Hylla REF Grafisk Konst Allmänt Dep Gravyr 18/017
Personnamn Griffiths, Antony, 1951- author Författare/medförfattare
Titel och upphov The print before photography : an introduction to European printmaking, 1550-1820
Utgivning, distribution etc. London : The British Museum Press, 2016.
DDC klassifikationskod (Dewey Decimal Classification)
SAB klassifikationskod
Fysisk beskrivning 560 pages : illustrations (some color), maps (some color) ; 30 cm
Anmärkning: Bibliografi etc. Includes bibliographical references (pages 501-545) and indexes.
Anmärkning: Innehåll Machine generated contents note: 1. The European print 1550 -- 1820 -- pt. I PRINT PRODUCTION -- 2. The technology and its implications -- Copper plates -- Paper -- Other supplies: etching grounds, acid, burins -- Transferring designs -- Reversal -- The process of engraving and etching Jo Working proofs and `touching' -- Lettering -- Proof slates made for sale Rolling presses -- Priming -- Printers -- Woodcut -- The time required to produce plates in the intaglio techniques -- 3. The printing capacity of copper plates -- The printing capacity of engraved plates -- The printing capacity of etched plates -- The printing capacity of mezzotint and drypoint -- The priming capacity or stipple and oilier processes -- The mass-market trade -- Woodcut -- Contemporary views about retouching and reworking -- 4. The 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. The 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 -- The extent of copying -- The methods and costs of copying -- Unlawful copying -- Copying within the law -- Replicas -- Authorized or permitted copies -- Pastiches -- Drawn copies -- Harmless copying -- The swipe -- Copying as an industry -- 8. Reprinting plates and blocks -- The value and reuse of plates -- The survival of plates and blocks -- Altering plates and blocks -- The profitability of reprinting -- The trade in second-hand plates -- The scale and length of reprinting -- Plates and collectors -- 9. Colouring prints -- Attitudes to colouring -- Methods of colouring -- The 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 -- The 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 -- The Netherlandish development of the set -- Extending and altering series -- Retrospective `false' series -- Books of prints -- The recueil (the collected edition) -- The 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 -- The involvement of authors in financing plates -- The importance of book illustration for the print trade -- Bibliophiles and Collectors -- 12. The survival and loss of prints -- Collectors' prints -- The law of print survival -- The 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 THE EUROPEAN PRINT TRADE -- 13. The European print trade 1550 -- 1820 -- 14. The participants in the print trade -- 15. The 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. The painter and designer -- The legal and moral background -- The artist's interest in prints of his work -- Artists' supply of designs for the print trade -- Collaborations between painters and engravers -- The painter as publisher -- The painter as printmaker -- The painter's etching -- Printmaking and history painting -- The auctor intellectualis -- Constable on print publishing -- 17. The publisher: finance and production -- Publishers who emerged from the print trade -- Establishing a business as a print publisher eye Backers -- The 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. The publisher: distribution -- Direct sale by the printmaker or painter -- Wholesale distribution at fairs -- Exchanging stock -- The 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 -- The 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. The printseller -- The great print sellers -- Lesser printsellers -- Other shops that sold prints -- Selling from Stalls -- The print shop and its development -- Changes in demand in the later eighteenth century -- The 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. The buyer -- Buyers and their prints -- Prices and affordability -- The relationship of new to antiquarian prints -- Shopping for prints -- Speculation -- Looking al and enjoying prints -- 24. Cheap prints and the itinerant trade -- The country pedlar -- The urban street seller -- The publishers of cheap prints -- Woodcut or engraving? -- The range of the middle and lower market -- The `popular' print and international subject-matter -- The cheap print as big business -- pt. III THE USE AND UNDERSTANDING OF THE PRINT -- 25. The 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. The 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 -- The world of the print collector -- Connoisseurship -- First impressions (`premieres epreuves') -- Rarity -- Fakery -- Some common types of print collecting -- The complexity of print collecting -- The taxonomy of print collections -- The ideal print collection -- The history of print collecting -- 28. The knowledge and literature of prints -- The first publications on prints -- The beginnings of the print catalogue -- The position around 1700 -- The expert and unpublished knowledge -- The rise of the oeuvre catalogue -- The new wave of publications in the later eighteenth century -- The public collection and exhibition -- 29. The understanding and usage of the print in the art world -- The `constprent': the print as art independent work of art -- `Disegni a stampa' and the chiaroscuro woodcut -- The print as product of the artist's studio -- The rise of painting and the professional engraver -- The print as facsimile -- The print as translation -- The 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. The hierarchy of the techniques of printmaking -- Burin engraving -- Mixed engraving and etching -- Miniaturist etching -- Etching for the trade -- The painter's etching -- Girard Audran and the etching of history -- The origin of the method of Bartsch -- Mezzotint -- Stipple and aquatint -- Woodcut -- Tail-piece -- Coda -- 31. The print since 1820 -- Steel plates -- Lithography -- Wood-engraving -- Photography -- The position of the hand-made processes -- The changed understanding of the hand-made print.
Anmärkning: Innehållsbeskrivning, sammanfattning 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.
Kronologisk term
Geografiskt namn
Genre/Form
ISBN
*00012269cam a2200541 i 4500
*001103784
*00520170926140852.0
*008150810s2016 enkab 001 0 eng c
*020 $a9780714126951$q(hardback)
*020 $a0714126950$q(hardback)
*035 $a(OCoLC)ocn917376530
*035 $a(OCoLC)917376530$z(OCoLC)9306829 75
*035 $a(SE-LIBR)20846827
*050 4$aNE625$b.G77 2016
*08204$a769.94$223
*1001 $aGriffiths, Antony,$d1951-$eauthor$4aut
*24514$aThe print before photography :$ban introduction to European printmaking, 1550-1820 /$cAntony Griffiths.
*260 $aLondon :$bThe British Museum Press,$c2016.
*264 1$aLondon :$bThe British Museum Press,$c2016.
*300 $a560 pages :$billustrations (some color), maps (some color) ;$c30 cm
*336 $atext$btxt$2rdacontent
*337 $aunmediated$bn$2rdamedia
*338 $avolume$bnc$2rdacarrier
*504 $aIncludes bibliographical references (pages 501-545) and indexes.
*50500$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.
*5208 $aA landmark publication that catalogues the history and development of the printed image Gutenberg's invention of moveable type made it possible to print letters. But images could only be printed using two other technologies that were developed alongside letterpress. One depended on wooden blocks which were cut and printed in relief, the other on copper plates into which lines were cut by engraving or etching and were printed on a rolling press. Copper-plate printmaking developed into a huge business employing thousands of people, and dominated image production for nearly four centuries across the whole of Europe. Its processes remained very stable, and a man of 1500 could have walked into a printing shop of 1800 and understood what was going on. During the nineteenth century this world was displaced by new technologies, of which photography was by far the most important.
*648 4$a1550-1820
*648 7$a1500-1799$2fast
*651 4$aEuropa$0https://libris.kb.se/rp354mt934f3fm1#it
*651 7$aEuropa$2gnd$0https://libris.kb.se/rp354mt934f3fm1#it
*655 7$aHistory.$2fast
*852 $5N$bN$hREF Grafisk Konst Allmänt
*852 $5N$bN$hDep Gravyr
*852 $5N$bN$h18/017
*950 $aVaruhus$wh$uHandel
*951 $aEurasien$uEuropa
^
Det finns inga omdömen till denna titeln.
Klicka här
för att vara den första som skriver ett omdöme.