Printing Colour 1700-1830 : Histories, Techniques, Functions, and Receptions.

Format:

Book

Author/Creator:

Grasselli, Margaret Morgan.

Contributor:

Savage, Elizabeth.

Series:

Proceedings of the British Academy Series:Themed Volumes of Essays in the Humanities and Social Sciences

Proceedings of the British Academy Series:Themed Volumes of Essays in the Humanities and Social Sciences ; v.263

Language:

English

Physical Description:

1 online resource (700 pages)

Edition:

1st ed.

Place of Publication:

London : British Academy, 2025.

Summary:

From the invention of four-colour separation printing c. 1710 to the introduction of chromolithography c. 1830, Printing Colour 1700-1830 offers the first survey of eighteenth-century colour printmaking in and beyond western Europe, dynamically expanding print history to include such diverse consumer goods as clothing, wallpapers, and pottery.

Contents:

Cover

Half Title

Title Page

Copyright

Contents

Notes on Contributors

Preface

Introduction

Part I Materials and Techniques: Printing Colour in 18th-Century Europe

1 Tools, Machines, and Techniques for Colour Printing in 18th-Century Europe

A historiography of colour printing practices in 18th-century Europe

General approaches to printing in 18th-century Europe

Printing colour in relief

Printing colour in intaglio

Printing colour planographically

Combined and novel techniques

Conclusions: exceptions to every rule

2 Colour Printing Inks and Colour Inking in 18th-Century Europe

A historiography of colour printing inks in 18th-century Europe

Colour printing inks

Ink formulations

Applying colour printing inks

Other colour effects

Unstable colours

Conclusions

Part II Relief Techniques: Letterpress and Colour Woodcut

3 Colour Letterpress in Europe in the Long 18th Century: A First Survey

Colour printing ink recipes

The conceptual use of colour letterpress

Three- and four-colour printing

Ephemera

Conclusion

4 Elisha Kirkall and His Proposals for Printing in Chiaroscuro, Natural Colours, and Tints, 1720-40

Early career

William Stukeley

Subscription tickets

Twelve Prints in Chiaro Oscuro

Contemporary art

Portraits

Shipping

Botany

Raphael Cartoons

William Hogarth

Influences and legacy

5 John Baptist Jackson: Printing Chiaroscuro and Colour Woodcuts in Paris, Venice, and London

Early life, 1703-25

Paris, 1725-30

Florence and Bologna, 1731

Venice: encountering Zanetti, 1731-5

Chiaroscuro experiments in Venice, 1735-8

The Opera selectiora: chiaroscuro woodcuts after paintings, 1738-43

The 'Ricci prints', 1744-5

Jackson in London again, 1745-56 (?)

Final years in Scotland, c. 1756 (?)-in or after 1773.

6 Bringing Colour to Books and Objects with Decorated Paper in the Long 18th Century

Decorated paper in 18th-century bookbinding structures

Colour-printed decorative papers in private libraries

The international market of colour-printed decorated papers

The main techniques

Overprinting and censorship

7 Colour for Commerce: Letterpress-Printed Ephemera in Britain, 1700-1830

Colour-printed ephemera before 1800

Colour-printed ephemera after 1800

Display typefaces and the iron handpress

The state lottery, 1694-1826

State lottery advertising in colour

Compound-plate printing

Part III Colour Mezzotint and Trichromatic Printing

8 The Politics of Process Mezzotint: Jacob Christoff Le Blon's Reputation, 1700-89

Le Blon's colourful life, 1667-1741

Gautier vs Le Blon's estate, 1742

Gautier vs Robert, 1748

Gautier's false claims, 1749-56

Outcries beyond Mercure de France, 1756

Gautier reinvents himself, from 1756

Le Blon's three-generation legacy

9 From Colour Theory to Colour Practice: Printmakers in Pursuit of the Ideal Pigments in 18th-Century Europe

The protagonists

The practice of process printing

18th-century sources

18th-century material evidence

10 Colouring the Body: Printed Colour in Medical Treatises during the Long 18th Century

The medical publishing boom

Experimental collaborators and techniques

Granular knowledge

Beyond intaglio

11 Colour Printing in Late 18th-Century Italy: Édouard and Louis Dagoty, 1770-1800

Early years in France and collaborations, 1770-82

Édouard in Florence, 1783

Édouard's followers in Florence: Lasinio and Labrelis, 1783-97

Louis's successes and travails in Italy, 1780-6

Martelli and Cagnoni, 1787-9

Conclusions.

Part IV Chalk and Pastel Manner, Watercolour Manner, and Aquatint

12 Printed Paintings and Engraved Drawings: Technical Innovations in Colour Printing in 18th-Century France

Chalk manner

Printing aux trois-crayons

Pastel manner

Estampes anglaises (English prints)

Wash manner (watercolour manner)

End of an era

13 Coloured Prints in Imitation of Old Master Drawings in 18th-Century Italy: Anton Maria Zanetti the Elder, Benigno Bossi, Francesco Rosaspina, and Their Contemporaries

The introduction of printed colour in prints in imitation of drawings, 1720s

Colour woodcut in imitation of drawings: Zanetti's series, 1730s-40s

Intaglio colour techniques in imitation of drawing, 1760s-80s

Series in Emilia-Romagna: Bianconi, Gini, Rosapina, and Zauli 1780s-1800

Milan: Mantelli, 1780s

The end of Italian prints in imitation of drawing

14 François Philippe Charpentier and the Development of Aquatint in France in the 1760s

'Aquatint' and the manière de lavis

The new technique and its audiences: Charpentier and Floding, 1762

Basan, Charpentier, and the reissuing of the Recueil Crozat, 1763

Aquatint's possibilities for architectural illustration, 1765

Charpentier as 'Graveur du Roi', 1766

Amateurs and aquatint: Watelet, Lalive de Jully, and the abbé de Saint-Non

Le Prince and his secret method, 1768-75

Charpentier as inventor, 1770s

15 A Voyage pittoresque in Norway through Colour Prints, 1789-c. 1815

Erik Pauelsen and his followers

Copper plates

Printing colours: au repérage or à la poupée?

Technical analysis of the Lorentzen-stikk

The paper supports

16 The Market for Colour Prints in Paris at the End of the 18th Century

The changing print trade and print markets in Paris, c. 1770-89

Organisation of the trade.

New colour printing techniques and production times

Expenses and income for engravers, printers, and draughtsmen

Guilds and corporations

Pricing and marketing colour prints

The many values of colour prints

Distribution networks outside Paris and abroad

17 Multiple-Plate Colour Prints and the Problems of Disappearing Inks, Missing Plates, and Variant Impressions

Disappearing inks

Distinguishing fine, full-colour impressions

Intentional variants with reworked plates and reduced colours

Bonnet's pastel-manner Tête de Flore

Bonnet's Le Réveil de Vénus

Part V Stipple and à la poupée Inking

18 English Colour-Printed Stipple Engravings, 1774-1800

The fashion for stipple

The innovator in England: W. W. Ryland

Skorodumov and other engravers

The colour printers

Charles White and lady designers

More engravers take up stipple

P. W. Tomkins

Changes in the print market

Mariano Bovi: too much invested in colour prints

The end of the fashion

19 Between Painting and Graphic Arts: Colour Printmaking in Russia, 1750s-1800s

First Russian colour impressions

Multicolour prints

Colour-printed stipple engravings by Gavriil Skorodumov

James Walker

Ivan Selivanov and colour-printed mezzotints

Conclusion: hand-colouring versus colour printmaking

20 Anne Allen, Jean Pillement, and the Development of à la poupée Printing in France

A country in turmoil

Marketing and intended audience

Experiments in print making: à la poupée and in register

The Jacques Doucet albums (INHA, Paris)

Preparatory drawings

21 The Contribution of à la poupée Inking to Natural History Illustration in France, 1800-70

The à la poupée process in natural history illustration

The author

The artist

The engraver

The inker

The hand-colourer.

The publisher

Part VI Consumer Goods and Expanding Markets for Colour Printing

22 Anatomy to Embroidery: Intaglio Colour-Printed Illustrations in European Books and Periodicals, 1700-1850

Revolution

À la poupée inking

Trichromatic printing

Various subjects

23 Early Dye-Patterned Colour on Calico in Europe, 1600-1840

Textile ornamentation

The new product

Getting started

Early attempts

Advances in dyeing

Influence from printing on paper

Mechanical advances

24 Printed Wallpaper in England in the Long 18th Century

Early developments: stencilling, flock, and 'import substitution', 1700-50s

Distemper printing and the emergent market, 1750s-1820

Organisation and structure of the trade

Businessmen and links with other trades

Workshop staff and division of labour

Printing techniques: blocks and rollers

Challenges to the main manufacturers, 1800s-30s

25 Colour Printing on English Ceramics, 1751-70

The transfer printing process explained

The invention of underglaze printing in Italy

Benjamin Franklin and printing on ceramics

John Brooks and overglaze printing

Overglaze printing in London pre-1753

Overglaze printing at the Battersea manufacture, 1753-6

Multicolour overglaze printing at the Vauxhall porcelain factory, 1751-63

John Sadler of Liverpool and colour printing

Part VII Technical Experimentation and Industrialisation

26 William Blake's Colour Printing: Methods and Materials

Illuminated printing

Illuminating Songs of Innocence

Colour-printing Songs of Experience

One- or two-stage colour printing

Blake's instructions to Cumberland on how to print copperplates

Colour-printed illuminated books, 1794

The Large Colour Prints of 1795.

The colour-printed drawing of Pity.

Notes:

Description based on publisher supplied metadata and other sources.

ISBN:

0-19-893981-7

1-80596-108-X

0-19-893982-5

OCLC:

1493605184