Nieuwjaarswens van lettergieterij J. John Söhne before 1956

Editor: So this is a woodcut print titled "Nieuwjaarswens van lettergieterij J. John Söhne", made before 1956. The Three Kings are quite striking figures. What stands out to you most about this piece? Curator: Immediately, the labor involved jumps out. Woodcut printing necessitates skilled craftsmanship, impacting access and circulation. We need to consider how the materials, the woodblock itself and the printing press available at the time, affected the final image. Did the cost and availability of these materials limit its reach, even as a new year's wish? Editor: That's fascinating. I was so focused on the imagery. What does the "lettergieterij" signify here? Curator: That tells us a lot. Lettergieterij translates to type foundry. It implies a direct connection to the printing process itself. The firm literally produces the means for disseminating information and wishes! The artistic choice to embrace a traditional medieval woodcut style for a type foundry's new year's greeting creates tension. Was it a deliberate nostalgic look back? Did this influence the consumption or perceived value? Editor: I see what you mean! It makes me consider their role in shaping communication itself. So, considering its function, it's not just art, it's advertising? Curator: Precisely! We see the intersection of art, labor, and capitalist exchange. It's fascinating how the materiality of print and the specifics of the letter foundry influence how we view a seemingly simple new year’s wish. Editor: That’s a complete reframing for me! It’s much more complex when considering the conditions of its making. Thanks for this insight. Curator: Absolutely, analyzing art through the lens of its production uncovers layers of meaning often missed when only focusing on subject matter or formal elements.