The second technique that Alb Indys put to use could be styled as a kind of artistic forgery, though it might just as well be described by the term which he himself preferred—collaboration. And who were his collaborators? In many instances, there was no way of knowing: anonymous penmen, mostly, of illustrations in very old books and periodicals. His shelves were full of them, dark and massive, their worn covers incredibly tender to the touch. French, Flemish, German, Swedish, Russian, Polish, any cultural source of published material would do as long as its pictures spoke the language of dark
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