Printed artworks were often ephemeral, but in the early modern period, exchanges between print and other media were common, setting off chain reactions of images and objects that endured. Paintings, sculpture, decorative arts, musical or scientific instruments, and armor exerted their own influence on prints, while prints provided artists with paper veneers, templates, and sources of adaptable images. This interdisciplinary collection unites scholars from different fields of art history who elucidate the agency of prints on more traditionally valued media, and vice-versa. Contributors explore how, after translations across traditional geographic, temporal, and material boundaries, original 'meanings' may be lost, reconfigured, or subverted in surprising ways, whether a Netherlandish motif graces a cabinet in Italy or the print itself, colored or copied, is integrated into the calligraphic scheme of a Persian royal album. These intertwined relationships yield unexpected yet surprisingly prevalent modes of perception. Andrea Mantegna's 1470/1500 Battle of the Sea Gods, an engraving that emulates the properties of sculpted relief, was in fact reborn as relief sculpture, and fabrics based on print designs were reapplied to prints, returning color and tactility to the very objects from which the derived. Together, the essays in this volume witness a methodological shift in the study of print, from examining the printed image as an index of an absent invention in another medium - a painting, sculpture, or drawing - to considering its role as a generative, active agent driving modes of invention and perception far beyond the locus of its production.

“The Fragile Bee” was exhibited at the Museum of Art and History in Lancaster, CA and is an outcry to the plight of the bees in relationship to the environment. This accompanying catalog critically examines the work in the exhibition beginning with a foreword by Andi Campognone, museum manager and curator at MOAH. Artist Nancy Macko established a garden for native bee-attracting plants in order to document them throughout the year. The resulting series of photographs, "Botanical Portraits", are the subject of the essay by museum director Kathleen Stewart Howe. Contemporary art writer and curator Carole Ann Klonarides writes in depth about Macko's videos, "Lore of the Bee Priestess" and "Bee Stories", locating the work along the continuum of video art and discussing how Macko uses digital technologies as an art form integrating computer-generated images and audio experimentation with a sociopolitical message. Curator Stephen Nowlin writes about Macko's large scale installation, "Honey Teachings: In the Mother Tongue of the Bees", a 100 panel work depicting the reaction of the bees to the insecticides and pesticides on the plants they pollinate which causes them to experience confusion and disorientation - a form of memory loss and dementia.

The Kirk Edward Long Collection, one of the most comprehensive repositories of sixteenth-century prints in private hands, includes more than seven hundred engravings, etchings, woodcuts, and chiaroscuro woodcuts. They illuminate the sources, evolution, and transformation of mannerism, the dominant European style from about 1520 to 1580. Instrumental in disseminating this style and published in the principal centers of graphic invention—Rome, Mantua, and Venice in Italy, Haarlem and Antwerp in the Low Countries, Fontainebleau and Paris in France, and Prague in the Holy Roman Empire— these prints represent the diversity of secular and religious themes favored at the time. The collection features original compositions as well as images designed by such prominent artists as Raphael, Giulio Romano, Maarten van Heemskerck, and it highlights the virtuosity of the century’s greatest printmakers, including Marcantonio Raimondi, Ugo da Carpi, Giorgio Ghisi, Parmigianino, Cornelis Cort, and Hendrick Goltzius. Famous, paradigmatic works are complemented by a multitude of fascinating prints by artists of less renown. With over 850 illustrations, Myth, Allegory, and Faith is designed to introduce this extensive private collection to the public and to stimulate further study. Bernard Barryte, Curator of European Art at the Cantor Arts Center, Stanford University, and curator of the Kirk Edward Long Collection, describes the formation of the collection and provides an overview of mannerism and printmaking. Ten renowned scholars—Bernadine Barnes, Jonathan Bober, Suzanne Boorsch, Patricia Emison, Jan Johnson, Dorothy Limouze, Walter S. Melion, Larry Silver, Edward H. Wouk, and Henri Zerner—contribute essays describing various aspects of sixteenth-century print culture. In addition, the catalogue features 146 detailed entries on individual prints and suites by eighteen scholars, an illustrated checklist of the entire collection, and an extensive bibliography.

Two volume work on the life, art, and prints of Peter Moran (1841-1914),

Catalogue Raisonne of the etchings of Robert Swain Gifford (1840-1905).

The Poster: Art, Advertising, Design, and Collecting, 1860s–1900s is a cultural history that situates the poster at the crossroads of art, design, advertising, and collecting. Though international in scope, the book focuses especially on France and England. Ruth E. Iskin argues that the avant-garde poster and the original art print played an important role in the development of a modernist language of art in the 1890s, as well as in the adaptation of art to an era of mass media. She moreover contends that this new form of visual communication fundamentally redefined relations between word and image: poster designers embedded words within the graphic, rather than using images to illustrate a text. Posters had to function as effective advertising in the hectic environment of the urban street. Even though initially commissioned as advertisements, they were soon coveted by collectors. Iskin introduces readers to the late nineteenth-century “iconophile”—a new type of collector/curator/archivist who discovered in poster collecting an ephemeral archaeology of modernity. Bridging the separation between the fields of art, design, advertising, and collecting, Iskin’s insightful study proposes that the poster played a constitutive role in the modern culture of spectacle.

James Reid: Selected Wood Engravings is a limited edition of 125 portfolios, of which twelve copies are not for sale. The portfolio houses thirty-two wood engravings printed directly from the surviving blocks created by James Reid (1907 - 1989). Nineteen of the engravings originally appeared in The Life of Christ in Woodcuts, a wordless book published by Farrar & Rinehart in 1930 and issued in both American and English editions. The thirteen additional engravings originally appeared as illustrations accompanying passages from the Song of Solomon, published as The Song of Songs by Farrar & Rinehart in 1931. Apart from a very few engravings printed by James Reid for presentation to family members, the engravings have never before been issued separately.

The engravings, their folders, and the booklet cover were printed by Art Larson at Horton Tank Graphics in Hadley, Massachusetts; Larson apprenticed with Harold P. McGrath and produced work for Leonard Baskin at his Gehenna Press and for Barry Moser at his Pennyroyal Press. He is among the most skillful fine press craftsmen working today. His work on the James Reid project produced prints whose detail and fidelity to the original matrices exceeded those of the original publications in book form.

The custom portfolio box, produced by Portfoliobox at Pawtucket Rhode Island also contains a descriptive booklet written by the publisher, Robert Strossi and designed by Michael Russem of Kat Ran Press of Cambridge, Massachusetts. The booklet text pages were printed on a six-color Indigo digital press at Puritan Press of Hollis, New Hampshire.

The portfolio was published with the principal intent of introducing the long neglected work of James Reid to both institutions and individual collectors in the belief that Reid's work fully merits their attention and deserves a permanent place in the history of American arts in the twentieth century.

Whistler and Roussel: Linked Visions, an exhibition catalogue that accompanies that current Art Institute show by the same title, explores the relationship and artistic collaboration between James McNeill Whistler and Theodore Roussel. The exhibition and catalogue offer a new perspective on the artists, their artistic circle, and the resulting innovation. The catalogue features an in-depth essay and an illustrated checklist accompanied by 214 images that feature the works of art that are in the show. Funded by the Lunder Foundation this catalogue utilizes the ChicagoCodeX, which served as the foundation of the open-source, digital publishing platform OSCI Toolkit (oscitoolkit.com).