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• Title:The print before photography : an introduction to European printmaking, 1550-1820 / Antony Griffiths.
  
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• Author/Creator:Griffiths, Antony, author.
  
• Published/Created:London : British Museum Press 2016.
  

• Holdings

  Holdings Record Display

  • Location:MAA LIBRARY (IKB) stacksWhere is this?
    
  • Call Number: NE625 .G75 2016
    
  • Number of Items:1
    
  • Status:c.1 On loan - Due on 05-07-2024
    

   
• Library of Congress Subjects:Prints, European--17th century.
  Prints, European--18th century.
  
• Medical Subjects: Art--history.
  
• Description:560 pages : illustrations (some color) ; 30 cm
  
• Summary:A landmark publication that catalogues the history and development of the printed image Gutenberg's invention of moveable type made it possible to print letters. But images could only be printed using two other technologies that were developed alongside letterpress. One depended on wooden blocks which were cut and printed in relief, the other on copper plates into which lines were cut by engraving or etching and were printed on a rolling press.Copper-plate printmaking developed into a huge business employing thousands of people, and dominated image production for nearly four centuries across the whole of Europe.Its processes remained very stable, and a man of 1500 could have walked into a printing shop of 1800 and understood what was going on. During the nineteenth century this world was displaced by new technologies, of which photography was by far the most important.
  
• Notes:Includes bibliographical references and index.
  
• ISBN:9780714126951 hardcover
  0714126950 hardcover
  
• Contents:Machine generated contents note: 1. European print 1550
  1820
  pt. I PRINT PRODUCTION
  2. technology and its implications
  Copper plates
  Paper
  Other supplies: etching grounds, acid, burins
  Transferring designs
  Reversal
  process of engraving and etching Jo Working proofs and `touching'
  Lettering
  Proof slates made for sale Rolling presses
  Priming
  Printers
  Woodcut
  time required to produce plates in the intaglio techniques
  3. printing capacity of copper plates
  printing capacity of engraved plates
  printing capacity of etched plates
  printing capacity of mezzotint and drypoint
  priming capacity or stipple and oilier processes
  mass-market trade
  Woodcut
  Contemporary views about retouching and reworking
  4. costs and profitability of new print production
  Costs of woodcut
  Costs of engraving
  Fixed costs (copper, engraving, lettering, designs)
  Variable costs (paper, ink and printing)
  Some representative costings
  Break even points and profitability in engraving
  Profitability of other intaglio processes
  Delays in production
  How long was a print run?
  Economics in printing
  5. Lettering, language and text
  Lettering styles
  Languages
  Terms relating to the printmaker and designer
  Terms relating to the publisher
  Privileges, publication lines and dedications
  Verses on prints
  Texts on prints and the interpretation of paintings
  Titles
  Absent loitering
  Incomplete lettering
  Inaccurate and misleading lettering
  Text added after publication
  6. print and the state: censorship, copyright, privileges, taxation and promotion
  Censorship and prosecutions for publishing prints
  Licences to publish prints
  Copyright
  Privileges
  Multiple privileges
  Procedures and types of privilege
  Notes oil privileges by country
  Taxation
  Court engravers
  Slate mercantilism
  7. Copying prints
  extent of copying
  methods and costs of copying
  Unlawful copying
  Copying within the law
  Replicas
  Authorized or permitted copies
  Pastiches
  Drawn copies
  Harmless copying
  swipe
  Copying as an industry
  8. Reprinting plates and blocks
  value and reuse of plates
  survival of plates and blocks
  Altering plates and blocks
  profitability of reprinting
  trade in second-hand plates
  scale and length of reprinting
  Plates and collectors
  9. Colouring prints
  Attitudes to colouring
  Methods of colouring
  colouring trade and its levels
  Publishers' colouring
  Retailers' colouring
  Some special cases
  Bespoke colouring
  Colouring to match the original
  Outline etchings for colouring
  Other types of colouring and decorating prints
  Primed colour
  printed painting
  Colour values in black and white
  10. Single sheets, pairs, sets and oeuvres
  Single sheets: sizes and formats
  Pairs for framing
  Sets, series, suites: some general remarks
  Netherlandish development of the set
  Extending and altering series
  Retrospective `false' series
  Books of prints
  recueil (the collected edition)
  oeuvre
  11. Book illustration
  Combining illustrations with text
  Frontispieces, title-plates and authors' portraits
  Producing a set of book illustrations
  Covering The costs of illustrated editions
  Ways of further exploiting a set of plates
  involvement of authors in financing plates
  importance of book illustration for the print trade
  Bibliophiles and Collectors
  12. survival and loss of prints
  Collectors' prints
  law of print survival
  problem of the quantification of losses
  Literary evidence for losses
  Lost types of prints
  Surviving prints with unfamiliar and Forgotten functions
  Prints intended for pairing
  Cut-Outs (decoupage)
  pt. II EUROPEAN PRINT TRADE
  13. European print trade 1550
  1820
  14. participants in the print trade
  15. printmaker
  Apprenticeships and training in drawing
  Specialist and general engravers
  Employees and subcontractors
  Advancing a career: travel and further training
  Working independently on commission
  Publishing on one's own account
  Selling
  Further Options
  Jean Daulle
  16. painter and designer
  legal and moral background
  artist's interest in prints of his work
  Artists' supply of designs for the print trade
  Collaborations between painters and engravers
  painter as publisher
  painter as printmaker
  painter's etching
  Printmaking and history painting
  auctor intellectualis
  Constable on print publishing
  17. publisher: finance and production
  Publishers who emerged from the print trade
  Establishing a business as a print publisher eye Backers
  large-scale publishing dynasties
  Partnerships and corporate publishing
  Publishers who remained anonymous
  Strategy and specialization
  Publishers as individuals: the variety of background and approach
  18. publisher: distribution
  Direct sale by the printmaker or painter
  Wholesale distribution at fairs
  Exchanging stock
  correspondent
  Terms of trade
  Discounts and length of credit
  Accounting and payments
  Importers and exporters
  Publishing for distribution in another country
  Packing prints
  Shipping prints
  reach of the European print trade
  19. Patronage and subsidized publication
  Patronage and subsidy
  Dedications
  Rewards for dedication
  Presentations
  Specialist and scientific publications
  Sponsored illustrations in books
  `Gallery' and collection series
  Fund-raising and charity plates
  20. Non-commercial State and private publication
  State-sponsored publications
  State control of publications
  Festival books and prints
  Private plates
  Thesis prints
  Amateur printmakers
  21. printseller
  great print sellers
  Lesser printsellers
  Other shops that sold prints
  Selling from Stalls
  print shop and its development
  Changes in demand in the later eighteenth century
  antiquarian trade
  Restorers and mounters
  Auctions
  Selling antiquarian stock by catalogue
  22. Marketing, advertising and subscriptions
  Catalogues and stock lists
  Promotional fliers and other ephemera
  Newspaper advertising
  Announcements and reviews
  Selling prints by Subscription
  Exhibitions
  23. buyer
  Buyers and their prints
  Prices and affordability
  relationship of new to antiquarian prints
  Shopping for prints
  Speculation
  Looking al and enjoying prints
  24. Cheap prints and the itinerant trade
  country pedlar
  urban street seller
  publishers of cheap prints
  Woodcut or engraving?
  range of the middle and lower market
  `popular' print and international subject-matter
  cheap print as big business
  pt. III USE AND UNDERSTANDING OF THE PRINT
  25. variety of the print
  Some contemporary views on the utility of the print
  Three examples of the variety of prints within a single class
  Prints as historical evidence
  26. display and storage of prints
  Multiple-sheet prints
  Prints pasted on walls
  Domestic display and framing of single-sheet prints
  Glazing prints
  Styles of framing in the eighteenth century
  Storing prints
  Albums
  Portfolios
  Mounts
  27. Print collecting
  Prim buyers and print collectors
  world of the print collector
  Connoisseurship
  First impressions (`premieres epreuves')
  Rarity
  Fakery
  Some common types of print collecting
  complexity of print collecting
  taxonomy of print collections
  ideal print collection
  history of print collecting
  28. knowledge and literature of prints
  first publications on prints
  beginnings of the print catalogue
  position around 1700
  expert and unpublished knowledge
  rise of the oeuvre catalogue
  new wave of publications in the later eighteenth century
  public collection and exhibition
  29. understanding and usage of the print in the art world
  `constprent': the print as art independent work of art
  `Disegni a stampa' and the chiaroscuro woodcut
  print as product of the artist's studio
  rise of painting and the professional engraver
  print as facsimile
  print as translation
  status of the engraver vis-a-vis the painter
  Prints as training material
  Prints as a crutch for the poor artist
  Prints and artistic originality
  30. hierarchy of the techniques of printmaking
  Burin engraving
  Mixed engraving and etching
  Miniaturist etching
  Etching for the trade
  painter's etching
  Girard Audran and the etching of history
  origin of the method of Bartsch
  Mezzotint
  Stipple and aquatint
  Woodcut
  Tail-piece
  Coda
  31. print since 1820
  Steel plates
  Lithography
  Wood-engraving
  Photography
  position of the hand-made processes
  changed understanding of the hand-made print.