"The Goncourt Brothers and the Language of Etching" explores the significant and often surprising links between printmaking and literature during the nineteenth-century French etching revival. This book offers a fresh perspective on the revival through the work of Edmond and Jules de Goncourt: novelists, diarists, art historians, collectors, and etchers.

Using an interdisciplinary approach that centers the embodied process of both etching and writing, "The Goncourt Brothers and the Language of Etching" identifies new intersections between word and image in the Goncourts' wide-ranging work. From the brothers' etched illustrations for their groundbreaking history of eighteenth-century French art, to their efforts to translate techniques from printmaking into their experimental prose, each chapter offers a close analysis of printed image and printed text. This book not only brings critical attention to the brothers' understudied work as printmakers, but also provides new insight into pressing questions about the purpose and value of creative labor in nineteenth-century France.

“Artistic printing techniques” consists of two high-quality boxes containing 45 original prints and
explanatory texts available in German, French or English. a general introduction to the relief, intaglio,
planographic and screen- printing techniques, as well as detailed explanations of the 19 processes
employed to produce each individual print.
The artist, Marcel Gähler, created this collection of original prints using the same subject of a dog
lying down to illustrate 19 different techniques. The graphic arts specialist, Hildegard Homburger,
contributes explanatory texts describing the techniques and the characteristics and distinguishing
features of each process. Together they provide a descriptive basis for studying the subject and
identifying the most important printmaking techniques.
For more information, please contact the publisher Michael Rothe: mail@rothe-drucke.ch
https://www.rothe-drucke.ch/de/landing.html

Illustrated publications and the role of market forces in shaping representations of Egypt at a time when European colonial interests in the region were at their peak, with 80 color and black and white illustrations.

In the nineteenth century, following Napoleon Bonaparte’s 1798 campaign in Egypt, new possibilities of travel and improvements in printing technology saw an emergence of publishing ventures in France and Britain dedicated to the production of albums and travel accounts featuring images of Muslim Egypt and Islamic architecture and catering to a growing European fascination with the East.

Visualizing Egypt analyzes the context and process of production of these highly illustrated publications, from their conceptualization to the finished product and its afterlife, from marketing to the sales of these books, and from circulation to their reception by nineteenth-century audiences. By tracing the long, arduous, and often risky publishing journeys of the makers of these books, including publishers, writers, and artists, such as the Frenchman Émile Prisse d’Avennes, Paulina Banas reveals a complex terrain of changing market demands, collaborations, and conflicting views, and the unsettled authorship of these works, prompting us to think more profoundly about artistic and intellectual exchange in the world of nineteenth-century Orientalist book production.

Visualizing Egypt considers nineteenth-century book illustrations on Egypt and the “Orient” not merely as expressions of enduring ideology and colonial propaganda, but as representations shaped by the often-overlooked commercial exigencies of the growing publishing industry and the reckless competition within it.

Essay-like publication (not an exhibition catalogue per se) on the exhibition held at the Spanish National Library "Arte y anatomía en el Renacimiento. Juan Valverde de Amusco y la Historia de la composición del cuerpo humano" (November 2024-March 2025).

A PDF of the book is available for free at the BNE website (see link below)

A guide to the prints and drawings at the Oriental Club in London. These are mostly Daniells but also Fraser, Havell and Hodges etc. The guide also includes nineteenth century Mughal and RAjput watercolours.

Beginning in the early 1960s, with only the meager budget of a part-time art history professor, Leo Steinberg (1920–2011) amassed a collection of more than 3,500 prints that spans the medium’s five-hundred-year history in the West. Akin to books on a shelf, Steinberg’s prints formed a visual library that shaped his scholarship in fundamental ways. His collection, incorporating the work of artists both famous and obscure, illuminates his claim that in the era before photography, prints functioned as the “circulating lifeblood of ideas,” disseminating figures, compositions, and styles across boundaries of geography, time, and medium. Through close observation of his own prints, Steinberg developed some of his most innovative arguments about the instructive richness of the copy and the expressive potential of body language, while also challenging reigning orthodoxies about modernism. This lavishly illustrated volume with essays by Holly Borham and Peter Parshall examines the development of Steinberg’s remarkable collection and its role in his scholarship. It also serves as a detailed guide to the collection, now housed at the Blanton Museum of Art, and as an introduction to the history of Western printmaking that it broadly encompasses.

Prints of a New Kind details the political strategies and scandals that inspired the first generation of American caricaturists to share news and opinions with their audiences in shockingly radical ways. Complementing studies on British and European printmaking, this book is a survey and catalogue of all known American political caricatures created in the country’s transformative early years, as the nation sought to define itself in relation to European models of governance and artistry.
Allison Stagg examines printed caricatures that mocked events reported in newspapers and politicians in the United States’ fledgling government, reactions captured in the personal papers of the politicians being satirized, and the lives of the artists who satirized them. Stagg’s work fills a large gap in early American scholarship, one that has escaped thorough art-historical attention because of the rarity of extant images and the lack of understanding of how these images fit into their political context.

Featuring 125 images, many published here for the first time since their original appearance, and a comprehensive appendix that includes a checklist of caricature prints with dates, titles, artists, references, and other essential information, Prints of a New Kind will be welcomed by scholars and students of early American history and art history as well as visual, material, and print culture.

A picture book biography about the barber shop of woodcarver Elijah Pierce, recipient of the highest folk art honor in the United States.

“Creeeeak!” goes the screen door to self-taught artist Elijah Pierce’s barbershop art studio. A young boy walks in for an ordinary haircut and walks out having discovered a lifetime of art.

Mr. Pierce’s wood carvings are in every corner of the small studio. There are animals, scenes from his life, and those detailing the socio-political world around him. It’s this collection of work that will eventually win Elijah the National Heritage Fellowship in 1982 just two years before his death. But the young boy visiting the shop in the 1970s doesn’t know that yet. All he knows is: “You gotta meet Mr. Pierce!”

Based on the true story of Elijah Pierce and his community barber shop in Columbus, Ohio, this picture book includes cleverly collaged museum-sourced photos of his art and informative backmatter about his life. With engaging text by Pierce to the Soul! playwright Chiquita Mullins-Lee and Christopher Award-winning author Carmella Van Vleet, it’s illustrated with striking Japanese woodblock by Jennifer Mack-Watkins. A new addition to vital Black art history!

Ann Chernow is an artist whose subject matter is based on women's images from the 1930s and 1940s "Film Noir" movies. These movies were the first as genre to depict 'independent' women; they influenced the female movie-goer in ways that changed the nation's gender attitudes. Joan Crawford and many other stars of said films were emblematic of the 'new' women. Although she alters the actual scenes that she works from, and uses contemporary models, Chernow's paintings, drawings and prints capture and redeem the emotional, universal moments from these Film Noir movies.
For her fourth Noir portfolio of fine prints, she has collaborated with Jane Allinson who wrote
parodic poems of famous authors and interpreted them with a tongue-in-cheek Noir tone.