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LEADER: 13998cam 2200937 i 4500
001 ocn917376530
003 OCoLC
005 20220912072141.0
008 150810t20162016enkab b 001 0 eng c
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020 $a9780714126951$q(hardback)
020 $a0714126950$q(hardback)
024 8 $a99977635011
027 $q(Coutts)033244574
035 $a(OCoLC)917376530$z(OCoLC)930682975$z(OCoLC)1008084817$z(OCoLC)1176268703$z(OCoLC)1224906726
042 $apcc
043 $ae------
050 4 $aNE625$b.G77 2016
080 $a(4)76.034/.035 GRI
082 04 $a769.94$223
084 $aJ237(5)$2clc
100 1 $aGriffiths, Antony,$eauthor.
245 14 $aThe print before photography :$ban introduction to European printmaking, 1550-1820 /$cAntony Griffiths.
264 1 $aLondon :$bThe British Museum Press,$c2016.
264 4 $c©2016
300 $a560 pages :$billustrations (some color), maps (some color) ;$c30 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
520 8 $aA 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.
504 $aIncludes bibliographical references (pages 501-545) and indexes.
505 00 $gMachine generated contents note:$g1.$tThe European print 1550 -- 1820 --$gpt. I$tPRINT PRODUCTION --$g2.$tThe technology and its implications --$tCopper plates --$tPaper --$tOther supplies: etching grounds, acid, burins --$tTransferring designs --$tReversal --$tThe process of engraving and etching Jo Working proofs and `touching' --$tLettering --$tProof slates made for sale Rolling presses --$tPriming --$tPrinters --$tWoodcut --$tThe time required to produce plates in the intaglio techniques --$g3.$tThe printing capacity of copper plates --$tThe printing capacity of engraved plates --$tThe printing capacity of etched plates --$tThe printing capacity of mezzotint and drypoint --$tThe priming capacity or stipple and oilier processes --$tThe mass-market trade --$tWoodcut --$tContemporary views about retouching and reworking --$g4.$tThe costs and profitability of new print production --$tCosts of woodcut --$tCosts of engraving --$tFixed costs (copper, engraving, lettering, designs) --$tVariable costs (paper, ink and printing) --$tSome representative costings --$tBreak even points and profitability in engraving --$tProfitability of other intaglio processes --$tDelays in production --$tHow long was a print run? --$tEconomics in printing --$g5.$tLettering, language and text --$tLettering styles --$tLanguages --$tTerms relating to the printmaker and designer --$tTerms relating to the publisher --$tPrivileges, publication lines and dedications --$tVerses on prints --$tTexts on prints and the interpretation of paintings --$tTitles --$tAbsent loitering --$tIncomplete lettering --$tInaccurate and misleading lettering --$tText added after publication --$g6.$tThe print and the state: censorship, copyright, privileges, taxation and promotion --$tCensorship and prosecutions for publishing prints --$tLicences to publish prints --$tCopyright --$tPrivileges --$tMultiple privileges --$tProcedures and types of privilege --$tNotes oil privileges by country --$tTaxation --$tCourt engravers --$tSlate mercantilism --$g7.$tCopying prints --$tThe extent of copying --$tThe methods and costs of copying --$tUnlawful copying --$tCopying within the law --$tReplicas --$tAuthorized or permitted copies --$tPastiches --$tDrawn copies --$tHarmless copying --$tThe swipe --$tCopying as an industry --$g8.$tReprinting plates and blocks --$tThe value and reuse of plates --$tThe survival of plates and blocks --$tAltering plates and blocks --$tThe profitability of reprinting --$tThe trade in second-hand plates --$tThe scale and length of reprinting --$tPlates and collectors --$g9.$tColouring prints --$tAttitudes to colouring --$tMethods of colouring --$tThe colouring trade and its levels --$tPublishers' colouring --$tRetailers' colouring --$tSome special cases --$tBespoke colouring --$tColouring to match the original --$tOutline etchings for colouring --$tOther types of colouring and decorating prints --$tPrimed colour --$tThe printed painting --$tColour values in black and white --$g10.$tSingle sheets, pairs, sets and oeuvres --$tSingle sheets: sizes and formats --$tPairs for framing --$tSets, series, suites: some general remarks --$tThe Netherlandish development of the set --$tExtending and altering series --$tRetrospective `false' series --$tBooks of prints --$tThe recueil (the collected edition) --$tThe oeuvre --$g11.$tBook illustration --$tCombining illustrations with text --$tFrontispieces, title-plates and authors' portraits --$tProducing a set of book illustrations --$tCovering The costs of illustrated editions --$tWays of further exploiting a set of plates --$tThe involvement of authors in financing plates --$tThe importance of book illustration for the print trade --$tBibliophiles and Collectors --$g12.$tThe survival and loss of prints --$tCollectors' prints --$tThe law of print survival --$tThe problem of the quantification of losses --$tLiterary evidence for losses --$tLost types of prints --$tSurviving prints with unfamiliar and Forgotten functions --$tPrints intended for pairing --$tCut-Outs (decoupage) --$gpt. II$tTHE EUROPEAN PRINT TRADE --$g13.$tThe European print trade 1550 -- 1820 --$g14.$tThe participants in the print trade --$g15.$tThe printmaker --$tApprenticeships and training in drawing --$tSpecialist and general engravers --$tEmployees and subcontractors --$tAdvancing a career: travel and further training --$tWorking independently on commission --$tPublishing on one's own account --$tSelling --$tFurther Options --$tJean Daulle --$g16.$tThe painter and designer --$tThe legal and moral background --$tThe artist's interest in prints of his work --$tArtists' supply of designs for the print trade --$tCollaborations between painters and engravers --$tThe painter as publisher --$tThe painter as printmaker --$tThe painter's etching --$tPrintmaking and history painting --$tThe auctor intellectualis --$tConstable on print publishing --$g17.$tThe publisher: finance and production --$tPublishers who emerged from the print trade --$tEstablishing a business as a print publisher eye Backers --$tThe large-scale publishing dynasties --$tPartnerships and corporate publishing --$tPublishers who remained anonymous --$tStrategy and specialization --$tPublishers as individuals: the variety of background and approach --$g18.$tThe publisher: distribution --$tDirect sale by the printmaker or painter --$tWholesale distribution at fairs --$tExchanging stock --$tThe correspondent --$tTerms of trade --$tDiscounts and length of credit --$tAccounting and payments --$tImporters and exporters --$tPublishing for distribution in another country --$tPacking prints --$tShipping prints --$tThe reach of the European print trade --$g19.$tPatronage and subsidized publication --$tPatronage and subsidy --$tDedications --$tRewards for dedication --$tPresentations --$tSpecialist and scientific publications --$tSponsored illustrations in books --$t`Gallery' and collection series --$tFund-raising and charity plates --$g20.$tNon-commercial State and private publication --$tState-sponsored publications --$tState control of publications --$tFestival books and prints --$tPrivate plates --$tThesis prints --$tAmateur printmakers --$g21.$tThe printseller --$tThe great print sellers --$tLesser printsellers --$tOther shops that sold prints --$tSelling from Stalls --$tThe print shop and its development --$tChanges in demand in the later eighteenth century --$tThe antiquarian trade --$tRestorers and mounters --$tAuctions --$tSelling antiquarian stock by catalogue --$g22.$tMarketing, advertising and subscriptions --$tCatalogues and stock lists --$tPromotional fliers and other ephemera --$tNewspaper advertising --$tAnnouncements and reviews --$tSelling prints by Subscription --$tExhibitions --$g23.$tThe buyer --$tBuyers and their prints --$tPrices and affordability --$tThe relationship of new to antiquarian prints --$tShopping for prints --$tSpeculation --$tLooking al and enjoying prints --$g24.$tCheap prints and the itinerant trade --$tThe country pedlar --$tThe urban street seller --$tThe publishers of cheap prints --$tWoodcut or engraving? --$tThe range of the middle and lower market --$tThe `popular' print and international subject-matter --$tThe cheap print as big business --$gpt. III$tTHE USE AND UNDERSTANDING OF THE PRINT --$g25.$tThe variety of the print --$tSome contemporary views on the utility of the print --$tThree examples of the variety of prints within a single class --$tPrints as historical evidence --$g26.$tThe display and storage of prints --$tMultiple-sheet prints --$tPrints pasted on walls --$tDomestic display and framing of single-sheet prints --$tGlazing prints --$tStyles of framing in the eighteenth century --$tStoring prints --$tAlbums --$tPortfolios --$tMounts --$g27.$tPrint collecting --$tPrim buyers and print collectors --$tThe world of the print collector --$tConnoisseurship --$tFirst impressions (`premieres epreuves') --$tRarity --$tFakery --$tSome common types of print collecting --$tThe complexity of print collecting --$tThe taxonomy of print collections --$tThe ideal print collection --$tThe history of print collecting --$g28.$tThe knowledge and literature of prints --$tThe first publications on prints --$tThe beginnings of the print catalogue --$tThe position around 1700 --$tThe expert and unpublished knowledge --$tThe rise of the oeuvre catalogue --$tThe new wave of publications in the later eighteenth century --$tThe public collection and exhibition --$g29.$tThe understanding and usage of the print in the art world --$tThe `constprent': the print as art independent work of art --$t`Disegni a stampa' and the chiaroscuro woodcut --$tThe print as product of the artist's studio --$tThe rise of painting and the professional engraver --$tThe print as facsimile --$tThe print as translation --$tThe status of the engraver vis-a-vis the painter --$tPrints as training material --$tPrints as a crutch for the poor artist --$tPrints and artistic originality --$g30.$tThe hierarchy of the techniques of printmaking --$tBurin engraving --$tMixed engraving and etching --$tMiniaturist etching --$tEtching for the trade --$tThe painter's etching --$tGirard Audran and the etching of history --$tThe origin of the method of Bartsch --$tMezzotint --$tStipple and aquatint --$tWoodcut --$tTail-piece --$tCoda --$g31.$tThe print since 1820 --$tSteel plates --$tLithography --$tWood-engraving --$tPhotography --$tThe position of the hand-made processes --$tThe changed understanding of the hand-made print.
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650 0 $aPrints, European$y16th century.
650 0 $aPrints, European$y17th century.
650 0 $aPrints, European$y18th century.
650 0 $aPrints$xTechnique.
650 12 $aArt$xhistory
650 6 $aEstampe européenne$y17e siècle.
650 6 $aEstampe européenne$y18e siècle.
650 6 $aEstampe$xTechnique$xHistoire.
650 6 $aEstampe européenne$y16e siècle.
650 6 $aEstampe$xTechnique.
650 7 $aprintmaking.$2aat
650 7 $a21.32 history of the graphic arts.$2bcl
650 7 $aPrints$xTechnique.$2cct
650 7 $aPrints, European$y16th century.$2cct
650 7 $aPrints, European$y17th century.$2cct
650 7 $aPrints, European$y18th century.$2cct
650 7 $aArt and Design.$2eflch
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650 7 $aPrints$xTechnique.$2fast$0(OCoLC)fst01076838
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650 7 $aGravure$zEurope$y1500-1800.$2ram
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648 7 $a1500-1799$2fast
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
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