paper-making process in Europe

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at this time consists of two rotating moulds.

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And the watermarks on these
rotating moulds that rotate

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through the vat are as identical as possible.

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But of course, they’re made by humans and
so there are slight variation between them.

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They’re not quite identical and
so we call those twin marks.

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And every sheet of paper that comes from
the batch has one of those two marks.

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And every paper, every print
that we find printed on a sheet

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from that batch is therefore
datable to that same batch.

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There’s a three person team
involved in making paper.

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There’s the vatman, who is in charge
of the operation and dips the mould.

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There’s the coucher, who turns the mould inverted

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and inverts the fresh sheet
of paper onto a felt.

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And then there’s the layer, who
takes the moist sheets out from

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between the felts, stacks them for pressing.

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And the whole thing rotates
over the course of a workday.

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And artisans working this way could
turn out about 1,000 sheets in a day.

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So it was a really quite efficient process.

Paper Characteristics

6:03

Here is a sheet of probably 18th
century paper made for the Dutch market.

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We can tell it was made for the Dutch
market because it has a pro patria watermark

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which shows the Maid of Dordrecht on
the right there in a palisade enclosure.

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It also features a countermark, a secondary
watermark usually on the left side of the mould

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that served as a further
identifier for the paper.

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Now if we knock that photo down to grayscale

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so you can see it a little bit
better, the paper characteristics.

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We can talk a little bit about what happens when
prints are made from a sheet of paper like this.

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And you actually have to cut it up in
terms of how we read the watermarks.

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I think you can see that if you print four
prints in a quarto format on a sheet like this,

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you can still see the watermark
underneath there, hopefully.

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The upper left part of the sheet won’t
get any identifying characteristic

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at all except the chain lines.

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The bottom left will get the countermark
until the margins of the print are trimmed.

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And then that’s gone.

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And the two on the right will
each get a partial watermark.

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And this is important to keep in mind because
when we look at Rembrandt’s prints we actually

7:11

in practice, only find a portion
of a watermark on about a third,

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1 out of every 3 Rembrandt
watermarks that we look at.

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So there’s a lot of information
that gets lost in the process.

7:23

Let’s see.

7:24

So just a little bit of background on
our project, that we’ve been working

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at Cornell for the past four years roughly.

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This is the 3-volume set by Erik Hinterding at
the Rijksmuseum who is the acknowledged expert

7:40

on Rembrandt watermarks, which
provides the basis for our project.

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And he is in turn drawing on scholarship
by legends such as Allan Stevenson,

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Nancy Ash, Shelley Fletcher and others.

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Here are some of the things
that watermarks can tell us.

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We can learn where the paper was made.

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All of Rembrandt’s paper was made outside
the Dutch Republic and imported in.

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In what year a specific impression was printed.

8:08

When and how rapidly Rembrandt made state
changes or plate changes to his plates

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to affect the visual of the image.

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Which plates he was printing at the same time,

8:19

and therefore which older plates he
was reprinting as he made new ones.

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Which is important as well.

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And of course, what most people want to know,

8:26

whether a print was made during
Rembrandt’s lifetime or not.

8:32

Some assumptions about the scholarship
that we need to carry going forward.

8:37

One, paper was expensive.

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And so Rembrandt usually bought small
batches and used them up as quickly

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as he could to recoup his investment.

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What that means is you can date each
batch to roughly a particular year.

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Or at least many batches are datable
to a particular year, period and time.

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And that also means that the
latest date of a plate printed

8:58

on a given paper batch dates
all the other impressions

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of other plates found on that same paper.

9:04

It’s a last date, dates the
batch kind of phenomenon.

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So let’s look at a couple of watermarks here ok.

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I think you can pretty easily tell these apart.

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But you can also tell that
they’re of the same type.

9:19

They’re both a double-headed eagle type.

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It’s a type of paper made in Switzerland.

9:23

Now how about these?

9:25

Those are a little harder to tell apart, yes?

9:29

You could probably do it but you’d have to come
up with a descriptive language to do so, yes?

9:34

Well, in this case you don’t have to worry
too much because these are twin marks.

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They’re from the same batch of paper.

9:40

So anything appearing on this paper is
going to be datable to the same time.

9:44

However, if we have two like this
these look even almost more identical

9:48

than the previous two, but
these are not twin marks.

9:56

The double-headed eagle watermark on the
left is found on prints dated to 1637,

10:01

while the one on the right is
found on prints dated to 1645.

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So if you mix them up, you miss
dating the impression of the print

10:09

that you’re looking by a range of eight years.

10:12

And that’s not really acceptable.

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So part of what our project is designed
to do is to combat these types of mixups.

The Goal

10:24

So the basic goal, the current goal of the
WIRE Project is to create an online interface

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that allows people to upload their own
watermark images and answer a series of yes

10:34

or no questions to get to the correct
match in the existing Rembrandt taxonomy.

10:40

This is student project that
we’ve been working on for a few.

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We’ve taught eight semesters of
research seminars to build this tree.

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And I’m happy to say the
decision tree is nearly complete.

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And so we’re in the testing phase of that now.

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So I wanted to show you a little bit of what
that looks like by taking a test example.

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So here is a Strasbourg bend
watermark, so-called for the bend

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or the diagonal stripe that
we see on the shield.

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When you use our interface, you’ll
come to this page on the website.

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You’ll click the centre button and
you’ll be offered an opportunity

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to upload your own watermark image.

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When you do so, then you’ll be taken to a
page where there are roughly 50 odd types

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of Rembrandt watermarks that are known appear in
a scrolling, up and down sort of configuration.

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And you can choose the correct watermark type.

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Once you’ve chosen the correct type,
you can look for the correct subvariant,

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by answering a series of
yes or no questions here.

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Such as, are there initials below the shield?

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In this case, you can see that there are.

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And other questions continue.

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If you get stuck, you can have access to
this image which reminds you what the names

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of the parts of the watermark are called.

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And when you get to the end, you can see you’re
at the arrival page where a match is reached.

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And in future, information
about other impressions

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on this same paper will appear
right here on the site.

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And if your watermark doesn’t match at this point
you can click the little oval yellow button

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at the bottom, and it sends me an email.

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[laughter] So I’ll be looking out for those.

12:25

This is the actual structural diagram that
lives behind the scenes of the website.

Structural Diagram

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This is the pattern of yes or no
questions that leads to every subvariant

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of the Strasbourg bend watermark.

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And this is a small branch.

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Some of our branches have upwards
of 60 different types in them.

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So this is a lot of intensive work that the
students have put in over a series of semesters.

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And what we can learn at the end of the
trail here is all the different prints

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that appear on a given batch of paper.

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And not only that, but as
I was mentioning earlier,

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you can see which of those is
the latest plate on the batch.

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And therefore when the earlier
plates were being reprinted.

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In this case it’s the portrait
of Jan Cornelis Sylvius, 1646.

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So you can see in this case, there are some
Leiden era prints that Rembrandt was reprinting

13:13

onto the same batch from his
new post in Amsterdam in 1646.

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As we’ve been working on this project, we
have been sort of slowly building a consortium

13:25

of participating institutions who
have showed us their Rembrandt prints.

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And we’ve identified their watermarks

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and who are helping us test
the interface as we go forward.

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And that’s the sort of crowdsourcing aspect
that you saw in my title at the beginning.

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Its been immensely rewarding to build
these relationships along the way.

13:50

And we’ve benefitted from watermark data as
well, such as these radiographs that have come

13:54

to us from the Cleveland Museum of Art
which I’ll talk about in just a moment.

Reconstituting Editions

14:06

So I’d like to share a few
discoveries that the project has made.

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And these fall into three basic types.

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The first type is when you see watermark
you would expect to find on a certain print.

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And that’s called reconstitution edition.

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So the 1647 portrait of Ephraim
Bonus, for example.

14:26

Erik Hinterding had found eight on this
particular paper with a basilisk watermark.

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The WIRE Project has uncovered
an additional five.

14:35

So we’re getting a sense of just how big this
particular edition of this portrait print was.

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Bigger than we thought.

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Also, we’re taking a similar census
of previously unexamined impressions

The Wire Watermark Discovery

14:49

of Rembrandt’s famous portrait of his respected
friend, the silversmith Jan Lutma from 1656.

14:56

This is a fascinating print
from many standpoints.

14:58

But there are questions around
the print’s production,

15:01

in terms of Rembrandt’s financial
situation at the time.

15:04

He declared bankruptcy as
we know, in July of 1656.

15:08

And around his role with later
impressions of the print.

15:11

And the possible role of the Lutma family
members in the print’s later production.

15:15

So a WIRE watermark discovery
got us thinking about this.

15:21

So the first date of the print you can see it
shows Lutma seated in front of a blank wall.

15:26

The second state includes a
worked-up window embrasure,

15:29

which completely transforms the print.

15:31

And again makes it saleable again to
presumably to the same public once again.

15:37

And then in the third state,
and its very difficult to see.

15:41

See if you can pick it out.

15:42

There is an inscription that says F Lutma X,

15:46

which stands for Francois Lutma,
the sitter’s son as publisher.

15:51

And this has caused some confusion and some
questions about the third state of the print.

15:58

There seems to have been some kind
of publishing arrangement made here.

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Although this happened too with
other Rembrandt plates represented

16:04

by Barendrecht and Danckerts as we know.

16:08

At this point, one would normally
assume Rembrandt was no longer
involved
235
00:16:12,286 –> 00:16:13,746
in the printing of these impressions.

16:14

So however, when you discover watermark
matches like this of paper batches.

16:22

One, these are both in Cleveland.

16:24

One on the first state of the print, one on the
third state of the print that I just mentioned.

16:29

We believe this is the same batch of paper.

16:33

So this adds to the existing scholarship
of three other watermarks found

16:40

on at least the first and
third states of this print.

16:42

And sometimes all three, indicating
that the changes to the plate

16:46

for each state were made relatively
quickly within the span of one batch

16:50

of paper, in each case before it ran out.

16:52

Its also important because as we’ve just said,

16:54

the third state is supposedly published
not by Rembrandt, but by Lutma.

16:59

So technically that should be on
a different paper but its not.

17:02

It appears on the same paper
as the first two states.

17:04

So this situation raises questions about
Rembrandt’s relationship with the Lutma family.

17:09

And whether Rembrandt was still
involved with printing this plate even

17:13

after a new publishing arrangement
seems to have been made.

17:16

So the second type of watermarks are, come to us
via another student discovery from the project.

17:26

And that is finding known
watermarks on new prints.

17:31

Here we have Christ Presented to
the People the oblong plate, 1655.

17:36

The impression in the Morgan Library and Museum
which features a Strasbourg lily watermark,

17:41

which is never before seen on this print.

17:44

The only other print found on
this paper are several impressions

17:48

of Rembrandt’s famous Hundred Guilder print from 1648.

17:52

So the Morgan’s impression of Christ
Presented on the Strasbourg lily paper,

17:57

helps us first to date these Hundred
Guilder impressions appearing

18:00

on the same paper to after 1655 for sure.

18:04

And this is also interesting because watermark
evidence shows that sometime around 1654,

18:11

Rembrandt stopped making reprints from most
of his earlier plates, this one included.

18:16

Which suggests that he had somehow lost
control of his early stock of plates,

18:20

probably having to do with his financial,
growing financial insolvency at the time.

18:29

So does this watermark correspondence
therefore mean

18:32

that the Hundred Guilder print plate was
still in Rembrandt’s possession in 1655,

18:37

when Christ Presented to the
People was being printed?

18:39

We don’t know.

18:41

This is an open question.

18:43

But what it does mean is that certainly
these two prints were printed by somebody

18:46

at the same time, and that
was not previously known.

Arms of Amsterdam Watermark

18:51

The third type, is new watermarks
that have never been seen before

19:00

on any print, any of Rembrandt’s prints.

19:03

And so here is another example of an impression

19:08

of Christ Healing the Sick,
the Hundred Guilder print.

19:12

Which is clearly a posthumous impression.

19:14

But it still can shed light on the history of
a plate after Rembrandt’s involvement with it.

19:19

And I’ll tell you how.

19:21

This as I mentioned, is quite worn impression.

19:25

But transmitted light shows an
Arms of Amsterdam watermark.

19:30

This paper is produced in
the southwest of France,

19:33

where paper mills were owned by Dutch merchants.

19:36

And so they marketed a lot of paper
still to the Dutch Republic at this time,

19:40

with this Arms of Amsterdam watermark.

19:45

So first this gives us sort of a snapshot in
time of the plate’s condition of around 1745.

19:51

You can see the date at the
bottom of the watermark.

19:53

But its also a further link
in the plate’s provenance

19:56

that the Hundred Guilder print
plate was probably still being printed

20:00

in the Netherlands at this time.

20:02

Which we surmise, but this sort of
gives us a further evidence for that.

Rembrandt Watermarks

20:14

So let’s move briefly to some
Leiden prints by Rembrandt.

20:21

As the exhibition catalogue rightly points
out, Rembrandt produced about a third

20:27

of his etch plates while still in
or associated with his hometown.

20:32

However, so many of these were small plates.

20:35

The loonie is included for scale.

20:38

[laughter] And surviving such few
impressions overall, at least before 1631.

20:44

That its difficult to glean a lot of useful
watermark information from these early prints.

20:50

However, some information from some of the
larger impressions of his larger plates

20:56

at that time can be sort
of put into the mix here.

20:59

Scholars of course, have long wondered about
Rembrandt’s beginnings as an etcher in Leiden.

21:05

And for example, the discussion
continues surrounding a possible personal

21:09

or professional artistic relationship
between Rembrandt and Jan van Vliet,

21:13

the established Leiden printmaker.

21:16

Here we see an impression of Rembrandt’s
Good Samaritan in the collection of the Met.

21:21

The first state, where the horse’s
tail is still not filled in yet.

21:24

I think you can see that.

21:27

Hinterding tells us that the Arms
of Burgundy and Austria watermark

21:30

on this print is dateable to 1631 and 32.

21:34

And appears on 11 different Rembrandt
prints with plate dates from 1630 to 1632.

21:40

Likewise, 6 prints from 1631 by Jan van
Vliet also appear on the same paper.

21:47

Watermarks therefore can lend
credence to the idea of Rembrandt

21:50

and van Vliet sharing workshop
space or at least sharing paper,

21:53

or at least having known each other.

21:55

But what if Rembrandt and van Vliet
independently used the same paper supplier

21:59

or the same printer?

22:00

That’s a possibility.

22:01

So I think its worth citing
Stephanie’s arguments

22:04

in the catalogue for the present exhibition.

22:07

First, Leiden is not a very big place.

22:09

The likelihood of a collaboration has
a sort of common sense feel to it.

22:14

Second, did Rembrandt have
access to his own press?

22:17

He was after all living at
home in his parent’s attic.

22:21

And with respect to watermark
matches, I would further add

22:24

that from my experience studying watermarks,

22:27

the likelihood of this watermark overlap
being coincidental is quite small indeed.

22:33

And its also not the only
example of such an overlap.

22:36

So this is again, still an open question.

22:38

But one that watermarks can
continue to shed light on.

Rembrandt Later Reprints

22:48

Somebody give me a time.

22:48

Where are we at?

22:50

> Five minutes.

22:51

> Five minutes.

22:51

Ok.

22:59

Of course, we see examples of Rembrandt’s
Leiden prints appearing as later reprints

23:03

as we’ve already discussed, in Amsterdam.

23:06

And many of these pointedly date from
that period that I was talking about,

23:10

the early 1650s when he seems to
have had been printing more prints

23:15

because of his growing financial difficulties.

23:18

So for example, here The Small Lion
Hunt with Two Lions which appears

23:22

on this Foolscap watermark which
is dateable to around 1650.

23:27

Or The Rat Catcher, which is a subject
that Jan van Vliet also treated.

23:32

And impressions made in Leiden of
this print by Rembrandt also appear

23:37

on the same paper as Jan
van Vliet’s impressions.

23:40

But this one is later.

23:41

This is probably from around 1653 in Amsterdam.

23:44

Both of these impressions in our collection.

Conclusions

23:47

So just to wrap up, I’d like to sort of you
know, give you a sense of points of departure

23:56

for further avenues for this research.

24:00

There are a lot of implications.

24:03

And one is the possibility of branching
out from Rembrandt to those in his circle.

24:09

So Ferdinand Bol is a good candidate, for
his own decision tree treatment if you will,

24:15

as one of the few Rembrandt
pupils who had mastery

24:18

and productive success of the etching technique.

24:21

The hope here is that we might find overlap
between Bol’s prints and Rembrandt’s.

24:25

And as a matter of fact, this
has already begun in some sense.

24:30

With print drawing matches like this one
between the same watermark appearing,

24:36

the same paper batch being used to
create Bol’s drawing from the early 1650s

24:42

for the Amsterdam Town Hall
Commission and Rembrandt’s famous print

24:48

of The Three Crosses being printed
roughly simultaneously in about 1653.

24:52

So the question here is, did they
happen to buy the same paper?

24:56

Were they still friendly at this time long
after Bol had left Rembrandt’s workshop?

25:01

What are the implications here,
what are the possibilities?

25:04

And there are more matches
than just this one as well.

25:08

We also find drawing, drawing
matches, same watermark.

25:11

These are a little harder to see.

25:13

These are Arms of Amsterdam
watermarks that appear in respectively,

25:19

on the left on a famous drawing of Rembrandt’s
from the Ashmolean in Oxford, of the late 1650s.

25:28

and a Phillips Koninck landscape
in the Fondation Custodia in Paris.

25:34

So what does this mean?

25:37

Houbraken cites Koninck
as a Rembrandt pupil

25:42

but there’s no documentary proof
of that, that I’m aware of.

25:47

So again, this kind of match
might imply a relationship

25:53

between those two artists that
could be further explored.

25:59

And so, I think I’m probably.

26:03

I’m ok? Ok.

26:05

Thank you very much.

26:07

Max, you’re great.

26:08

And all of you, thank you.

26:11

So yes, the last bit is about
matching watermarks without, I’m sorry,

26:17

matching mould mates without
watermarks through chain line matching.

26:21

My colleague Rick Johnson, who some of you
know, has developed with his colleagues a method

26:25

of marking chain lines on radiographs of papers.

26:30

So that they can be fed into a
computer and matches can turn up.

26:33

And this is an example of that.

26:35

The red and the blue lines
work together to show a match.

26:40

And this is in fact a match between two
prints in the Morgan Library and Museum.

26:45

This print, which is formally attributed
to Rembrandt now given to his workshop.

26:50

And a print decidedly by
Rembrandt, the Medea print of 1648.

26:55

And you can see how those radiographs
overlap and the chain lines match.

27:00

And in this case, we can confirm that
the chain lines match because both

27:03

of them have the same watermark as well.

27:05

As a matter of fact, this is one of the
examples that got our project started.

27:09

So they refined this now.

27:12

The software is now improved such that you can
not only mark chain lines on an existing sample,

27:18

but it will automatically calculate
the ratios of the chain line spacing.

27:23

So that allows us to make more matches, such as
these mould mates here at the top of the page.

27:31

And also, to determine mathematical
matches between the relative placement

27:37

of watermarks relative to
chain lines on those sheets.

27:42

So the last thing I’ll mention, and
I thank you for your indulgence,

27:46

is a new collaboration that
we’re working on right now.

27:53

That’s supposed to be a white
slide but nevermind.

27:56

That we’ve just partnered with
Erik Hinterding’s publisher,

28:03

the publisher of the New Hollstein series Sound
and Vision publishers in the Netherlands.

28:07

So we’ll be consulting and collaborating
with them on a project they’re developing

28:12

which is called the Virtual Print
Room, an open digital platform

28:15

for the sharing of printmaking research.

28:19

So more to come on that.

28:21

And if you’re in Amsterdam and you
haven’t seen this exhibition yet,

28:25

check out Rembrandt Laboratory.

28:27

We were asked in the spring to contribute
a version of the WIRE decision tree

28:31

to this exhibition on technical
approaches to studying the master.

28:34

And if you go, you can see our kiosk there.

28:37

So up until February 20th, that’s on view there.

28:42

So I thank you very much for your indulgence.

28:45

And again, thanks.

28:48

[ Applause ]

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