The significance of the media and communications revolution occasioned by printmaking was profound. Less a part of the standard narrative of printmaking’s significance is recognition of the frequency with which the widespread dissemination of printed works also occurred beyond the borders of Europe and consideration of the impact of this broader movement of printed objects. Within a decade of the invention of the printing press, European prints began to move globally. Over the course of the fifteenth to the eighteenth centuries, numerous prints produced in Europe traveled to areas as varied as Turkey, India, Persia, Ethiopia, China, Japan and the Americas, where they were taken by missionaries, artists, travelers, merchants and diplomats. This collection of essays explores the transmission of knowledge, both written and visual, between Europe and the rest of the world by means of prints in the early modern period.
- Cover
- Table of Contents
- Introduction
- 1. Concealing and Revealing the Female Body in European Prints and Mughal Paintings
- 2. The Sultan’s Face Looks East and West: European Prints and Ottoman Sultan Portraiture
- .3 From Europe to Persia and Back Again: Border-Crossing Prints and the Asymmetries of Early Modern Cultural Encounter
- 4. The Dissemination of Western European Prints Eastward: The Armenian Case
- 5. The Catholic Reformation and Japanese Hidden Christians: Books as Historical Ties
- 6 .(Re)framing the Virgin of Guadalupe: The Concurrence of Early Modern Prints and Colonial Devotions in Creating the Virgin
- 7. Hidden Resemblances: Re-contextualized and Re-framed: Diego de Valadés’ Cross Cultural Exchange
- Linda Báez and Emilie Carreón
- 8. The Practice of Art: Auxiliary Plastic Models and Prints in Italy, Spain, and Peru
- 9. Ink and Feathers: Prints, Printed Books, and Mexican Featherwork
- Index
- List of illustrations
- 1 Concealing and Revealing the Female Body in EuropeanPrints and Mughal Paintings
- Figure 1 A Celestial Woman Attendant with a Vina (Stringed Instrument). Artist/maker unknown. 956-973, Sandstone, 25 1/8 × 10 1/2 × 7 1/4 inches (63.8 × 26.7 × 18.4 cm). Philadelphia Museum of Art, Purchased from the Stella Kramrisch Collection with funds
- Figure 2 Pietas Regia, the second title page from the first volume of Plantiin Biblia Sacra (also known as the Polyglot Bible). Printed by Christopher Plantiin in Antwerp between 1568-72. Newberry Digital Collections (Newberry Library)
- Figure 3 A female figure standing in a landscape holding a four-stringed “khuuchir” and a lotus, South Asia, Mughal, late 16th century (c. 1590). Opaque watercolor with gold on paper, mounted with borders of gold-decorated cream and blue paper; page: 31.6
- Figure 4 The Martyrdom of Saint Cecilia, a close copy of an engraving by Jerome [Hieronymus] Wierix (Netherlandish, c. 1553–1619). Artist: Nini. South Asia, Mughal, first half of the 17th century. Opaque watercolor and gold on paper. © Victoria and Albert
- Figure 5 The Annunciation, from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier, made for Prince Salim (later the emperor Jahangir). South Asia, Mughal, 1602-1604. Opaque watercolor and gold on paper; page: 26.2 × 15.4 cm (10 5/16 × 6 1/16 i
- Figure 6 Detail from the birth of Timur, from an imperial copy of Abul Fazl’s Akbarnama, (Vol. I). South Asia, Mughal, c. 1602. Painting ascribed to Surdas Gujarati. Opaque watercolors with gold on paper. © The British Library Board (Or.12988.f.34v)
- Figure 7 Detail of the baby Akbar and his mother Hamidah Banu Maryam Makani, from an imperial copy of Abul Fazl’s Akbarnama (Vol I). Artists: Sanvalah and Narsingh. South Asia, Mughal, c. 1602. Opaque watercolors with gold on paper. © The Briitsh Library
- Figure 8a (left) and 8b (right) Double folio illustration of the marriage festivities of the son of Maham Anga, the foster-mother of the Mughal emperor Akbar, in 1561, from an imperial copy of Abul Fazl’s Akbarnama. Artists: 8a: La’l and Sanwala; 8b: La’l
- Figure 9 Birth of a royal infant (detail). South Asia, Mughal, about 1580. Opaque watercolor and gold on paper. 39 × 30.5 cm (15 3/8 × 12 in.). Museum of Fine Arts, Boston. Ross-Coomaraswamy Collection, 17.3112
- Figure 10 King Putraka in the palace of the beautiful Patali, from a Kathasaritsagara. Pakistan, Lahore, Mughal, c. 1590. Opaque watercolors with gold on paper. Los Angeles County Museum of Art. From the Nasli and Alice Heeramaneck Collection, Museum Asso
- Figure 11 Detail from a painting portraying Jahangir in audience, showing Jahangir leaning against the back of his throne that contains an image of Fides. South Asia, Mughal, 1618. Opaque watercolors with gold on paper. 20.2 × 13.8 cm. Photo Credit: bpk B
- Figure 12 Detail from a folio from the Gulshan Album (Rose Garden album). South Asia, Mughal, c. 1600. Opaque watercolors with gold on paper. Freer Gallery of Art, Smithsonian Institution, Washington D.C.: Purchase — Charles Lang Freer Endowment, F1952.2
- Figure 13 Woman holding a portrait of Emperor Jahangir. Northern India, Mughal court, c. 1627. Opaque watercolor and gold on paper. Page: 30 × 22.1 cm (11 13/16 × 8 11/16 in.). The Cleveland Museum of Art, Gift in honor of Madeline Neves Clapp; Gift of Mr
- Figure 14 Court Lady, Mughal (reign of Jahangir), ca. 1620. Attributed to Bishandas, (active 1590 – 1640). Opaque watercolor, ink and gold on paper. Freer Gallery of Art, Smithsonian Institution, Washington D.C.: Purchase — Charles Lang Freer Endowment, F
- 2 The Sultan’s Face Looks East and West: European Prints andOttoman Sultan Portraiture
- Figure 1 Costanzo di Moysis (Costanzo da Ferrara), Mehmed II, Sultan of the Turks (obverse), c. 1481, bronze, Samuel Kress Collection, National Gallery of Art
- Figure 2 Sinan Bey or Siblizade Ahmed, Portrait of Mehmed II Smelling a Rose, c. 1480, Topkapi Palace Museum, Istanbul, Photo Credit: Art Resource, NY
- Figure 3 Sultan Suleyman, from Paolo Giovio, Elogia virorum bellica virtute illustrium, Basel, 1575, woodcut by Tobias Stimmer, Houghton Library, Harvard University
- Figure 4 Haydar Ra’is (called Nigari), Portrait of François I, King of France (After J. Clouet), 1566-74, Harvard Art Museums/Arthur M. Sackler Museum, The Edward Binney, 3rd Collection of Turkish Art at the Harvard Art Museums
- Figure 5 Haydar Ra’is (called Nigari), Portrait of Charles V, Holy Roman Emperor, 1566-74, Harvard Art Museums/Arthur M. Sackler Museum, The Edward Binney, 3rd Collection of Turkish Art at the Harvard Art Museums.
- Figure 6 Agostino Veneziano (Agostino dei Musi), Portrait of Barbarossa, 1535, engraving, The Metropolitan Museum of Art, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949
- Figure 7 Agostino Veneziano (Agostino dei Musi), Portrait of François I, 1536, engraving, Metropolitan Museum of Art, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949
- Figure 8 Portrait of Suleyman I (1520-1566), 10th Sultan of the Ottoman Empire, miniature from Kiyafet-I Insaniye Fi Semail-I Osmaniye, by Seyyid Lokman, 1579, Istanbul University Library, Photo Credit: Universal Images Group/Art Resource, NY
- Figure 9 Master of the Vienna Passion, El Gran Turco, c. 1470, Berlin, Kupferstichkabinett, Photo Credit: Joerg P. Anders/Art Resource, NY
- Figure 10 Sultan Suleyman, from Guillaume Rouillé, Promptuaire des Medalles des Plus Renommees Personnes, 1553, British Library, General Reference Collection DRT Digital Store 7755.c.20
- Figure 11 Vavassore Map of Constantinople, from Braun and Hogenberg, Civitates Orbis Terrarum, 1572, Library of Congress, Geography and Map Division
- Figure 12 Veronese, Paolo (follower of), Sultan Bayezid I, c. 1579, Staatsgalerie, Bayerische Staatsgemäldesammlungen, Residenz, Wuerzburg, Photo Credit: Art Resource, NY
- Figure 13 Veronese, Paolo (follower of), Sultan Osman I, c. 1579, Staatsgalerie, Bayerische Staatsgemäldesammlungen, Residenz, Wuerzburg, Photo Credit: Art Resource, NY
- 3 From Europe to Persia and Back Again: Border-CrossingPrints and the Asymmetries of Early Modern Cultural Encounter
- Figure 1 Heinrich Aldegrever (1502-c. 1561), The Good Samaritan Placing the Traveler on a Mule, 1554, mounted on fol. 8r in Persan 129, Paris, Bibliothèque nationale de France
- Figure 2 Heinrich Aldegrever (1502-c. 1561), The Good Samaritan Ministering to the Traveler, 1554, mounted on fol. 10v in Persan 129, Paris, Bibliothèque nationale de France
- Figure 3 Sultan Ali Mashhadi (d. 1520), calligraphy specimen framed by additional calligraphies in another hand, mounted on fol. 6r in Persan 129, Paris, Bibliothèque nationale de France
- Figure 4 Malik al-Daylami (d. 1561–62), calligraphy specimen framed by additional calligraphies in another hand, mounted on fol. 35r in Persan 129, Paris, Bibliothèque nationale de France
- Figure 5 Tinted drawing of a seated youth, mounted on fol. 34v in Persan 129, Paris, Bibliothèque nationale de France
- Figure 6 Tinted drawing of a man riding an emaciated horse, mounted on fol. 9v in Persan 129, Paris, Bibliothèque nationale de France
- Figure 7 Giambattista Pittoni (1687-1767), Head of a Man, restored and mounted by Pierre-Jean Mariette, Paris, Musée du Louvre, inv. 5273. Photo by Jean-Gilles Berizzi © RMN-Grand Palais / Art Resource, NY
- 4 The Dissemination of Western European Prints Eastward:The Armenian Case
- Figure 1 The first Bible printed in the Armenian language (Amsterdam, 1666). Beginning of the Gospels, with the four evangelists on the left, and the Tree of Jesse on the right, woodcuts by Christoffel van Sichem, pp. 430-431, second pagination. Alex and
- Figure 2 Baptism (with complete crossbar), woodcut by Christoffel van Sichem, Biblia Sacra in Dutch (Antwerp, 1646/1657), p. 773, first pagination. The Morgan Library & Museum, New York, NY. PML 126380. Bequest of E. Clark Stillman, 1995
- Figure 3 Baptism (with missing crossbar), woodcut by Christoffel van Sichem, Bible in Armenian (Amsterdam, 1666), p. 472, second pagination. Library of Congress, African and Middle Eastern Division, Armenian Rarities, BS95 1666 Armen Cage
- Figure 4 Baptism (with complete crossbar), woodcut by unknown Armenian artist, in a Miscellany (Constantinople, 1730-1731), p. 175. Private Collection
- Figure 5 Baptism (with flowers in lower left and complete crossbar), woodcut possibly by Grigor Marzuants’i (note white initials ԳՐ [GR] in lower right), in a Hymnal (Constantinople, 1742), p. 63. Reproduced with permission from the Krikor and Clara Zohra
- Figure 6 Baptism (with missing crossbar), woodcut by unknown Armenian artist, in a Hymnal (Constantinople, 1802), p. 63. Reproduced with permission from The Burke Library at Union Theological Seminary, Columbia University in the City of New York. VH23 170
- Figure 7 King David with harp, woodcut by Christoffel van Sichem, Biblia Sacra in Dutch (Antwerp, 1646/1657), p. 748, first pagination. The Morgan Library & Museum, New York, NY. PML 126380. Bequest of E. Clark Stillman, 1995
- 
- Figure 8 King David with harp, woodcut by Christoffel van Sichem, Bible in Armenian (Amsterdam, 1666), p. 27, second pagination. Library of Congress, African and Middle Eastern Division, Armenian Rarities, BS95 1666 Armen Cage
- Figure 9 King David with harp, woodcut by unknown Armenian artist, in a Zhamagirk’ [Book of Hours] (Constantinople, 1721), p. 12. Reproduced with permission from the Krikor and Clara Zohrab Information Center of the Diocese of the Armenian Church of Ameri
- Figure 10 Tree of Jesse, woodcut by Christoffel van Sichem, Biblia Sacra in Dutch (Antwerp, 1646/1657), p. 5, second pagination. The Morgan Library & Museum, New York, NY. PML 126380. Bequest of E. Clark Stillman, 1995
- Figure 11 Tree of Jesse, woodcut by Grigor Marzuants’i (initials ԳՐ [GR] or ԳՄ [GM] in lower left), in a Hymnal (Constantinople, 1724), p. 4. Bib. Mazarine 4º A 13192 [res], p. 4 ©Bibliothèque Mazarine. Reproduced with permission
- Figure 12 Tree of Jesse, woodcut by Grigor Marzuants’i (initials ԳՐ [GR] or ԳՄ [GM] in lower left), in a Hymnal (Constantinople, 1742), p. 6. Reproduced with permission from the Krikor and Clara Zohrab Information Center of the Diocese of the Armenian Chu
- Figure 13 Tree of Jesse, woodcut by unknown Armenian artist, in a Miscellany (Constantinople, 1730-1731), p. 138. Private Collection
- Figure 14 Tree of Jesse, woodcut by unknown Armenian artist, in a Hymnal (Constantinople, 1802), p. 6. Reproduced with permission from The Burke Library at Union Theological Seminary, Columbia University in the City of New York. VH23 1702
- Figure 15 Pentecost, engraving by Jan Wierix, in Gerónimo Nadal, Evangelicae historiae imagines […] (Antwerp, 1593), plate 149. The Morgan Library & Museum, New York, NY. PML 126345. Bequest of E. Clark Stillman, 1995
- Figure 16 Pentecost, woodcut by Christoffel van Sichem, Biblia Sacra in Dutch (Antwerp, 1646/1657), p. 226. The Morgan Library & Museum, New York, NY. PML 126380. Bequest of E. Clark Stillman, 1995
- Figure 17 Pentecost, woodcut by Christoffel van Sichem, Bible in Armenian (Amsterdam, 1666), p. 570, second pagination. Library of Congress, African and Middle Eastern Division, Armenian Rarities, BS95 1666 Armen Cage
- Figure 18 Pentecost (with circular damage in lower right), woodcut by Christoffel van Sichem, in a Hymnal (printed by Ghukas Vanandets’i, Amsterdam, 1712), p. 358. Library of Congress, African and Middle Eastern Division, Armenian Rarities, BX127 Armen Ar
- Figure 19 Pentecost, woodcut by Christoffel van Sichem, in a Hymnal (probably Amsterdam, before 1692), p. 358. Reproduced with permission from the Krikor and Clara Zohrab Information Center of the Diocese of the Armenian Church of America (Eastern), New Y
- Figure 20 Pentecost, woodcut by Grigor Marzuants’i (initials ԳՐ [GR] in right window), in a Zhamagirk’ [Book of Hours] (Constantinople, 1721), p. 312. Reproduced with permission from the Krikor and Clara Zohrab Information Center of the Diocese of the Arm
- Figure 21 Pentecost, woodcut by Grigor Marzuants’i (initials ԳՐ [GR] in right window) in a Hymnal (Constantinople, 1724), p. 288. Bib. Mazarine 4º A 13192 [res], p. 288 ©Bibliothèque Mazarine. Reproduced with permission
- 6 (Re)framing the Virgin of Guadalupe: The Concurrence ofEarly Modern Prints and Colonial Devotions in Creatingthe Virgin
- Figure 1 The Virgin of Guadalupe, Basílica de Guadalupe, Mexico City, 16th century. Photo by the author
- Figure 2 Las horas de Nuestra señora: con muchos otros ofiçios y oraçiones, printed by Thielman Kerver, Paris 1502 © Biblioteca Nacional de España
- Figure 3 Tota pulchra, Lower cloister of Franciscan monastery, Huejotzingo, Mexico, ca. 1558. Photo by the author
- Figure 4 Pedro Berruguete, The Assumption of the Virgin, Davis Museum and Cultural Center, Wellesley College, 1485. Reproduced with the permission of Davis Museum at Wellesley College, Wellesley, MA
- Figure 5 Michel Sittow, The Assumption of the Virgin, National Gallery of Art, Washington, D.C., ca. 1500. © National Gallery of Art, Washington, D.C.
- Figure 6 Hieronymus Wierix, The Virgin of the Immaculate Conception, KBR – Prints – S. I 3766, before 1619. Copyright KBR
- Figure 7 So-called ‘banner of Cortés’, Museo Nacional de Historia, Mexico City, 16th century. Image provided by Archivo Fotográfico “Manuel Toussaint” del Instituto de Investigaciones Estéticas de la UNAM
- Figure 8 Madonna and Child in Glory, Kupferstichkabinett, Staatliche Museen zu Berlin, Inv. 140-1, ca. 1460, Netherlandish colored woodcut, 34,5 × 25,0 cm © Kupferstichkabinett. Staatliche Museen zu Berlin
- Figure 9 Virgen del Coro, Choir loft of Santa María de Guadalupe, Spain, late 15th century. Photo by the author
- Figure 10 The Assumption of the Virgin, KBR– Prints – SII 26535, 15th century. Copyright KBR
- Figure 11 The Assumption of the Virgin, Upper cloister of the Franciscan monastery of San Martin Huaquechula, Mexico, ca. 1560. Photo by Thelmadatter – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=29426763 (detail)
- Figure 12 The Assumption of the Virgin, Northeast chapel of the convent San Francisco de Asís, San Andrés Calpan, Mexico, ca. 1550-1555. Photo by Danielllerandi – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=29176141(detail). (A
- Figure 13 Virgen de los Ángeles, Santuario de la Virgen de los Ángeles de Tlatelolco, Mexico, late 16th or early 17th century, Photograph by Kahlo 1900-1910, Fototeca Nacional, Núm. de Inv. del Neg. 7286 © D.R. Instituto Nacional de Antropología e Histori
- Figure 14 Cornelis Cort, after Federico Zuccaro, The Assumption of the Virgin, Rijksmuseum, Amsterdam, New Hollstein Dutch 99-1(4) (tegendruk), printed in Rome by Luca Bertelli, 1574, engraving, 42,7 × 29,3 cm. Public domain, CC0 1.0 Universal (CC0 1.0),
- Figure 15 Samuel Stradanus, Indulgence for donation of alms toward the erection of a Church dedicated to the Virgin of Guadalupe (modern facsimile impression of engraving), The Metropolitan Museum of Art, New York, Accession Number: 48.70, ca. 1613-1615,
- 7 Hidden Resemblances: Re-contextualized and Re-framed:Diego de Valadés´ Cross Cultural Exchange
- Figure 1 “Typus eorum que frates faciunt in novo indiarum orbe…”, in Diego Valadés, Rhetorica Christiana (Perugia: Giacomo Petrucci, 1579), pars quarta, cap. 23, p. 107
- Figure 2 Typus Ecclesiae Catholicae (Venezia: Luca Bertelli, 1574), Cracovia, Biblioteca Jagiellońska, Kolekcja Jana Ponęzowskiego, teka 149, n. 9041
- Figure 3 Etienne DuPérac, “Elevation Showing the Exterior of Saint Peter’s Basilica from the South as Conceived by Michelangelo, in Speculum Romanae Magnificentiae (Rome: Lafrery, 1569)
- Figure 4 Thomasz Treter, “Entrance of Pope Pius IV,” in Theatrum virtutum ac meritorum D. Stanislai Hosii (Editio princeps: Rzym, 1588), emblem 50
- Figure 5 Calendar Wheel, in Diego Valadés, Rhetorica Christiana (Perugia: Petrucci, 1579)
- Figure 6 Toribio de Benavente (Motolinía), Memoriales, manuscrito de la colección del Señor Don Joaquín García Icazbalceta. edición facsímile, 1967 Edmundo Aviña Levy editor, 1903
- 8 The Practice of Art: Auxiliary Plastic Models and Prints inItaly, Spain and Peru
- Figure 1 Matteo Perez de Alecio (circle of). Capilla Villegas, Iglesia de la Merced, Lima. © Istituto Centrale per il Restauro (Rome) / Photo by Angelo Rubino
- Figure 2 Luís de Vargas. The Purification, c. 1560. Museo de Bellas Artes, Seville
- Figure 3 Matteo Perez de Alecio. Inés Muñoz de Ribera, 1599. Monasterio de la Concepción, Lima. © Gutiérrez Haces, Juana (ed.). Pintura de los Reinos: Identidades compartidas: Territorios del mundo hispánico, siglos XVI-XVIII. Tomo 2. México: Banamex, 200
- 9 Ink and Feathers: Prints, Printed Books and Mexican Featherwork
- Figure 1 Mexican artists, Miter of Carlo Borromeo with the Holy Names of Jesus and Mary, Milan, Museo del Duomo © Veneranda Fabbrica del Duomo di Milano. Kunsthistorisches Institut in Florenz – Max-Planck-Institut
- Figure 2 Lombard printmaker, Holy Names of Jesus and Mary, Udine, Archivio Storico Diocesano. Udine, Archivio Storico Diocesano
- Figure 3 Mexican artists, Saint Augustine, Loreto, Archivio Storico della Santa Casa. Kunsthistorisches Institut in Florenz – Max-Planck-Institut
- Figure 4 Maarten de Vos, Saint Augustine, London, Wellcome Collection. London, Wellcome Collection
- Figure 5 Mexican artists, Miter with the Holy Names of Jesus and Mary, Florence, Gallerie degli Uffizi, Tesoro dei Granduchi. Kunsthistorisches Institut in Florenz – Max-Planck-Institut
- Figure 6 Mexican artists, Flight into Egypt, detail of the lappets, New York, The Hispanic Society of America. New York, Hispanic Society of America
- Figure 7 French engraver, Flight into Egypt, in Prymer of Salisbury use … with many Prayers and goodly Pictures (Paris: Yolande Bonhomme, 1533). Boston, Boston Public Library
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