This book provides the first history of the Silk Screen Shop (1943-45) at the Granada War Relocation Center (“Amache”) in Colorado, a World War II incarceration site for Japanese Americans. The Shop printed training posters for the Bureau of Naval Personnel. In addition, in their free time, the Amache workers designed and printed material, such as dance invitations and Christmas cards, for community organizations and individuals. In the years after incarceration, the objects’ connection to the silkscreen shop was lost. This volume documents and studies the objects produced by the Shop, reconstructs workers’ experience and identity, traces the Shop as a site of community, and argues that young adult printmakers collectively developed subversive visual conventions of protest.

We start by examining the pervasive, intimate connection between collections of prints and books evident from the incunabula period onwards throughout Europe and England. Although examples of nobles and the clerical elite who housed prints in their libraries may be best known, numerous other collectors, ranging from successful merchants to government officials and scholars, similarly regarded prints and books as natural bedfellows. These observations, along with the uncommon wealth of information pertaining to the European print trade present in the archives of the Plantin-Moretus Press of Antwerp, validate this study of booksellers’ significant, multifaceted involvement in this trade. The resulting bounty of novel revelations concerning the thriving market for prints in the period under consideration (ca. 1550-1640), are presented in the subsequent chapters.

Following introductory remarks on agreements for coloring prints, an overview of how both colored and plain prints were priced, and the quantities in which they were sold, we present the managers of the Plantin-Moretus Press and examine their involvement in the print trade. Beginning with the founder of the Press, Christopher Plantin, who dabbled in the sale of prints before he established his business printing and selling books, we document the various means by which he and his successors, the Moretuses, engaged in and supported the European print trade. Simultaneously presenting the ways in which clients requested prints, we relate how the booksellers’ responses to these inquiries changed with time.

Naturally, Plantin and the Moretuses could not deal in prints without the active involvement of print sellers in Antwerp, then an important center for print production in Europe. We discuss who among the myriad figures involved in this trade engaged Plantin or the Moretuses to facilitate their own dealings and who were the primary suppliers of the prints sought by the Press’s own clients. Revealing not simply the criteria imposed by some sellers prior to any sale (cash up front, for example) and the array of prices charged by different individuals, we also document the quantities in which they sold their wares and the means by which they were willing (or not) to satisfy clients in distant locals.

We conclude by shifting the focus to the demand side of the equation and examine which Antwerp print publishers were revered in which markets. Whenever possible, we also consider the wishes of specific individuals or general subgroups within society (nobles, religious orders, or merchants, for example). In addition, we demonstrate how Danzig (Gdańsk), Cologne, and Frankfurt rivaled, if not surpassed, their more famous counterparts, such as Paris, as vibrant points of exchange for the print trade. Finally, the appendices detail exactly what individual print publishers charged for specific prints, many of which are still preserved in collections today, as well as the buyers cited in these records. Simultaneously, tables provide succinct overviews of these exceptional records of the prices charged by print publisher and for prints sold in bulk, either colored or plain.

"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.