Jacob Mooij, Dutch printmaker in Harderwijk

Jacob Mooij

(1889-1938)

Dutch woodblock printmaker, publisher and

 printing press owner.

I first stumbled over this forgotten and hardly known Dutch printmaker when I saw (but missed) this large print of a Utrecht alley in a local auction site. Only recently I found another one, a picturesque scene in one of the oldest (esth. 1648 and today former) University cities of the Netherlands, the fishing port of Harderwijk. Before the Zuiderzee was closed by the Afsluitdijk in 1933.  In the 18th century Harderwijk was also nicknamed the Athens of Gelderland (province). Carl Lineaus, the Danish botanist studied here in 1735. It is also located on the edge of the Dutch Bible belt.

Usually the old Lighthouse and gate in one of the remaining towers and gate to the walled medieval city, is the subject of numerous works of art: it’s as iconic as the Martini tower in Groningen and the Waterpoort in Sneek. Right: the old Lighthouse by Cees Bolding (1897-1979) one of the finest Dutch painters and printmakers. 

Jacob Mooij was born as the son of the evangelist Arend Mooij who stayed and preached in several Dutch and Belgian cities, married a girl from province Zeeland and  did what the Bible ordered him to do: create a large family. Jacob started a publishing and printing  business in Harderwijk with his brother Herman Willem (1872-1932) while another brother, Maarten, also preached the gospel like his father and uncles before him.

Paradijspoortje ("Gate to paradise") in Harderwijk: wood/linoblock by Jacob Mooij, etching by Herman J. Ansingh (1880-1957) and woodblock by Arie van der Boon (1886-1961)

and an oil painting by David Schulman (1881-1966)

In Harderwijk he will have met Henri Wils (1892-1967) the  interned Belgian printmaker who’d fled, with tens of thousands of compatriots, the siege of Antwerp in 1914. From Wils, who was a student of Eduard Pellens (1872-1947) in Antwerp (Emile Verpilleux (1888-1964) also was) Jacob Mooij learned the art of woodblock printing. Jacob married Geertje Visser in 1915 and both men later (around 1922) moved to Rotterdam were Jacob started a printing press and Wils a career as a printmaker and books illustrator.

Harderwijk Old Lighthouse and Vispoort (Fish-gate): by Henri Wils, postcard, Herman (H.J.) Ansingh, Wijnand Otto Jan Nieuwenkamp (1884-1950) and Louis Haver (1906-1969)

  

The influence of Pellens (who had been a student of August Lepère (1849-1918) in Paris and one of the founding fathers of Modern printmaking) is unmistakenly evident in all Wils’ prints. Wils never excelled, never changed from the stiff city views and sticked to his style using just two or three blocks and creating recognizable, framable and affordable wall decorations. For a generation of Dutch city bourgois. 

Antwerpen by Henri Wils and his teacher professor Eduard Pellens.

Wils was a bread and butter printmaker and he had his prints printed mechanically at the printing press of his (former) employers, the publisher and printing press of Kok in nearby Kampen. Wils when living in Harderwijk will have without a doubt had knowledge of the printing and publishing activities of the Mooij brothers. Henri Wils and his legacy in print will feature in an upcoming posting (ending the Antwerp School of Printmaking postings)    

The influence of Wils is evident in Mooij who, I believe, eventually proved to be far more creative and artistic then his master using more color blocks and guiding a much freer hand cutting the linoleum. And of course he decided to pull his prints by hand. Hopefully more prints by Mooij will surface in future.

All pictures borrowed freely from the Internet for friendly, educational and non commercial use only.
All pictures are mouse-clickable to embiggen.

Around Antwerpen School of Printmaking (IX)

Emile Verpilleux (V)

In the beginning there was:

Emile Antoine Verpilleux & Hubert Valentine Fanshaw.

Had I known this print, “the Tower”, published in “the Studio” 1910, I would have begun my Antwerp and Verpilleux  postings with it. But I didn't. We can safely assume it is his first. Probably he had just returned to London after his educational years in Antwerp. It is Antwerp’s St. Jacobs tower and for that reason I repeat here some already shown contemporary woodblocks.

L: A.v.d.J             R: Jean Claessens (1978-1963)

The mysterious artist mentioned in the 1913 article in "the Studio", "who knew the ropes" and succeeded in persuading young Verpilleux to change from painting into taking courses in printmaking with Eduard Pellens was most certainly Hubert Valentine Fanshaw (1878-1940). Fanshaw studied in the Sheffield Technical School, the Royal College of Art in London and in the Academie Royale des Beaux Arts in Antwerp. He immigrated to Canada in 1912 just before the second article on Verpilleux beginning of 1913 in the “the Studio” illustrated with two color prints by Verpilleux. Honouring Fanshaw for his foresight I show a selection of, his typical Canadian, prints here. And if I said they were by Walter J. Phillips you would believe me too. 

Two other artists followed Fanshaw to Canada a year later, in 1913: Walter Joseph Phillips (1884-1963) and the etcher Cyril Barraud (1877-1940) Also, in 1913,  Dresden trained German printmaker Henri Eric Bergman (1893-1958) immigrated to Canada and these 4 men were to become the founding fathers of the Society of Canadian Painter-Etchers/Engravers. As a watercolor painter Phillips took up etching only after 1914 (taught by Barraud who left for the War) and his block printmaking career started even later. These prints by Fanshaw showing how these men influenced each other creatively. Phillips has more then enough entries in the www. Bergman's and Barrauds work I shall discuss and show later. 


Another souvenir de Belge is Verpilleux' print "Malines" showing the majestic tower of St. Rombouts Cathedral in Malines (Mechelen). It should have been almost twice as high but the imbalance between ambition and reality left it an impressive 96 meters still. As we know today this medieaval financial crisis surely wasn't the first nor to be the last. 

A century after Verpilleux sat there nothing much has changed in mediaeval Mechelen. But I am quite sure Verpilleux is trying to tell us more then just showing a nice view. A procession seems to be going on and there's statue clearly visible. The statue (removed and replaced in 2006) is of Margareth of Austria Savoy (1480-1530) 

She choose Mechelen her residence ruling over the Lower Countries. In the end of her life processions were held to her health. She suffered and died of a bone marrow infection after a fall from her horse and after a not very happy life. But she was well loved by her subjects. Also since 1273 the famous Hanswijk procession devoted to Maria is held here every sunday before Ascension (end of april, beginning of may) for over 800 years. Followed by a horse drawn parade with historical themes and relics of St. Rombout. Although very small the horses and horsemen are clearly visible. Well well, Emile Verpilleux the teacher, hidden history lessons from a woodblock print. 


PS: thanks to Charles (see comments) here is Emil Orlik's (1860-1911) view on Mechelen (Malines) and St. Rombouts. He visited Belgium and the Netherlands in 1898.

Around Antwerpen School of Printmaking (IV)

Emile Antoine Verpilleux (I).

(1888-1964)
British painter, portraitist,
woodengraver, illustrator and
Modern Printmaker

His first 5 modern prints.

The most actual and condensed biography on E.A.Verpilleux can be found here in Art and the Aesthete. The exemplary and legendary but sadly late Blog of Clive. I can only encourage reading his great and informative posting. My postings around the Antwerp School of Printmaking are an attempt showing some things that maybe haven’t been shown or discussed before on the web.

Born from Belgium parents in London Emile was trained in the Antwerp Royal Academy but  started his artistic training in London. Initially, undoubtedly, as a painter. Guessing he must have been around 18 leaving for Antwerp leads us to around 1905-07. Around the year Edward Pellens, was appointed director-professor. Again guessing he will have stayed in Antwerp for maybe 4-5 years, most students stayed 4 but Emile, because of his already noticed talents was granted a state (post doc) stipendium. We find him actually back in London in January 1911, mentioned in the London Illustrated.      

The prestigious Studio Magazine published a major article by James Bolivar Manson (1879-1945, reading this later Tate director’s biography here is a must) on young Emil Verpilleux in the September 1913 edition.  Showing “his latest” two prints in full color: “St. Pauls from Cheapside” and “St. Pancras station” both dated 1912.  Also his ”Interior of St. Pauls Cathedral”, shown in black and white, and the mentioning and praising of “Interior of King’s College Chapel”. 


His 1912 print “the Tower Bridge” was printed in color four months earlier in the May 1913 edition. So 5 of his prints at least can be dated with some accuracy as early as 1912-1913. 

E.A.Verpilleux: St. Pauls from Cheapside 1912
note the window screenes lower right and the fotograph below.

Cheapside 1910

In some publications it is argued that Verpilleux changed from the traditional use of the Japanese baren (press), water based inks and thin papers to using a printing press, modern printing inks and thick absorbent papers. Urushibara arrived in London december 1910 giving lectures, showing the Japanese printing methods to artists and students. He returned to London in 1912 to stay, traveled and taught also in Paris. Comparing with the publishing dates of these prints I'm convinced Verpilleux  wasn't trained that way in Anwerp. Nor had he the time to master it back in London and reject it before creating these prints. But maybe someone can throw light on this subject. Also I have not been able to locate the source of this statement.

E.A.Verpilleux, Tower Bridge in London Fog, 1912
Note the lantern (left) and  see were Frank Brangwyn stood 
sketching Tower Bridge (below) at a slightly different perspective.

Tower Bridge, Frank Brangwyn

Tower Bridge, Luigi Kasimir 

A foggy day in London Town , 2011

Many great printmaking artists visited London, Paris and Antwerp. Frank Brangwyn (1876-1956), Luigi Kasimir (1881-1962) and Frantisik Tavik Simon (1877-1942) for instance. They surely will have had greater influence on the young Verpilleux. As I intend showing you later. 

Verpilleux' St.Pancras Station print must have been inspired by Claude Monet's Gare St. Lazare painting (one of its versions). Most Impressionist painters (and the post Impressionists) visited and painted London and the Thames. 

Claude Monet: Gare St. Lazare Paris 1877

Besides the achievement of great atmoshere in this print (that was after all the starting point of this series) it is incredibly detailed and acurate. Verpilleux showing both his skills as a classic taught wood engraver in Antwerp but also he already is a very modern block-printmaker. These contemporary photographs proving. The perspective, the hurrying crowd, the structure of the station and the impressionist atmosphere are created with the greatest skills and great knowledge of using color (and inks and paper). Acccording to J.B.Mansion in 1913. And he was besides a critic also an accomplished artist. 

Yoshijiro Urushibara (after Frank Brangwyn) 

The railway engine: Frank Brangwyn.

To be continued soon.

Suggestions and comments welcome!