Portret van Niklaus Rudolf von Wattenwyl 1768 - 1817

Editor: We're looking at "Portret van Niklaus Rudolf von Wattenwyl," an engraving from somewhere between 1768 and 1817 by Johann Heinrich Lips. The detail in the engraving is quite remarkable, capturing a stern yet noble expression. What strikes you about it? Curator: This engraving, as a reproductive print, raises interesting questions about value and dissemination in the late 18th century. The labor involved in creating these intricate lines, etching them into the metal plate—how does that influence our perception of the sitter’s status? Consider the intended audience for these prints. Editor: So, you’re saying that this print wasn't necessarily about high art, but about wider distribution and accessibility? Curator: Precisely. Lips likely intended this print to circulate widely, perhaps among Wattenwyl's constituents or those interested in Swiss political figures. This accessibility challenges the traditional, singular aura surrounding painted portraits of the elite. Editor: It’s almost like an early form of mass media, using skilled craftsmanship instead of a printing press in its more modern form. Curator: Exactly. The materiality of the engraving itself – the copper plate, the ink, the paper – are key to understanding its function within its social and economic context. The precision speaks not just to artistic skill, but to the engraver’s role as a conduit of power. Editor: That's a great point; it changes how I see the print. I was so focused on the sitter; now I’m thinking about the maker and the consumers. Curator: It reminds us that art objects are always entangled in webs of production, consumption, and meaning-making, all shaped by their materials and how they’re used. Editor: This really opened my eyes to considering not just who is depicted, but the whole system that allowed this image to exist and be shared.