The print before photography: an introduction to European printmaking 1550-1820
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London
The British Museum
2016
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | 560 Seiten Illustrationen |
| ISBN: | 9780714126951 |
Internformat
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| 245 | 1 | 0 | |a The print before photography |b an introduction to European printmaking 1550-1820 |c Antony Griffiths |
| 264 | 1 | |a London |b The British Museum |c 2016 | |
| 300 | |a 560 Seiten |b Illustrationen | ||
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Datensatz im Suchindex
| _version_ | 1804175178128687104 |
|---|---|
| adam_text | CONTENTS
Preface g
Acknowledgements 13
INTRODUCTION
1 The European print 1550-1820 13
Fixed costs (copper, engraving, lettering, designs
Variable costs (paper, ink and printing 6;
Some representative costings 6 y
Break even points and prolitability in rngraving 7
Profitability of other intaglio processes 7/
Delays in production 7-7
How long was a prim run? 76
Economies in printing 77
PART I: PRINT PRODUCTION
2 The technology and its implications 28
Copper plates 28
Paper 30
Ink 32
Other supplies: etching grounds, acid, burins 33
Transferring designs 34
Reversal 33
The process of engraving and etching
Working proofs and ‘touching’ 40
Lettering 42
Proof states made for sale 43
Rolling presses 44
Printing 44
Printers 43
Woodcut 47
The time required to produce plates in the intaglio techniques 48
3 The printing capacity of copper plates750 ,
The printing capacity of engraved plates 32
The printing capacity of etched plates 33
The printing capacity of mezzotint and drypoint 36
The printing capacity of stipple and other processes 38
The mass-market trade 33
Woodcut 60
Contemporary views about retouching and reworking 61
4 The costs and profitability of new print production 62
Costs of woodcut 62
Costs of engraving 62
5 Lettering, language and text 7//
Lettering styles 81
Languages 81
Terms relating to the printmakcr and designer •L
Terms relating to the publisher 8}
Privileges, publication lines and dedications (,
Verses on prints 87
Texts on prints and the interpretation f paintim
Titles go
Absent lettering gi
Incomplete lettering gj
Inaccurate and misleading lettering g;
Text added after publication g.j
6 The print and the state: censorship, copyri
privileges, taxation and promotion y,
Censorship and prosecutions for publishing pi int
Licences to publish prints gj
Copyright gg
Privileges gg
Multiple privileges 101
Procedures and types ol privilege m3
Notes on privileges by country mf
Taxation 107
Court engravers 108
State mercantilism 113
7 Copying prints //./
The extent of copying if f
The methods and costs of cop ing 1/3
Unlawful copying 117
Copying within the law 118
Replicas ug
Authorized or permitted copies 121
Pastiches 122
Drawn copies 122
Harmless copying 124
The swipe 126
Copying as an industry 12ft
8 Reprinting plates and blocks 132
The value and reuse of plates 132
The survival of plates and blocks 133
Altering plates and blocks 136
The profitability of reprinting 138
The trade in second-hand plates 140
The scale and length of reprinting 141
Plates and collectors 142
9 Colouring prints 144
Attitudes to colouring 144
Methods of colouring 143
The colouring trade and its levels 146
Publishers’ colouring 14]
Retailers’ colouring 131
Some special cases 131
Bespoke colouring 133
Colouring to match the original 134
Outline etchings for colouring 133
Other types of colouring and decorating prints 137
Printed colour 160
The printed painting 161
Colour values in black and white 163
10 Single sheets, pairs, sets and oeuvres 164
Single sheets: sizes and formats 164
Pairs for framing 168
Sets, scries, suites: some general remarks i6g
The Netherlandish development of the set 172
Extending and altering series 173
Retrospective ‘false’ series 173
Books of prints 173
fhe recueil (the collected edition) 176
The oeuvre 177
11 Book illustration 181
Combining illustrations with text 182
Frontispieces, title-plates and authors’ portraits 183
Producing a set of book illustrations 186
Covering the costs of illustrated editions 188
Ways of further exploiting a set of plates r8g
The involvement of authors in financing plates igo
The importance of book illustration for the print trade igi
Bibliophiles and collectors ig2
12 The survival and loss of prints 133
Collectors’ prints igg
The law of print survival ig6
The problem of the quantification of losses ig6
Literary evidence for losses 200
Lost types of prints 202
Surviving prints with unfamiliar and forgotten functions 207
Prints intended for pasting 210
Cut-outs (decoupage) 212
PART II: THE EUROPEAN PRINT TRADE
13 The European print trade 1550-1820 216
14 The participants in the print trade 223
15 The printmaker 234
Apprenticeships and training in drawing 234
Specialist and general engravers 236
Employees and subcontractors 238
Advancing a career: travel and further training 23g
Working independently on commission 240
Publishing on one’s own account 242
Selling 246
Further options 247
Jean Daullé 24g
16 The painter and designer 230
The legal and moral background 230
The artist’s interest in prints of his work 231
Artists’ supply of designs for the print trade 233
Collaborations between painters and engravers 237
The painter as publisher 23g
The painter as printmaker 262
The painter’s etching 264
Printmaking and history painting 263
The audoT intellectualis 267
Constable on print publishing 26g
17 The publisher: finance and production 270
Publishers who emerged from the print trade 271
Establishing a business as a print publisher 272
Backers 273
The large-scale publishing dynasties 274
Partnerships and corporate publishing 276
Publishers who remained anonymous 278
Strategy and specialization 280
Publishers as individuals: the variety of background and
approach 281
18 The publisher: distribution 286
Direct sale by the printmaker or painter 286
Wholesale distribution at fairs 28g
Exchanging stock 290
The correspondent 232
Terms of trade 233
Discounts and length of credit 234
Accounting and payments 237
Importers and exporters 238
6
Publishing for distribution in another country 233
Packing prints 301
Shipping prints jo/
The reach of the European print trade joj
19 Patronage and subsidized publication 306
Patronage and subsidy 306
Dedications J07
Rewards for dedications 308
Presentations 310
Specialist and scientific publications 312
Sponsored illustrations in books 314
‘Gallery’ and collection series 313
Fund-raising and charity plates 313
20 Non-commercial State and private publication 320
State-sponsored publications 320
State control of publications 324
Festival books and prints 324
Private plates 326
Thesis prints 323
Amateur printmakers 332
21 The printseller 334
The great printsellers 334
Lesser printsellers 333
Other shops that sold prints 336
Selling from stalls 337
The print shop and its development 333
Changes in demand in the later eighteenth century 341
The antiquarian trade 342
Restorers and mounters 343
Auctions 346
Selling antiquarian stock by catalogue 343
22 Marketing, advertising and subscriptions 330
Catalogues and stock lists 330
Promotional fliers and other ephemera 333
Newspaper advertising^
Announcements and reviews 333
Selling prints by subscription 336
Exhibitions 361
23 The buyer 363
Buyers and their prints 363
Prices and affordability 364
The relationship of new to antiquarian prints 368
Shopping for prints 363
Speculation 332
Looking at and enjoying prints 334
24 Cheap prints and the itinerant trade 333
The country pedlary
The urban street seller J77
The publishers of cheap prints 338
Woodcut or engraving? 380
The range of the middle and lower market 383
The ‘popular’ print and international subject-matter 384
The cheap print as big business 383
PART III: THE USE AND UNDERSTANDING
OF THE PRINT
25 The variety of the print 334
Some contemporary views on the utility of the print 77;
Three examples of the variety of prints within .1 snuff -1 l.o
Prints as historical evidence 408
26 The display and storage of prints .///
Multiple-sheet prints 412
Prints pasted on walls 413
Domestic display and framing of single-sheet prints //;
Glazing prints 413
Styles of framing in the eighteenth century ¡20
Storing prints 422
Albums 423
Portfolios 423
Mounts 426
27 Print collecting 423
Print buyers and print collectors 428
The world of the print collector 423
Connoisscurship 430
First impressions (‘premières épreuves / ;/
Rarity 433
Fakery 436
Some common types of print collecting /;/
The complexity of print collecting 442
The taxonomy of print collections /.//;
The ideal print collection 444
The history of print collecting 443
28 The knowledge and literature of prints //
The first publications on prints 44(1
The beginnings of the print catalogue 443
The position around 1700 448
The expert and unpublished knowledge 448
The rise of the oeuvre catalogue / ]
The new wave ol publications in the Inter eighteenth
century 431
The public collection and exhibition ./
29 The understanding and usage of the print in
the art world 433
The ‘constprent: the print as an independent u tk« l ait ;
‘Disegni a stampa’ and the chiaroscuro ..It ut /
The print as product of the artist s studio / .«
The rise of painting and the professional eugrawi
The print as facsimile 4%
CODA
The print as translation 484
The status of the engraver vis-a-vis the painter 467
Prints as training material 467
Prints as a eruteh for the poor artist 468
Prints and artistic originality 468
The hierarchy of the techniques of printmaking 470
Burin engraving 470
Mixed engraving and etching 473
Miniaturist etching 474
Etching for the trade 478
The painter’s etching 478
Girard Audran and the etching of history 4744
The origin of the method of Bartsch 481
Mezzotint 484
Stipple and aquatint 484
Woodcut 488
Tail-piece 487
31 The print since 1820 48g
Steel plates 48g
Lithography 4gi
Wood-engraving 4g2
Photography 4g4
The position of the hand-made processes 4g6
The changed understanding of the hand-made print 4g8
Abbreviations used in bibliography and footnotes goo
Bibliography 301
Notes 306
Glossary of print terminology 346
Coinage and exchange rates 348
Name index 330
Subject index 338
List of illustrations 33g
For four centuries the only way to print a pictorial
image in Western Europe was by cutting a woodblock or
engraving a copper plate by hand. These images were the
essential adjunct to Gutenberg’s invention of movable
type in the 14.40s. Making them demanded new skills and
personnel, and created a new industry that employed
thousands of men and women in many complementary
roles. Their products covered a huge range, from blank
forms, toys and almanacs to religious images, portraits
and works of art of the highest sophistication.
By 1550 the new technology had bedded down and it
remained very stable for several centuries. A man of
1550 could have walked into a printing shop of 1820 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, and
the old printmaking industry is now only remembered by
historians.
This book provides an ‘anatomy5 of this industry
during its period of greatest flourishing. It describes
how engravers, artists, publishers and distributors
worked together to produce objects that were bought by
every section of society. At the top of the market were
engravers with astonishing skills, and the works that
they produced were eagerly collected by a new breed
of connoisseur who paid high prices and demanded
novelty and rarity. At the bottom was the cheap print,
distributed in huge numbers by pedlars around the
whole of Europe and beyond to the Americas. The
book discusses the relationship of prints to drawings and
paintings, the information that was available about them,
how people kept and stored them, and the nature of the
connoisseurship that was devoted to them.
The 31 chapters draw on a wide range of sources to give
an account of this world in a way that has never been
done before. Fascinating and accessible, it will interest
all students and scholars of art and history, and will also
reward the general reader and anyone interested in these
often astonishing and frequently misunderstood works
of human creativity.
With over 300 illustrations
|
| any_adam_object | 1 |
| author | Griffiths, Antony 1951- |
| author_GND | (DE-588)137332769 |
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| dewey-full | 769.94 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 769 - Prints |
| dewey-raw | 769.94 |
| dewey-search | 769.94 |
| dewey-sort | 3769.94 |
| dewey-tens | 760 - Printmaking & prints |
| discipline | Kunstgeschichte |
| era | Geschichte 1550-1820 gnd |
| era_facet | Geschichte 1550-1820 |
| format | Book |
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| language | English |
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| publisher | The British Museum |
| record_format | marc |
| spelling | Griffiths, Antony 1951- Verfasser (DE-588)137332769 aut The print before photography an introduction to European printmaking 1550-1820 Antony Griffiths London The British Museum 2016 560 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Geschichte 1550-1820 gnd rswk-swf Technik (DE-588)4059205-4 gnd rswk-swf Sammeln (DE-588)4051494-8 gnd rswk-swf Druckgrafik (DE-588)4113357-2 gnd rswk-swf Handel (DE-588)4023222-0 gnd rswk-swf Europa (DE-588)4015701-5 gnd rswk-swf Europa (DE-588)4015701-5 g Druckgrafik (DE-588)4113357-2 s Technik (DE-588)4059205-4 s Handel (DE-588)4023222-0 s Sammeln (DE-588)4051494-8 s Geschichte 1550-1820 z DE-604 British Museum (DE-588)38379-X isb Digitalisierung UB Bamberg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028318377&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Augsburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028318377&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | Griffiths, Antony 1951- The print before photography an introduction to European printmaking 1550-1820 Technik (DE-588)4059205-4 gnd Sammeln (DE-588)4051494-8 gnd Druckgrafik (DE-588)4113357-2 gnd Handel (DE-588)4023222-0 gnd |
| subject_GND | (DE-588)4059205-4 (DE-588)4051494-8 (DE-588)4113357-2 (DE-588)4023222-0 (DE-588)4015701-5 |
| title | The print before photography an introduction to European printmaking 1550-1820 |
| title_auth | The print before photography an introduction to European printmaking 1550-1820 |
| title_exact_search | The print before photography an introduction to European printmaking 1550-1820 |
| title_full | The print before photography an introduction to European printmaking 1550-1820 Antony Griffiths |
| title_fullStr | The print before photography an introduction to European printmaking 1550-1820 Antony Griffiths |
| title_full_unstemmed | The print before photography an introduction to European printmaking 1550-1820 Antony Griffiths |
| title_short | The print before photography |
| title_sort | the print before photography an introduction to european printmaking 1550 1820 |
| title_sub | an introduction to European printmaking 1550-1820 |
| topic | Technik (DE-588)4059205-4 gnd Sammeln (DE-588)4051494-8 gnd Druckgrafik (DE-588)4113357-2 gnd Handel (DE-588)4023222-0 gnd |
| topic_facet | Technik Sammeln Druckgrafik Handel Europa |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028318377&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028318377&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT griffithsantony theprintbeforephotographyanintroductiontoeuropeanprintmaking15501820 AT britishmuseum theprintbeforephotographyanintroductiontoeuropeanprintmaking15501820 |