The Nature and Uses of Eighteenth-Century Book Subscription Lists [Book Review] (2012) (original) (raw)
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Knowledge Organization 44 (7) (2017): 559-577. 30 references. , 2017
The study focuses on ornamental prints (as components of pattern books) published and circulated all over Europe during the second half of the nineteenth century and in the first decades of the twentieth century. This special object type forms a particular segment not only in the history of ornamental prints and decorative arts in general but also in the history of architecture, applied arts, art education and archaeology. Enriched descriptions of these prints therefore have the potential to be of great benefit to scientific research in all the disciplines mentioned. The primary aim of this study is to survey and elaborate the standardized description of ornamental prints, considering them as visual works and describing them as museum objects. The paper attempts to answer questions posed from the multi-layered approach to scientific research, namely how to record ornamental prints that belong to a special object type, consisting of mixed visual and textual contents; and how to group the information in order to obtain the richest possible sets of data. The conceptual model of the standardized description will be elucidated with numerous examples, embedded in the broader art historical context.
This book seeks to provide the first comprehensive and interdisciplinary guide into the complex relationship between textual production in print, technical and human faults and more or less successful attempts at emendation in the print shop. The 24 carefully selected contributors present new evidence on what we can learn from misprints in relation to publishers' practices, printing and pre-publication procedures, and editorial strategies between 1450 and 1650. They focus on texts, images and the layout of incunabula, sixteenth- and early seventeenth-century books issued throughout Europe, stretching from the output of humanist printers to wide-ranging vernacular publications.
2019
The aim of this COSI seminar is to study European print production roughly during the period 1450-1750, emphasizing technical variance, geographic extent, and range of functionality. The course will specifically address questions of mobility of prints and, connected to it, problem of scale in early modern prints. We will closely examine the smallest and the largest of prints in the collection of the Art Institute’s Prints & Drawings Department: for instance, large-scale woodcuts such as The Triumph of Christ and The Submersion of Pharaoh’s Army in the Red Sea, both after Titian, or Andreani’s Triumph of Caesar, after Mantegna, as well as small-scale devotional pieces such as the anonymous German engraving of St. Anne, the Virgin, and Child (45mm). Additionally, we will study prints that accompanied books as illustrations, drawn from the collection of the Newberry Library. Along with the major names such as Dürer, Rembrandt, and Piranesi, the course seeks to expose students to a wider range of artists: Barbari, Bellange, Callot, Castiglione, Della Bella, Goltzius, Hollar, Mellan, Seghers, Tiepolo, and others. Readings will be from both primary (in translation) and secondary sources. Requirements will include three papers, last one being a research paper.