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Library Guide for ARTH 506
The Print: History, Theory, and
Practice
Professor James Ganz, Fall 2005
Karen A. Bucky,
Collections Access & Reference Librarian
In this online version of the Library Guide, hyperlinks have
been made to databases and websites where possible. If at any point a connection to a database does not work, connect
to the Clark Electronic
Resources page and try to connect from there. For most databases, authorized connection is by IP range and
therefore is only possible from within the Sterling and Francine Clark Art
Institute or Williams College libraries.
General Sources on Prints and
Printmaking
Béguin, André. Technical Dictionary of Printmaking. (Translation by Allan J. Grieco of Dictionnaire Technique de l'Estampe.) Brussels: A. Béguin, 1981–1984.
Somewhat rough-and-ready edition of a dictionary that
defines and describes printmaking techniques, materials, equipment, and
terms. Includes illustrations, tables,
diagrams, and a fairly lengthy bibliography.
Clark Reference NE850 A1 B43
E Vols. 1–3
Field, Richard S., ed.
Census of Fifteenth-Century Prints
in Public Collections of the United States and Canada. New Haven:
Print Council of America, 1995.
Union list of 15th-century prints; inclusion of
prints is based on Wilhelm Ludwig Schreiber.
Section I: Woodcuts, metalcuts and pasteprints of the 15th
century. Follows the system laid out by
Wilhelm Ludwig Schreiber in Handbuch der
Holz- und Metallschnitte des XV. Jarhhunderts, which catalogs prints
iconographically.
Section II: Northern engravings of the 15th
century. Organization follows Max
Lehrs’ Geschichte und Kritischer Katalog
des Deutschen, Neiderlandischen, und Franzosischen Kupferstichs um 15. Jahrhunderts.
Section III: Italian
Nielle and engravings of the 15th century. Based on Arthur M. Hind’s
Early Italian Engraving, augmented in
the case of nielle by Eugene Dutuit’s Manuel
de l’Amateur d’Estampes, 2eme Partie, Nielles and Arthur M. Hind’s Nielle, Chiefly Italian of the XV Century, Plates, Sulphur Casts and
Prints, Preserved in the British Museum.
Clark Stacks N510 A9305 1995
Gascoigne, Bamber. How to Identify Prints: A Complete Guide to
Manual and Mechanical Processes from Woodcut to Ink Jet. London: Thames & Hudson, 2004.
A book “not intended for reading” but “for dipping into as
part of a specific detective process…analyzing how a printer’s ink has been
transferred to a particular piece of paper which carries an image.” Three main sections, linked by
cross-references: Part I describes the
three types of prints, including “images not really prints but called prints”
(e.g. screenprint, Xerox and laser, and inkjet); Part II describes and illustrates visual evidence that can be
used to identify and clarify areas of confusion, identify details based on
historical development of genres and techniques, and draw conclusions based on
details of technical processes; Part
III defines terminology for families of prints, lays out a “Sherlock Holmes
approach” to print identification, and includes a glossary-index that
references numbered sections of the book and defines technical terms.
Clark Stacks NE850 G37 2004
Griffiths, Anthony. Prints and Printmaking: Introduction to the
History and Techniques. Berkeley
and Los Angeles: University of
California Press, 1996.
Intended as a guide for the general reader wishing to
understand the main categories and processes of printmaking, and how and by
whom each method was used. Western art
only. Illustrations are all originals
in the British Museum. Sections include
relief printing processes (woodcut, linocut, wood-engraving, and metalcut and
relief etching), intaglio printing processes (engraving, etching, drypoint,
crayonmanner and stipple, mezzotint, aquatint, and soft-ground etching),
lithography, screenprinting, color printing, and photomechanical reproduction
processes (relief printing, intaglio printing, surface printing, and color
printing).
Clark Stacks NE400 G74 1996
Hults, Linda C. The Print in the Western World: An Introductory History. Madison:
University of Wisconsin Press, 1996.
Scholarly, chronological introduction to the history of
prints in the Western world from 1400, when paper became widely available in
Europe, to about 1980. Chapters reflect
various approaches to understanding prints, while remaining consistent with the
chronological arrangement. Excellent
background source, giving a sense of the context and development of the
print. Chapters conclude with lengthy
bibliographies.
Clark Stacks NE400 H85
Ivins, William Mills.
How Prints Look: Photographs with
a Commentary. Boston: Beacon Press,
1958, c1943.
Describes the basic processes of the three types of
printmaking, with illustrations and captions that show fine details of
technique, materials, or process, and give details on the impact of a given
technique on artistic practice or on aesthetic taste or understanding. Includes a short chapter on color in
printmaking, and another on “copies, facsimiles, and other bothersome matters”
with details on how to tell the difference between originals and copies. The final chapter briefly places prints in a
social, artistic, and economic context, with sections on the social importance
of graphic techniques, the influence of illustration, and the economics of
print publishing.
Clark Stacks NE400 I8h Repr.
Ivins, William Mills.
Prints and Visual Communication. (Da Capo Press Series in Graphic Art, Vol.
10.) New York: Da Capo Press, 1969.
Focuses on the important role of prints as vehicles for
information, supplementing or supplanting the written word. Approaches prints — “among the most
important and powerful tools of modern life and thought” — as repeatable
pictorial statements or communications that have had a great impact on human
knowledge and thought, and therefore on human history and society.
Clark Stacks NE400 I8 Repr.
Karpinski, Caroline.
Italian Printmaking, Fifteenth and
Sixteenth Centuries: An Annotated
Bibliography. Boston: G.K. Hall, 1987.
Introduction serves as a good overview of the course of
scholarship on Italian Renaissance prints.
Bibliography is divided into 16 categories, including reference sources
and general histories, history of publishing and commerce, iconography,
histories of techniques, etc.
Clark Reference Z NE659 K37
Landau, David, and Peter Parshall. The Renaissance Print
1470–1550. New Haven: Yale University Press, 1994.
A scholarly account of how Renaissance prints were
“realized, distributed, acquired, and eventually handled by their public,”
through an examination of material and institutional circumstances and the
study of workshop practices and technical aesthetic experimentation. Arguments are based on evidence gathered
from detailed examination of prints and from surviving documents.
Clark Stacks NE440 L28
Ludman, Joan. Fine Print References: A Selected
Bibliography of Print-Related Literature.
Millwood, NY: Kraus International Publications, 1972.
Deals with “the published writings on prints from all
historical periods and every part of the world. All possible references are cited on the history and technique of
fine and historic prints.” Not included
are photographs, posters, bookplates, illustrations, or ephemera. Chapters on collecting and connoisseurship,
the history of printmaking, competitions and exhibitions, the processes of
printmaking, museum collections, private collections, reference works, society
and club publications, and topical prints.
Clark Reference Z NE485 L83
Mayor, A. Hyatt. Prints and People: A Social History of
Printed Pictures. Helga Harrison
and Dennis Corbyn, trans. Princeton:
Princeton University Press, 1971.
A “wonderful, rambling” book that “gives an excellent sense
of the illustrative aspects of printmaking, moving from these with ease to the
aesthetic pinnacles of the history of prints,”
a history that ranges from the invention of paper in China to Ben Shahn
in 1960 and includes short sections on such topics as the first printed books,
herbals and scientific illustration, the German Little Masters, books of hours,
and much more.
Clark Stacks NE400 M39
Melot, Michel, et al.
Prints: History of an Art. New York:
Rizzoli, 1981.
Four principal sections:
the definition, function, and language of the print; the print as a product
and work of art; the print as an art of the bourgeoisie; and industrialized
pictures and their effect on the print.
Also includes a glossary of technical terms and a bibliography of
standard works on the arts and techniques of the print published from the 17th
to the 19th century.
Clark Stacks NE400 M45
Reference Sources on Artists:
Bibliographies, Dictionaries, and Directories
Allgemeines
Künstlerlexikon: Bio-bibliographischer Index A–Z = The Artists of the World : Bio-bibliographical Index = Encyclopédie
Universelle des Artistes: Index Bio-bibliographique = Enciclopedia Universale
degli Artisti: Indice Bio-bibliografico = Enciclopedia Universal de los
Artistas: Indice Bio-bibliográfico.
Munich: K. G. Saur, 1999– .
Index to biographical encyclopedias and dictionaries on
artists. Entries include artist’s name,
birth and death dates where known, nationality, and references to entries in
biographical sources listed in the front of each volume. The most comprehensive and wide-ranging
index to artistic biography available.
Clark Reference N40 A44b vols. 1–10 (on counter)
Mason, Lauris, ed. Old Master Print References: A Selected
Bibliography. White Plains,
NY: Kraus International Publications,
1986.
References to the work of 900+ Old Master printmakers. Citations include catalogs raisonnés,
checklists, articles in periodicals, listings in multivolume indices, and
museum, dealer, and exhibition catalogs, from earliest published work to 1984. Entries include the artist’s name and birth
and death dates, followed by citations organized by publication date. For each foreign title, an English
translation is given.
Clark Reference Z NE485 M38o
Mason, Lauris, and Joan Ludman. Print Reference Sources: A
Selected Bibliography, 18th–20th Centuries, 2nd
ed. Millwood, NY: KTO Press, 1979.
Provides bibliographical references on printmakers of the 18th
through the 20th centuries.
Printmakers are listed alphabetically; citations for each are listed
chronologically. For each artist, birth
and death dates where known (and if not known, the century in which the artist
lived) are given. Citations include
catalogs raisonnés, oeuvre-catalogs, museum and dealer publications, and
checklists and essays from books and periodicals. Some references to unpublished material are also included, with
the title and projected publication date.
In cases where information about an artist is scarce, references include
listings in group exhibitions, general books, and articles. Some publications are rare and difficult to
locate.
Clark Reference Z NE485 M38 1979
Online Resources
Print Council of
America. Search Index to Print
Catalogues Raisonnés.
Online version of The
Print Council Index to Oeuvre-Catalogues of Prints by European and American
Artists by Timothy A. Riggs (Clark
Reference ZNE485 R58), expanded and
brought up-to-date by Lauren B. Hewes.
Bibliography of oeuvre-catalogs, defined as any print listing of an
artist’s total output, or some clearly defined section of that output. Catalogs of the output of print publishers
and publishing houses also included.
Publications on a given artist or publisher are displayed chronologically
by publication date, from earliest to most recent. Searchable by artist’s last name or publisher whose work is being
cataloged; click “Notes” for instructions on searching artists known by dates,
nicknames, or monograms.
http://www.printcouncil.org/search.html
Historical Surveys
During
the 18th century, prints were for the first time systematically
classified according to schools (i.e. countries) and individual artists. Much of the groundbreaking organizational
work was done by Adam von Bartsch, an Austrian engraver who compiled scholarly
catalogs that set the standard for print research. Between 1808 and 1821 he published Le Peintre-Graveur, which listed and described Flemish, Dutch,
German, and Italian prints. A second
edition, published from 1854 to 1870, included additions and corrections. Bartsch’s print numbers are still used to
identify specific prints in many catalogs and bibliographies. These editions included no indexing and no
illustrations, however, and several projects were published during the 20th
century to provide illustrations and indexing to the original Bartsch. Many other projects have been published to
supplement Bartsch, especially by adding prints from countries not, or not
well, represented.
The original Bartsch:
Bartsch, Adam von. Le Peintre-Graveur. Leipzig: J. A. Barth, 1854–70.
The foundation work for the modern systematic study of
Dutch, Flemish, German, and Italian painter-engravers through the 17th
century. Although
now outdated in some respects, for some lesser artists Bartsch is still the
only, or most important, source. For
each printmaker a general essay, descriptions of prints, and often an
alphabetical list of words are given.
For each print there is a description, dimensions in the French
measurement system, and information on states and editions.
Organization: 1)
original prints, categorized iconographically by biblical subjects, saints,
history and allegories, fictitious subjects, and portraits, 2) prints based on
other artists’ work, 3) doubtful attributions, 4) prints made upon artists’
drawings but engraved by someone else.
Clark Stacks NE90 B3
Projects to provide
indexing and/or illustrations for Bartsch:
*Bartsch, Adam von. The Illustrated Bartsch. Walter L. Strauss, general editor. New York: Abaris Books, 1978– .
Multi-volume work, projected to be 175 volumes or more. When complete will provide illustrations for
all 20,000 European prints listed in Bartsch, and will supplement, correct, and
complete his material. For each volume
of Bartsch there is at least one volume of illustrations (“Picture Atlas”) that
reproduces the prints listed in Bartsch, as well as a corresponding Commentary
volume that provides detailed entries for each print, brief biographical
sketches, reproductions of watermarks, chronological tables, and indices to
subjects and people. Prints not cited
by Bartsch are inserted in the correct iconographic sequence and given new
numbers. The original Bartsch did not cover such areas as 15th-century
German book illustration and 19th-century French printmaking, and TIB has therefore added many “supplement”
volumes to fill in such gaps. Numbers
on book spines are 1) the unique TIB
volume number and 2) the volumes in the original Bartsch that it revises or
illustrates. Standardization and consistency are not strong from volume to
volume. Read the preface and keys to
abbreviations for each volume when using TIB.
Clark Stacks NE90 B31 vols. 1–70
———. Le Peintre
Graveur Illustré: Illustrations to Adam Bartsch’s Le Peintre Graveur, vols.
XII–XXI. University Park:
Pennsylvania State University Press, 1971– .
Intended as a visual reference to Bartsch’s catalog, volumes
XII–XXI, and so has retained Bartsch’s order and numeration. Does not include prints unknown to Bartsch,
or critical and explanatory notes, which are reserved for annotation volumes.
Clark Stacks NE90 B31p
vol. 1
ICONCLASS
Indexes, Early German Prints. Leiden: Foleor, 1995– .
Designed to give detailed iconographic access to the German
prints of the later 15th and 16th centuries described by
Bartsch in volumes 6 through 10 of Le
Peintre-Graveur, and reproduced in volumes 8,9, and 23 of The Illustrated Bartsch. ICONCLASS categories are used to index works
by iconographic subject matter; the key given in the Introduction explains how
to find the works in Bartsch. Includes
bibliographic references.
Clark Stacks NE90 B3 Index L38
ICONCLASS
Indexes, Italian Prints. Doornspijk: Davaco, 1987– .
Provides detailed iconographic access to Bartsch’s Le Peintre-Graveur vols. 12 and 14 to
21, to prints in Hind’s Early Italian
Engraving, and to The Illustrated
Bartsch. ICONCLASS categories are
used to index works by iconographic subject matter; the key given in the
Introduction explains how to find the works in Bartsch. Includes bibliographic
references.
Clark Stacks NE90 B3 Index S87
ICONCLASS
Indexes, Dutch Prints. Leiden:
Foleor, 1994– .
Eight volumes projected.
Series will give detailed iconographic access to the Dutch prints
reproduced in vols. 1–7 and 50–59 of The
Illustrated Bartsch, and covered in Bartsch’s Le Peintre-Graveur vols. 1–5.
ICONCLASS categories are used to index works by iconographic subject
matter; the key given in the Introduction explains how to find the works in
Bartsch. Includes bibliographic
references.
Clark Stacks NE90 B3 Index S87d
Straten, Roelof van.
Iconography, Indexing, ICONCLASS : A Handbook. Leiden:
Foleor, 1994.
Roelof van Straten explains his interpretation and use of
the ICONOCLASS system as he used it in his indexes to Italian prints. Detailed directions assist researchers and
indexers.
Clark Reference Z697 A8 S77
———. The Seventeenth Century : An Iconographic Index to A. Bartsch, Le
Peintre-Graveur, vols. 19, 20, and 21. Doornspijk, The Netherlands: Davaco, 1990.
Volume 8 of the ICONCLASS
Indexes, Dutch Prints (see above).
Iconographic index to volumes 4 and 5 of Bartsch and volumes 5, 6, and 7 of The Illustrated Bartsch.
Clark Stacks NE90 B3 Index S87 [v.3]
National catalogs: German
Geisberg, Max. The German Single-Leaf Woodcut, 1500–1550. Revised and edited by Walter L.
Strauss. New York: Hacker Art Books, 1974.
Clark Stacks NE1150 G6 1974 vols. 1–4
Strauss, Walter L. The German Single-Leaf Woodcut, 1550–1600: A
Pictorial Catalogue. New York: Abaris Books, 1975.
Clark Stacks NE1150 S87g
vols. 1-3
Alexander, Dorothy. The German Single-Leaf Woodcut, 1600–1700: A
Pictorial Catalogue. New York: Abaris, 1977.
Clark Stacks NE1150 A44 vols. 1–2
Reproductions of and documentation on German single-leaf
woodcuts during the respective time periods.
Hollstein, F.W.H. German Engravings, Etchings, and Woodcuts,
c. 1400–1700. Amsterdam:
Hertzberger, 1954–78.
Hollstein, F.W.H. The New Hollstein: German Engravings,
Etchings, and Woodcuts, 1400–1700.
Rotterdam: Sound & Vision
Interactive, 1996- .
Intends to reproduce “every print of importance or of
interest from the point of view of the history of art,” including prints of all
kinds and calibre. New material,
additions, gaps, and new discoveries of states are published (in the 1954-58
edition) for the first time, and a new classification system is used. Auction prices are given for “the more
remarkable prints occurring in the auctions during the past fifty years.” Organization is alphabetical order by artist. Brief biographical notes are given for each
artist and provenance information for each print. Lists of reference works are included for each artist.
Clark Stacks NE651 H6 and NE651 H6 n.s.
National catalogs:
British
Griffiths, Anthony. The Print in Stuart Britain, 1603–1689. London: British Museum Press, 1998.
Exhibition catalog of the British Museum show in 1998. Arranged by period and engraver. Introduction gives historical background and
an overview of print production in 17th-century Britain. Includes 214 works by 70 artists.
Clark Stacks N1042 B7 1998
National catalogs: Dutch and Flemish
Ackley, Clifford S. Printmaking in the Age of Rembrandt. Boston:
Museum of Fine Arts, 1981.
Catalog of the exhibition held at the Museum of Fine Arts in
1981, a comprehensive survey of Dutch printmaking in late 16th and 17th centuries that placed
Rembrandt in the context of his contemporaries. Illustrations are the earliest and finest available
impressions. Also includes a selection
of prints from illustrated books, an important area of Dutch printmaking. An important essay by William Robinson
discusses collecting and connoisseurship in 17th-century Northern
Europe. A valuable resource for
students of Dutch art and for print collectors.
Clark Stacks NE667 B68 1981
Hollstein, F.W.H. Dutch and Flemish Etchings, Engravings and
Woodcuts, c.1400–1700. Amsterdam:
Hertzberger, 1949–78.
Hollstein, F.W.H. The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts, c.1400–1700. Ouderkerk aan den Ijssel, Belgium: 2005.
“Every print of importance or of interest from the point of
view of the history of art will be illustrated.” Between the catalogs of the
works are given complete lists of those prints which have been engraved after
paintings and drawings by well-known artists.
Numbers in brackets refer to Wurzbach’s Niederlandisches Künstler-Lexikon (Reference N6931 A1 W9).
Alphabetical by artist, with brief biographical notes. Dimensions are given, and all known states
of each print.
Clark Stacks NE663 H6 and NE663 H6 n.s.
Riggs, Timothy, and Larry Silver. Graven
Images: The Rise of Professional Printmakers in Antwerp and Haarlem, 1540–1640. Evanston,
IL: Mary and Leigh Block Gallery, Northwestern University, 1993.
Catalog for an exhibition at Mary and Leigh Block Gallery
and the Ackland Art Museum in 1993. Explores “the flow of ideas between Italy
and the North, the gathering of artists for the first time in a workshop
environment, the development of the notion of reproducing a work of art to give
that work greater visibility, the growth in the market for images of previously
produced work, and the rise of truly great artists engaged in new aesthetic
endeavors” through printmaking as it
was practiced in the Netherlands during a period when engravers saw their main
task to be the interpretation of the work of other artists.
Clark Stacks NE673 A5 N67 1993
National catalogs:
French
Baudicour, Prosper de.
Le Peintre-Graveur Français Continué: ou Catalogue Raisonné des
Estampes Gravées par les Peintres et les Dessinateurs de l'École Française nés
dans le XVIIIe Siècle. Paris: Madame Bouchard-Huzard; Leipzig: R. Weigel, 1859–61.
Supplement to Robert-Dumesnil, extending
the catalog through the 18th century. Biographical sketches of the artists followed by detailed
descriptions of their works.
Clark
Stacks NE149 R63 vols. 1–2
Preaud, Maxime, et.al.
Dictionnaire des Editeurs
d’Estampes a Paris sous l’Ancien Regime.
Paris, Promodis: Cercle de la Librairie, 1987.
Scholarly catalog of French print sellers and publishers
from the 16th to the 18th century. Each entry contains references and notes.
Clark Reference NE647 A1 D43
Reed, Sue Welsh, et al.
French Prints from the Age of the
Musketeers. Boston: Museum of Fine Arts, 1998.
Exhibition catalog of a Museum of Fine Arts, Boston show
that examined printmaking in France from 1610 to 1660, looking at 126 works by
fifty artists. Includes essays on 17th-century
intaglio printmaking in France, the print market in Paris from 1610 to 1660,
Abraham Bosse, and Simon Vouet and his printmakers. Each print includes an illustration and discussion. Short biographies are given of each
printmaker. Lengthy bibliography.
Clark Stacks NE647 B68 1999
Robert-Dumesnil, A.P.F.
Le Peinture-Graveur Francais, ou
Catalogue Raisonné des
Estampes Gravées par les Peintres et les Dessinateurs de l'École Française:
Ouvrage Faisant Suite au Peintre-Graveur de M. Bartsch. Paris: G. Warée,
1835–1871.
The basic catalog of French printmaking. Arranged chronologically by printmaker. Each engraving fully described, with
dimensions and various states differentiated.
Volume 11 is a supplement, containing additions and corrections and a
general index to the whole work.
Clark Stacks NE149 R6 vols. 1–10
National
catalogs: Italian
Baudi de Vesme, Allessandro. Le Peintre-Graveur Italien:
Ouvrage Faisant Suite au Pentre-Graveur de Bartsch. Milan: Ulrico Heupli, 1906.
The basic work on late 16th- through 18th-century
Italian engravers and engraving. Gives
a biographical sketch and list of engravings for each artist. Supplements Bartsch. Index pp. 541–2.
Clark Stacks NE152 B3
Bury, Michael. The Print in Italy, 1550–1620. London:
British Museum Press, 2001.
Shows the extensive range of prints produced in Italy
between 1550 and 1620, and considers how and why they were made. Section 1 examines the operations and
processes of printmaking; section 2 looks at the different kinds of people
(designers, engravers, printers, print dealers) involved in the making of
prints; section 3 looks at how printmaking operated in specific cities: Rome,Vienna,
Bologna, and Siena.
Clark Stacks NE659 B7 2001
Hind, Arthur Magyar.
Early Italian Engraving: A
Critical Catalogue with Complete Reproductions of All the Prints Described. London:
B. Quaritch, 1938–48.
Selection of short articles on each artist, followed by a
list of works with a description of various states, dimensions, collections,
watermarks, inscriptions, and bibliographical references. Each volume includes a section on watermarks
and a concordance to Bartsch, and an index of artists and subjects.
Clark Stacks NE659 H5 vols. 1–7
Reed, Sue Welsh, and Richard Wallace. Italian Etchers of the
Renaissance and Baroque. Boston: Museum of Fine
Arts, 1989.
Exhibition catalog of the 1989 show at the Museum of Fine
Arts, Boston, “the first survey of the role of etching in Italy from about 1520
to 1700.” Includes essays on the first
two centuries of etching in Italy, characteristics of Italian paper, and a note
on printing inks. The 151 prints by 79
artists each have an illustration and discussion, and each artist has a
biographical sketch. Includes a
bibliography.
Clark Stacks NE2052 B67 1989
United States. National Gallery of Art. Early
Italian Engravings from the National Gallery of Art. Washington, D.C.: National Gallery of Art, 1973.
A monumental work, encompassing the range of 15th-
and early 16th-century Italian engravings. Includes a representative survey of niello prints and woodcuts in
the appendixes. Each section includes a
critical essay on the artist and detailed entries. Well-illustrated.
Clark Stacks N856 P7 1973
Online Resources
The Illustrated Bartsch is available on ARTstor. Under “Keyword Search” use the “Search a
Collection” dropdown box to highlight “Illustrated Bartsch.” Search by artist’s name, subject, or any
other keyword.
Clark Electronic Resource
Print
Collecting and Preservation/Conservation
Baker, Christopher, et al.
Collecting Prints and Drawings in
Europe, c. 1500–1750. Aldershot,
England and Burlington, VT: Ashgate, in association with the Bvrlington
Magazine, 2003.
An anthology of writings on the collection of prints and
drawings in Europe, presented as papers held at the National Gallery, London,
in 1997. The main focus is on the collections
of gentlemen connoisseurs, critics, and amateurs, e.g. Ferdinand Columbus,
Antonio Tronsarelli, Nicholas Lanier, Sir Peter Lely, and others.
Clark Stacks N5206 C64 1997
James, Carlo, et al. Old Master Prints and Drawings: A Guide to
Preservation and Conservation.
Edited and translated by Marjorie Cohn.
Amsterdam: Amsterdam University
Press, 1997.
Considers the problems of the conservation and preservation
of works of art on paper, looking at drawings and prints from the introduction
of paper in Europe in about 1150 to the middle of the 19th
century. Part I examines the character
of works on art on paper, with chapters on collectors and mountings, paper,
drawing and printing techniques and materials, and visual identification of
graphic techniques and their supports.
Part II deals with preservation: its history and modern practices, and
technical problems such as temperature and humidity, light, pollution, and
insects. Part III is on conservation:
its history and modern concerns. Part
IV is on specific conservation techniques: cleaning, stain removal,
deacidification, consolidation and integration of paper, lining, and
integration of color.
Clark Stacks N9220 M35 E
Levis, Howard C. A Descriptive Bibliography of the Most
Important Books in the English Language Relating to the Art and History of
Engraving and the Collecting of Prints.
London: Ellis, 1912.
Intends to list and describe and most important, rare, and
interesting books (“and some not so important”) and show their development and
the relationship between them. Includes
chapters on “books of secrets and mysteries,” dictionaries and histories on
print-collecting, specific techniques (e.g. wood-engraving and lithography),
private collections, French engravings, watermarks and print-collectors’ marks,
book illustration, dealers’ catalogs, and others.
Clark Reference Z NE400 L48
Zigrosser, Carl, and Christa M. Gaehda. A
Guide to the Collecting and Care of Original Prints. New York:
Crown, 1972.
Includes a brief introduction to prints and collecting, a
short bibliography, a glossary of terms and techniques, one chapter on the artist and the print
market and another on the dealer and the print market, and a paper on the care
and conservation of prints.
Clark Stacks NE885 Z54 1972
Iconography
See
also the ICONCLASS works listed with the material on Bartsch under Historical Surveys.
These tools provide iconographic access to Bartsch.
Duchet-Suchaux, Gaston, and Michel Pastoureau. The
Bible and the Saints. Flammarion
Iconographic Guides. Paris: Flammarion, 1994.
Alphabetically organized entries for the saints, biblical
characters and scenes from the Old and New Testaments, animals, plants,
allegorical personifications and religions dignitaries (e.g. popes and
pilgrims), and insignia of religious office (e.g. the mitre). A practical guide that “does not seek to be
exhaustive” but gives basic iconographic information. Includes bibliographic references.
Clark Reference N7800 A1 D83 E
Emison, Patricia A. The Art of Teaching: Sixteenth-Century
Allegorical Prints and Drawings. New Haven: Yale University
Art Gallery, 1986.
Exhibition catalog of the 1986 Yale Art Gallery show on
allegorical prints and drawings by Renaissance artists from Italy, France,
Germany, Britain, and the Low Countries.
Introduction is an extensively footnoted essay on Renaissance
allegories. The 56 prints are
illustrated and accompanied by footnoted discussion.
Clark Stacks NE962 A55 Y35 1986
Hall, James. Dictionary
of Subjects and Symbols in Art. London: John Murray, 1974.
Dictionary of Christian and classical themes and symbols,
found in Western art from the Renaissance to the present, in “the mainstream of
the Christian and humanist tradition in art.”
Entries are alphabetical by subject.
Does not list works of art. Many
cross-references. Sparsely illustrated
with line drawings.
Clark Stacks N7694 A1 H34
Marle, Raimond van. Iconographie de l’Art Profane au Moyen-Age
et a la Renaissance et la Decoration des Demeures. New York:
Hacker Art Books, 1971.
Comprehensive study of the secular iconography of the Middle
Ages and Renaissance. Lengthy
bibliography at the end of each volume.
Does not have an index. Vol.
I: Allegories
et Symboles. Vol. II: La Vie Quotidienne. Profusely
illustrated.
Clark Stacks N7697 M37 Repr.
Réau, Louis. Iconographie de l’Art Chrétien. Paris:
Presses Universitaires de France, 1955.
Indispensable reference tool for research in Christian
iconography. Scope ranges from early
Christian to 20th-century representations, with emphasis on Western
medieval art. Each subject heading is
translated into several other languages, so that the work can also function as
a polyglot dictionary of iconographical terms.
Well-illustrated.
Clark Reference N7800 R4
Roberts, Helene E. Encyclopedia of Comparative
Iconography: Themes Depicted in Works
of Art. Chicago: Fitzroy Dearborn, 1998.
Intends to “show the variety of uses to which…narratives and
other themes have been put in the history of art and to discuss some of the
changing interpretations as the themes pass through different ages, cultures,
and forms.” Orders iconographic
narratives (e.g. biblical, mythological, and literary texts) according to
actions performed by the characters, situations in which they find themselves,
and concepts relating to those situations and actions (e.g. abandonment,
adultery, ascent, avarice). Essays
discuss personifications, allegories, gestures, characteristics, and other
subjects. Detailed indexes to
persons/places/concepts, artists/works of art, and names/terms provide
cross-referencing.
Clark Reference N7694 A1 E52 vols. 1–2
Papermaking and Watermarks
Papermaking
Hunter, Dard. Papermaking: The History and Technique of an
Ancient Craft. New York: Dover Publications, 1978, c1947.
Aims to give “bibliophiles and amateur booklovers an insight
into the methods employed by the makers of paper in all parts of the world and
from all periods; also….to interest and instruct papermakers, bookbinders,
paper salesmen, and all users of paper.”
Includes chapters on the paper and papermakers of Europe and America
during the early years of printing, watermarks, and papermaking materials and
processes; also a chronology of papermaking and a lengthy bibiography.
Clark Stacks NC53 H85h
———. Papermaking Through Eighteen Centuries. New York : W. E. Rudge, 1930.
Deals only with early methods of papermaking; “aims to
give…insight into the methods used by the old makers of paper, especially after
the introduction of printing from movable types.” Includes a chapter on the “eccentricities of the old [15th-
and 16th-century] papermakers and the characteristics of the paper
they fabricated,” that contains such fascinating details as the cost of 15th-century
papers, the weekly wage of a papermaker, and daily details of the papermaking
trade. Notable for its detailed
historical information on papermaking methods and equipment.
Rare Book Room NC53 H85
Lunning, Elizabeth, and Roy Perkinson. Print
Council of America Paper Sample Book: A Practical Guide. Print Council of America, 1996.
Includes an explanatory pamphlet and sample book containing 26 paper samples that represent “the range of color, thickness, and texture one is likely to encounter among the prints