phs executed by female printmakers have been around almost as long as artists started creating prints in the late fifteenth century. From 1848 until 1861, she collected an astonishing array of sheets by women artists from the sixteenth to nineteenth centuries. Executed by experts and amateurs alike, these women pursued their craft as part of larger family workshops, as a means of self-realization and for the thrill of making and sharing pictures created in multiples.

Exhibited for the first time since 1901, the works from Henrietta Louisa Koenen’s collection include not only well-known artists like Angelica Kauffmann (1741-1807) and Maria Cosway (1760-1838), but also rare and unusual prints by the Marquise de Pompadour (1721-1764), Charlotte Napoleon (1802-1839), and Queen Victoria (1819-1901).

tween Fifth and Sixth Avenues)

For more information, please visit:

http://www.upne.com/1611686159.html
http://www.postersplease.com/

will include icons of his art such as The Scream, Madonna, The Kiss, and Melancholy, as well as works exemplifying his experimental approaches to printed graphics.

otential of serial procedures and structures. Many prominent artists since then have produced serial projects at the renowned Los Angeles print workshop and publisher Gemini G.E.L. The exhibition will showcase 17 such series created at Gemini by 17 artists over the past five decades. It will include seminal early works by artists such as Roy Lichtenstein, Robert Rauschenberg, and Frank Stella as well as more recent serial projects by John Baldessari, Julie Mehretu, Richard Serra, and others.

s, and posters that tells the history of popular printmaking in the United States from the 1890s to the 1960s. The landing page features an online catalogue, exhibition listings, blog posts, and more.

es and media gave him exceptional freedom to express the complexities and contradictions of the world around him. This talk will examine a selection of paintings, prints, and drawings to reveal some of the ways Goya described a world that is both new and familiar.

Stephanie Loeb Stepanek is curator emerita at the Museum of Fine Arts (MFA), Boston, with which she has been associated since her graduation from Wheaton College, Norton, MA. She is co-curator of the MFA exhibition Goya: Order and Disorder (October 12, 2014-January 19, 2015) and was the coauthor of The Prints of Lucas van Leyden and His Contemporaries (1983), accompanying an exhibition held at the MFA and the National Gallery of Art. Stepanek worked closely with the noted Goya scholar and former MFA curator of prints and drawings Eleanor Sayre on the exhibitions The Changing Image: Prints by Francisco Goya, 1974, and Goya and the Spirit of Enlightenment, 1989, coauthoring the catalogue. Stepanek has worked on numerous other exhibitions at the MFA, including Albrecht Dürer, Master Printmaker (1971), Winslow Homer (1977), The Pleasures of Paris (1991), and French Prints from the Age of the Musketeers (1998). She has contributed to an array of scholarly publications and conferences since the 1970s.

>

BOOK DETAILS
In Printing Colour 1400–1700, Ad Stijnman and Elizabeth Savage offer the first handbook of early modern colour printmaking before 1700, creating a new, interdisciplinary paradigm for the history of graphic art. The book unveils a corpus of thousands of individual colour prints from across early modern Europe, proposing art historical, bibliographical, technical and scientific contexts for understanding them and their markets.

The twenty-three contributions represent the state of research in this emerging field. From the first known attempts in the West until the invention of the approach we still use today (blue-red-yellow-black/‘key’, now CMYK), it demonstrates that colour prints were not rare outliers, but essential components of many early modern book, print and visual cultures.


VENUE
Warburg Institute, Woburn Square, London WC1H 0AB
1 October 2015, 6-8pm


DETAILS
Open to all (RSVP not required)
25% discount on orders
Queries? Elizabeth.Savage@manchester.ac.uk

rp (from portrayals of its buildings to maps of the city and its
surroundings) from the 16th through the 20th centuries. Initially the objects
were used to decorate the corridors of what was then the Handelshogeschool, or
College of Commerce, but they are now stored and managed by the University
Library’s department of Special Collections, which is responsible for valuable
and fragile items.

The Electronic Catalogue

In 2012, the University of Antwerp began a project to develop an electronic cataloguing system for the registration of the prints and drawings in its care. By the conclusion of the project in 2014, an innovative system for registering not only individual objects, but also groups of prints, such as print series or book illustrations, had been implemented and used to register some 1400 works on paper. Nearly all of these records have also been supplemented with a high-resolution image of the work concerned. In addition, there are various options for searching not only for specific key words or dates, but also for more general thematic subdivisions within the collection, such as maps or historical events, or by technique.

Exceptional links within and between collections

What makes this cataloguing system especially satisfying to work with are the
various links contained within it. For example, if one starts with an
individual object, such as François Stroobant’s view of the south porch of the
Antwerp cathedral (see http://anet.ua.ac.be/record/opacuaobj/tg:uapr:463/E),
one can see not only the basic information on that particular print, but also
follow links to the print album in which it was originally published (under
Related objects) as well as the artists who contributed to the production of
this image and, in turn, all of the other objects on which they had worked,
both in this collection as well as in other collections within the larger
Antwerp network.

Similarly, one can also start with a record for a group of objects, such as the prints published in the 1602 account of the state entry into Antwerp of the Archdukes Albert and Isabella (http://anet.ua.ac.be/record/opacuaobj/tg:uapr:842/E). In these records, one has not only general information pertaining to the entire group of images (currently only available in Dutch), but also links to the individual descriptions of each of the images in the series, as well as catalogue descriptions of the book in which they originally appeared.

One can access the online catalogue via:

- the website for the University Library of Antwerp
(https://www.uantwerpen.be/en/library/collections/special-collections/ (under
“Quick links”)
- or via the following direct links:

* http://anet.be/opac/opacuaobj/E (for the English site)
* http://anet.be/opac/opacuaobj/N (for the Dutch site)

While the key sub-divisions within each catalogue entry appear either in
English or Dutch (depending upon the language in which you initiate your
search), the running text fields are currently only available in Dutch.

If you have any questions or comments, please feel free to contact either:

Dr. Tom Deneire, head of Special Collections
(tom.deneire@uantwerpen.be)
Dr. Karen Bowen, Print collection
(karen.bowen@uantwerpen.be)

ions, and tours is dedicated to prints and the printmaking process. In 2013 the inaugural Print Week was launched with great success. The second biennial is poised to be even greater.