Reproductie van een prent van een man met muts by Simonau & Toovey

Reproductie van een prent van een man met muts before 1871

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drawing, print, paper, engraving

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portrait

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drawing

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print

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paper

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engraving

Dimensions: height 60 mm, width 40 mm

Copyright: Rijks Museum: Open Domain

Curator: At the Rijksmuseum, we have a print, “Reproductie van een prent van een man met muts,” made before 1871 by Simonau & Toovey. It's an engraving on paper. Editor: The sheer, archival presence of the book itself makes a powerful statement, a vessel holding these intimate, fragile depictions of humanity. It also emphasizes that what's preserved has always depended on social mechanisms of valuation. Curator: Exactly. And the portrait within? It's striking how the anonymous man's cap anchors his identity; it denotes his social standing but shrouds his intentions. Think of the various forms of head covering and their coded cultural messages across time! Editor: And that engraving itself–such painstaking labor! To reproduce an image with that kind of fidelity...consider the training, the materials, the specific knowledge and skill that's invested. It gives me pause to see how casually this might have been consumed. Curator: The portrait’s gaze carries a specific psychological weight. What archetypes did the man evoke for viewers of this era? Were they trying to infer the moral character of the person depicted here based on physiognomy? Editor: That framing border on the page does almost feel like it isolates the original creative gesture of mark-making from a much longer chain of material manipulations through different stages. Curator: Perhaps, though this echoes how early forms of reproduction were designed to echo paintings, imbuing themselves with aura even when mass-produced. In the pre-photography era, an engraved portrait granted wider access and social reach to individual identity. Editor: Ultimately, what endures here, even if in faint monochrome tones on aged paper, is how it registers the human compulsion towards depiction, circulation, valuation, and then preservation for a later era. Curator: Indeed, this quiet portrait unlocks a history not only of itself, but of seeing. Editor: Quite. The material afterlife is where true meanings are made and remade.

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