The practice of copying print to print was a common phenomenon during the Early Modern period, one that has recently seen an increase in study. However, much remains to be done on the context of such a practice: when copying made up a major part of the print business, how was a publisher able to compete with his main competitors who circulated identical patterns? How did close social ties between printers and engravers aid or hindered the practice? How were printed copies used in a workshop (goldsmiths, embroiderers, binders etc.)? In the case of ornamental prints, how did the gradual anonymization of patterns affect their copying and their use?

This panel seeks to contextualize the framework for the production and use of the printed copy in the early modern period. To shed light on the questions above, we welcome specific methodological examples on the studies of printed copies. How can archival material help understand the daily practices and use of the copy? What type of sources can be mobilized to study the phenomenon? Can specific contemporary collections give insight into the reception of copies? How was copying perceived by printmakers and their audience? Is the word ‘copy’ relevant to describe this phenomenon, or should a new linguistic model be used?

Short proposals (150 words maximum) and a CV should be sent to Blanche Llaurens (blanche.llaurens@gmail.com) and Soersha Dyon (soersha.dyon@gmail.com) by August 12, 2019.

Please note: Speakers must become RSA members by November 1st to speak at the conference.

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