"Between Original and Reproduction:
The Art of Making Copies - from D(uchamp) to D(NA)"

The University Museum, The University of Tokyo presents:
Special Exhibition XII from collections in The University of Tokyo



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11 Are prints original or reproduction?

According to the history of art centered on oil paintings, the printing, which originated in about 1400 A.D., is positioned as a reproductive media from its origin, having possibility of mass-production. In fact, otherwise the artists such as Durer, Rembrandt, and Goya engraved the original plate by themselves, most of prints are the fruits of corporative works of artists, engravers, and printers. An artist draws the original artworks, an engraver copies it on a plate, and a printer makes a copy of it. Generally, the artist who draws the original artwork is recognized as a producer of the print. In the sequent process of making prints it is difficult to assert what is the original of the prints.

11-1 Michael WOLGEMUT (b.1434-d.1519), Apostle Bartholomew, Wood engraving, 14.0 x 10.7 (paper size:16.5 x 11.8), Illustration for Hartmann Schedel's Chronicle of the World, Nuremberg, Anton Koberger, 1493

11-2 Hans BALDUNG=GRIEN (b.1484/85-d.1545), Troy's Fall, Wood engraving, 18.0 x 14.0, (paper size, 20.0 x 15.5), Illustration for Works of Virgil, Strasbourg, Johann Reinhard, Gruninger, 1502

11-3 LUCAS van Leyden (b.1494-d.1533), The Arrest of Christ, Engraving (Restrike), Album, H:11.7, W:7.6, (book size H:21.7, W:17.2), Illustration for the Passion Cycle of Jesus Christ, 1521

11-4 Hans-Sebald BEHAM (b.1500-d.1550), The Arrest of Christ, Wood engraving, 12.7 x 7.6, (paper size 21.5 x 16.8), Frankfurt, 1530

11-5 Rosso Fiorentino (b.1494-d.1540), The Ferryman Charon, Engraving, 27.6 x 43.0, (paper size ibid.), Italy, ca.1541

11-6 Peter Paul RUBENS (b.1577-d.1640), drawn by I.M. Nattier, engraved by Edelinck (b.1640-d.1707), Jeanne d'Autriche, The Grand Duchess of Tuscany, Etching, 50.2 x 27.7, (paper size 53.2 x 30.8), Antwerp, the fourth quarter of 17th century

11-7 REMBRANDT van Rijn (b.1606-d.1669), Christ Crucified between Two Thieves, Drypoint and burin printed on vellum (Reproduction), 38.5 x 45.0 (paper size ibid.), Signed & dated as Rembrandt f. 1653, 1653

11-8 REMBRANDT van Rijn, The Death of the Virgin (Second State), (Collotype reproduction), Etching & dry point, Signed & dated as Rembrandt f.1639, 39.8 x 31.3, 1920s,

11-9 Polidoro Caldara da CARVAGGIO (b.1492-d.1543), drawn and engraved by Pietro-Santi Bartoli (b.1635-d.1700), Title unknown, engraving, 16.0 x 45.5, (paper size ibid.), Rome, Second half of 17th century,

11-10 Georg BLENDINGER, Engraved by Chr. Weigel, Fredrich the Great, Mezzotint, 45.0 x 33.4, (paper size ibid.), Germany, Second half of 17th century

11-11 Carlo MARRATI (b.1625-d.1713), Engraved by Hieronymus Ferroni (b.1687-d.1730) Ne Mouearis, engraving, 41.5 x 29.7, (paper size ibid.), Rome, early 18th century

11-12 Anthony VAN DYCK (b.1599-d.1641), Etched by Hamlet Winstanley (b.1700-d.1760), Christ Giving the Keys to Saint Peter, Etching (Proof print), 29.4 x 21.5, (paper size 54.3 x 38.1), England, 1728

11-13 ANONYMOUS, after Raphaello:Three Maries at the Tomb, Etching, 32.0 x 27.1 (paper size ibid.), France, 18th century?

11-14 DOMENICHINO (b.1581-d.1641), engraved by Jacob Frey (b.1681-d.1770), A Scene from the Old Testament, Engraving, 37.5 x 30.9, (paper size 38.2 x 32.4), Rome, mid 18th century

11-15 ANONYMOUS, A View of Bywell Bay in Northern Berland, Engraving, 37.2 x 52.8, (paper size ibid.), England, 1734

11-16 Claude LORRAIN (b.1600-d.1682), drawn by Joseph Farington, engraved by P.C. Canot, A Sea Port in the Gallery at Houghton, Etching, 28.8 x 34.8, (paper size ibid.), London, Published by John Boydell Engraver in Cheap side, January 2nd, 1775

11-17 Gaspard PUSSIN (b.1613-d.1675), drawn and engraved by Joseph Cunego (b.1727-d.1794), Roman Landscape, Etching, 54.6 x 20.5 (paper size ibid.), Rome, 1781

11-18 Titian (TIZIANO Vecellio) (b.1490-d.1576), drawn by Borel, engraved by Antoine-Jean Duclos (b.1742-?), printed by J. Aliamet, Diana and Callisto, Etching (proof print), 23.6 x 36.6 (paper size 51.1 x 33.1), France, Second half of 18th century

11-19 ANONYMOUS, Duke of Richmond, Son of Charles II, Mezzotint (proof print), 12.4 x 9.2 (paper size 32.8 x 23.0), England, 18th century?

11-20 Jean-Baptiste GREUZE (b.1725-d.1805), engraved by Jacques Wagner, Good Education, Engraving and retouched with black ink and white, 32.9 x 25.5 (paper size ibid.), France, Second half of 18th century

11-21 I. HOWES, engraved by Francesco Bartolozzi, Four Cupids, Stipple Engraving (Bistro print), 7.8 x 9.9, (paper size 13.8 x 20.3), London, 1791

11-22) Guido RENI (b.1575-d.1642), drawn by Hodgson & P.W. Tomkins, Rot and the Daughters, Lithography for image and Steel-engraving for inscription, 21.1 x 27.1 (paper seize 43.5 x 34.9), England, 1813


12 Reproduction and Reversal

It was just around 1840 when the faces of human beings could be recorded with cameras. Therefore, even the face of famous person like LEONARDO da Vinci (b.1452-d.1519), the genius in Renaissance, cannot be restored easily. Leonardo left a drawing of portrait of an old man, which is thought his self-portrait later. People in later generations accepted the portrait found in the second edition of Georgio Vasari's the Lives of the Artists as Leonard's genuine portrait. This portrait has been introduced in later critiques on artworks and biographies repeatedly. Though such a "genuine portrait" is uncertain on its root, we learn difficulty to change it, after once it is fixed as a model-type. Anyhow, at the times when the prints were only reproductive media, the direction of Leonard's face could not help changing whenever it was copied.

12-1 Portrait of Leonardo da Vinci, Woodblock print illustration from the second edition of Vite de piu eccellenti architetti, scultori e pittori (Lives of the Artsits) by Giorgio VASARI (b.1511-d.1574), Florence, 1568

12-2 Portrait of Leonard da Vinci, Engraving illustration by Nicholas POUSSIN (b.1594-d.1665) from A Treatise of painting, Engraving, the first French edition, Paris, 1651

12-3 Portrait of Leonardo da Vinci, Engraving illustration from A Treatise of painting by Leonard da Vinci, second revised French edition, Paris, 1716

12-4 Portrait of Leonardo da Vinci, Engraving illustration from Le Vite De' Pittori, Scultori Et Architetti Moderni by Giovanni Pietro BELLORI (b.1613-d.1696), the first Italian edition, Rome, 1672

12-5 Portrait of Leonardo da Vinci, Etching illustration from History of Famous Artists by Antoine Joseph Dezaillier D'Argenville, the first French edition, Paris, 1745

12-6 Portrait of Leonardo da Vinci, Engraving illustration from History of Famous Artists by Antoine Joseph Dezaillier D'Argenville, the second revised French edition, Paris, 1745

12-7 Portrait of Leonardo da Vinci, Etching illustration from the Art of Paintings by Claude Henri Watlet, the first French edition, Paris, 1760

12-8 Portrait of Leonardo da Vinci, Lithographic illustration from the Works of Jonathan Richardson, the first English edition, England, 1792

12-9 Portrait of Leonardo da Vinci, Lithographic illustration from Lives of Artists by Giorgio Vasari, French edition, Paris, 1841

12-10 Portrait of Leonard da Vinci, Steel engraving illustration from History of All Artists and Schools by Charles Blanc & Paul Mantz, Paris, 1876

12-11 Portrait of Leonard da Vinci, Woodcut illustration from Gayu-Sekichin Vol.1 edited by TAKAHASHI Yuichi (b.1828-d.1894), Tokyo, 1880, General Library, UT


13 Is Victorian reprint a forgery or Reproduction of Incunabla?

Gothic Revival is one of the European literary mainstreams in the 19th century. Especially in Victorian England, William Morris (b.1834-d.1896) started the Kelmscott Press and gathered people's curiosity to incunabula, which are any books, pamphlets, or broadsides printed before 1500 - the beginning of the European printing industry. The displayed items are books printed with hand press using original wood blocks and original type at that time and paper which were manufactured in the same style as in 15th century. The binding design is also imitated the times' style. It is pastiche of bibliophiles in Victorians. Here it is difficult to determine all of them as forgery.

13-1 A Smaller Biblia Pauperum, Velum binding with claps, 20.7 x 15.6, London, published by Unwin Brothers, 1884

14 Such difference comes from the same plate!

Reproduction by copper metal plate has limit in printing copies. Because its surface is easy to be worn out, usually only one hundred copies can be printed. Even if plating has done, amount of copies cannot be increased tremendously. Kashin-chosin-roku and Smith-Marie-no-den, which are the important works of translated literature in early Meiji period, have same original Captain's Daughter by Aleksandr Sergeevich PUSHKIN (b.1799-d.1837) and use the same copper plate in their illustration, though they were published under different titles. Comparing to the former illustration of the first printing, the latter illustration, which is restrike, turned dull in pictorial line and harder gradation. Original picture was drawn by TAISO Yoshitoshi (b.1839-d.1892) and it is one of the best illustrations for the early translation literature.

14-1 Book originally written by Aleleksandr Sergeevich PUSHKIN (b.1799-d.1837) of Russia, revised by HATTORI Seiichi and translated by TAKASU Jisuke, and titled Russian Tale:Kashinchoshiroku, (Original:Captain's Daughter), Tokyo, printed & published by Tokyo Shoshi-hogi, 1883

14-2 Book originally written by Aleleksandr Sergeevich Pushkin (b.1799-d.1837) of Russia, revised or supervised by HATTORI Seiichi and translated by TAKASU Jisuke, and titled Russian Romance:Smith-Marrie no Den, (Original:Captain's Daughter), Tokyo, published by Takasaki- shobo, 1886


15 Publishing difference versions by coping woodblocks and re-engraving woodblocks.

Books would have the first print, the second print, and so on. This is the way of publishing which penetrates into public. Surely, such a publication system appeared after the copyrights were established. Before that, it is often happened that various publishers published same popular texts competitively. If they could get the original woodblocks, the publishers could print until it wore out. It is also possible to re-engrave the same contents or to copy them into new one. We can read the complicated history of publishing from the slight difference among those printed books of Oku-no-hosomichi (Journey of narrow path to inner part of mainland; Travel to Tohoku region with his disciple, Sora) by MATSUO Basho (b.1644-d.1694).

15-1 MATSUO Basho, Oku-no-hosomichi, the second or later print of the Genroku (year 1688-1704) first version, Woodblock print book, 18.3 x 14.0, General Library, UT, Shuchiku Collection (A00-524)

15-2 MATSUO Basho, Oku-no-hosomichi, the second or later print of the Genroku (year 1688-1704) first version, the text is the same as 15-1, however, the preface is inserted later, Woodblock print book, 16.6 x 13.7, General Library, UT, Shuchiku Collection (A00-444)

15-3 MATSUO Basho, Oku-no-hosomichi, the reproductive print of the Genroku (year 1688-1704) first version, Woodblock print book, 16.8 x 13.7, General Library, UT, Shuchiku Collection (A00-525)

15-4 MATSUO Basho, Oku-no-hosomichi, the first print of the Kansei (year 1789-1801) version A, that is, reproduction of the Meiwa 7 (1770) version, Woodblock print book, 16.8 x 13.7, General Library, UT, Chikurei Collection (A00-793)

15-5 MATSUO Basho, Oku-no-hosomichi, the print of the Kansei (year 1789-1801) version C, that is, reproduction of the Meiwa 7 (1770) version in fall of 1789, Woodblock belonged to Kaisen-do, Woodblock print book, 16.7 x 14.2, General Library, UT, (E26-29)

15-6 Proof of the differences in printed versions of Oku-no-hosomichi with Digital Terminals by Sakamura Laboratory, Interfaculty Initiative in Information Studies, Graduate School of Interdisciplinary Information Studies, UT


16 Reprint can be the stage of altering the original text!

Comparing the original and reprint, the difference indicates the change of circumstances in publishing. The original is moval type printing published by HuahuaShengjing Publishers in Ningbo, China. When it was copied by over engraving, MITSUKURI Genpo (b.1799-d.1863), who was the editor to read in Japanese, deleted terms relating Christianity skillfully and composed again. This is an interesting example of obtaining new knowledge under persecution of Christianity.

16-1 WAY, Richard Quarterman, DiQui ShuoLue, Moval type printing, 25.0 x 15.0, published by American Presbyterian Mission Press, Ningbo, China, 1865, Private collection

16-2 WAY, Richard Quarterman, edited by MITSUKURI Genpo, Chikyu-Setsuryaku, Woodblock print, 25.6 x 17.5, published by Roso -kan, Japan, 1860, Private collection


17 Reprint obviously shows the disparity of printing technique

This English-Japanese Dictionary is the reprint of English Dictionary, which was moval type printed in Shang-hai, using Japanese types. Compared to Rinsui Japanese-English Dictionary, which was published four years later, the difference of quality in type is clear between the original and reprints.

17-1 MAEADA Masaki and TAKAHASHI Yoshiaki, Taisho-zoho English-Japanese Dictionary, Moval type printing, 23.2 x 16.5, Printed by American Presbyterian Mission Press, Shanghai, 1871, Private

17-2 AMANO Yoshijiro, Reprint of Rinsui English-Japanese Dictionary, Moval type printing, 22.7 x 16.1, Published by Tokyo Shinsei Kappanjo, Tokyo, 1873, Private collection


18 What is the original in Japanese Classical Literature?

Referring to Literature Works, it is difficult to establish the concept of "original". Especially, in the case of Classical Literature, most of the original written manuscripts were lost. Even there was an original manuscript, no one can tell if it is the final manuscript. Perhaps, the notion of "the original" must be questioned in the first place, if the literature can be defined as something which continues to be newly generated with time. Copies which were made in earlier time or are prosperous in contents are usually thought to be close to the original. This is not always true in the real world. In the case that there are a lot of manual copies like the Tales of Genji, it is difticult to discuss which is the original or the copies. For it is clear that this text generates continuously in the process to be copied and printed.

18-1 Proof of the differences in copied versions of the Tale of Genji (Chapters of Suzumushi I & II, Yugiri, and Minori) with Digital Terminals by Sakamura Laboratory, Interfaculty Initiative in Information Studies, Graduate School of Interdisciplinary Information Studies, UT
Until the introduction of typography in 16th century from Korea and Europe, hand-copying was only mode of replication in Japan. There are many erros which resulted in different versions of texts . Now after we lost almost all the original texts, we end up with many different copies and copies of copies. Which is the original text? What is original? We have to think about these questions. (by MORITA Minori)

18-2) Digital replica of Illustrated Hand scroll of the Tale of Genji (National Treasure in the Gotoh Museum), Hand scroll style, DIS System, Strategic Products Development Center, Hitachi, Ltd.


19 Origin of the Age of Mechanical Reproduction

Prints, which developed in the 15th century in the western world and have had various procedures, had been in the special position as the reproductive media for a long time. However, the rise of photography in the early 19th century had driven the printing away from the position and the prints turned to pursue artistic creativities. What the earliest time reproductive photography chose, as the objects to represent were not original pictures but copied prints. Though photograph would not represent a big size like lithograph, the existence of the photography presenting copied prints reveals that the dualism of original versus copy is fruitless hypothesis from the origin of the age of mechanical reproduction.

19-1 Lithograph reproduction of the head of Saint John, Apostle, in the wall painting the Last Supper by Leonardo da Vinci, drawn by Bourgeois and engraved by Rogat, Original Lithograph (proof print), 39.2 x 30.3 (paper size 44.1 x 32.2), France, mid-19th century
A lithograph discovered in the 1790s by the Bavarian playwright Aloys SENEFELDER (b.1771-d.1834) became the motive power to lead the 19th century into "the age of mechanical reproduction" (quoted from Walter Benjamin's "The Works of Art in the Age of Mechanical Reproduction"). The technique of lithograhs which enables mass-production, kept improving and made color-printing possible soon after the invention. It distributed the images of both famous and infamous into 19th century urban society.

19-2 Anonymous, Early photograph reproduction of engraving of Raphaello's Maddona of Sedia, Original Albumen Silver Print, Dia10.5, England, the end of 1850s
It is very interesting that the early photographic technology was used as the tool to reproduce fine arts and the reproduced objects were not the fine arts themselves but the prints of them. Here we can find the origin of the endless sequence of copies and also the invalidity of dualism, original versus copy. In the album of SHIMA Kakoku (b.1827-d.1870), the kind of reproductive photograph can be found, the earlist photographers in Japan.

19-3 Photographer initialized R.I., Photo reproduction of the head of a Sibyl in Sistine Chapel painted by Michelangelo, Original gelatin silver print, 41.7 x 29.3, Italy, 1930s
The merit of photography as reproductive media is that photograph can frame the object freely and enlarge and reduce the size at ease. Editing a part from a large-sized wall painting shows that there is another beauty in detail which cannot be noticed from the bird's eye view. Exceeding the size limits or distant barriers in time and space is the characteristics of photographic or mechanical reproduction.


20 The Birth of Photography as Reproductive Media

Photography was originated in France in 1820s and spread into the world. Optical equipments which catch the reality through object lens and record the world faithfully made the realism pictures out of date because of its representation ability, It is interesting that the early photographers and even the first photographer Joseph Nicephore Niepce (b.1765-d.1833) favored to reproduce the artworks. The English bourgeois in Victorian days were absorbed in collecting the reproductive photos. These miniature photographs are proved that to see the images and posses them at the same time was realized because of the birth of the photography.

20-1 Victorian Album of Photographs, Original albumen silver prints, Ieather cover, 27.8 x 23.3, England,from the end of 1850s to the end of 1870s, the former collection of Mr. Sakurazawa
Most of the photographs in the album are the reproduction of biblical images. Especially, the fact is suggestive that the images are the paintings of Raphaello in Italian Renaissance. It directly reflects the aesthetic sense and virtue of Victorian upper societies. In this album which includes both reproductive pictures and real people or landscapes, there is nothing to divide between the fictitious world and the real world.



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