Lithography - Revision history

Wtrettien at 18:01, 16 December 2022

2022-12-16T18:01:04Z

← Older revision		Revision as of 18:01, 16 December 2022
Line 79:		Line 79:
	* “has long been recognized as a landmark French book, and its 400 pages of border decorations continue to delight the eye through the variety of their design and their vivid use of colour. In his introductory text Curmer explained his sources and outlined his production methods. A team of artists under his personal direction made drawings from original manuscripts in several libraries (what is now the Bibliothèque nationale, the libraries of the Arsenal and Sainte-Geneviève, as well as other libraries in France and overseas.). The text of the book, taken from a variety of religious sources and translated by Michel de Marillac, runs through most of the book within its border designs, each of the four texts being preceded by a full-page illustration.”		* “has long been recognized as a landmark French book, and its 400 pages of border decorations continue to delight the eye through the variety of their design and their vivid use of colour. In his introductory text Curmer explained his sources and outlined his production methods. A team of artists under his personal direction made drawings from original manuscripts in several libraries (what is now the Bibliothèque nationale, the libraries of the Arsenal and Sainte-Geneviève, as well as other libraries in France and overseas.). The text of the book, taken from a variety of religious sources and translated by Michel de Marillac, runs through most of the book within its border designs, each of the four texts being preceded by a full-page illustration.”
	* https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t60627p1m&view=thumb&seq=1		* https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t60627p1m&view=thumb&seq=1
			* https://archive.org/details/gri_33125010919591/page/n17/mode/2up

	~~Curmeer~~, Œuvre de Jehan Foucquet (1866-7)		Curmer, Œuvre de Jehan Foucquet (1866-7)
	* https://catalog.hathitrust.org/Record/000379203		* https://catalog.hathitrust.org/Record/000379203
	* Randall points out it has the same dedication style as woven book of hours		* Randall points out it has the same dedication style as woven book of hours

Wtrettien: /* French context */

2022-12-14T20:49:00Z

French context

← Older revision		Revision as of 20:49, 14 December 2022
Line 56:		Line 56:
	* Examples of processes he had patented the year before		* Examples of processes he had patented the year before
	* Twyman describes it as the “conceptual breakthrough” needed to launch chromolithography (103)		* Twyman describes it as the “conceptual breakthrough” needed to launch chromolithography (103)

			Englemann and Graf, Livre d'heures d'après les manuscrits de la Bibliothèque royale (Paris, 1846 [1846-9])
			* gift book, similar to Humphreys's gift books
			* https://www.google.com/books/edition/Livre_d_heures_d_apr%C3%A8s_les_manuscrits_d/ya9bAAAAQAAJ?hl=en&gbpv=1&printsec=frontcover

	Engelmann and Graf, Statuts de l'Ordre du Saint-Esprit, 1853 [1854]		Engelmann and Graf, Statuts de l'Ordre du Saint-Esprit, 1853 [1854]
Line 90:		Line 94:

	Engelmann proofs at Princeton: https://graphicarts.princeton.edu/2014/07/21/archive-of-proofs-and-samples-from-the-societe-engelmann-pere-et-fils-ca-1839/		Engelmann proofs at Princeton: https://graphicarts.princeton.edu/2014/07/21/archive-of-proofs-and-samples-from-the-societe-engelmann-pere-et-fils-ca-1839/



	== For use in making handwritten books ==		== For use in making handwritten books ==

Wtrettien at 12:13, 30 November 2022

2022-11-30T12:13:47Z

@@ Line 1: / Line 1: @@
 [[Twyman 2001]]
 * Covers the basics of lithography's development and spread
 * Discusses genres where lithography was successful and why
 * Final discussion of how lithography defies traditional bibliography and could be understood as presaging designing documents with computers
 There is pressure on printing / the process of reproduction from rise of science / scientific communication (diagrams), colonialism (maps, printing in other languages), need to visualize things better. Lithography helps address some of these concerns by easing up printing of tables, and makes possible new forms of information visualization, because you can draw directly on stone or transfer paper. (Minard's maps of Napoleon)

Wtrettien at 19:54, 29 November 2022

2022-11-29T19:54:33Z

← Older revision		Revision as of 19:54, 29 November 2022
Line 3:		Line 3:
	* Discusses genres where lithography was successful and why		* Discusses genres where lithography was successful and why
	* Final discussion of how lithography defies traditional bibliography and could be understood as presaging designing documents with computers		* Final discussion of how lithography defies traditional bibliography and could be understood as presaging designing documents with computers

			[[McLean 1972]]
			* overview of development of color printing and chromolithography in England
			* emphasis on illuminated gift books

	There is pressure on printing / the process of reproduction from rise of science / scientific communication (diagrams), colonialism (maps, printing in other languages), need to visualize things better. Lithography helps address some of these concerns by easing up printing of tables, and makes possible new forms of information visualization, because you can draw directly on stone or transfer paper. (Minard's maps of Napoleon)		There is pressure on printing / the process of reproduction from rise of science / scientific communication (diagrams), colonialism (maps, printing in other languages), need to visualize things better. Lithography helps address some of these concerns by easing up printing of tables, and makes possible new forms of information visualization, because you can draw directly on stone or transfer paper. (Minard's maps of Napoleon)

Wtrettien at 22:19, 25 November 2022

2022-11-25T22:19:51Z

← Older revision		Revision as of 22:19, 25 November 2022
Line 4:		Line 4:
	* Final discussion of how lithography defies traditional bibliography and could be understood as presaging designing documents with computers		* Final discussion of how lithography defies traditional bibliography and could be understood as presaging designing documents with computers

	There is pressure on printing / the process of reproduction from rise of science / scientific communication (diagrams), colonialism (maps, printing in other languages), need to visualize things better. Lithography helps address some of these concerns by easing up printing of tables		There is pressure on printing / the process of reproduction from rise of science / scientific communication (diagrams), colonialism (maps, printing in other languages), need to visualize things better. Lithography helps address some of these concerns by easing up printing of tables, and makes possible new forms of information visualization, because you can draw directly on stone or transfer paper. (Minard's maps of Napoleon)



	== For use in making facsimiles ==		== For use in making facsimiles ==

Wtrettien: /* British context */

2022-11-22T01:28:50Z

British context

← Older revision		Revision as of 01:28, 22 November 2022
Line 27:		Line 27:

	Digby Wyatt and William Robert Tymms, The Art of Illuminating as Practiced in Europe from the Earliest Times (1860)		Digby Wyatt and William Robert Tymms, The Art of Illuminating as Practiced in Europe from the Earliest Times (1860)

			F. Delamotte, Mediaeval Alphabets and Initials for ILluminators, 1861
			* printed from wood or metal ,not lithography [[McLean 1972]] 35

	John Obadiah Westwood, Facsimiles of the Miniatures and Ornaments of Anglo-Saxon and Irish Manuscripts (1868)		John Obadiah Westwood, Facsimiles of the Miniatures and Ornaments of Anglo-Saxon and Irish Manuscripts (1868)

Wtrettien: /* == French context == */

2022-11-21T01:48:18Z

== French context ==

← Older revision		Revision as of 01:48, 21 November 2022
Line 32:		Line 32:
	* Corrected galley proofs: https://primo.getty.edu/permalink/f/19q6gmb/GETTY_ALMA21131046060001551		* Corrected galley proofs: https://primo.getty.edu/permalink/f/19q6gmb/GETTY_ALMA21131046060001551

	=== French context == =		=== French context ===

	Godefroy Engelmann, brought lithography to Paris and invented and patented a process for making chromolithographs; see Leon Lang, Godefroy Engelmann, imprimeur lithographe les incunables, 1814-1817 (1977)		Godefroy Engelmann, brought lithography to Paris and invented and patented a process for making chromolithographs; see Leon Lang, Godefroy Engelmann, imprimeur lithographe les incunables, 1814-1817 (1977)

Wtrettien at 01:47, 21 November 2022

2022-11-21T01:47:56Z

← Older revision		Revision as of 01:47, 21 November 2022
Line 6:		Line 6:
	There is pressure on printing / the process of reproduction from rise of science / scientific communication (diagrams), colonialism (maps, printing in other languages), need to visualize things better. Lithography helps address some of these concerns by easing up printing of tables		There is pressure on printing / the process of reproduction from rise of science / scientific communication (diagrams), colonialism (maps, printing in other languages), need to visualize things better. Lithography helps address some of these concerns by easing up printing of tables

	== British context ==		== For use in making facsimiles ==

			:"A broad sweep of lithographic history reveals several experiments in colour printing in the first decade or so of the nineteenth century, that is, within a dozen years of the invention of the process by Alois Senefelder. The most significant is the facsimile Senefelder produced of Dürer’s marginal drawings for the prayer book of the Emperor Maximilian, published in Munich in 1808, which has each page printed in a different but single colour. Ackermann printed a facsimile of the same work in London in 1817. Both were landmark publications in their own way, but their plates cannot be regarded as chromolithographs for the reason given above. It could be argued that it was the inventor’s treatise on lithography Vollständiges Lehrbuch der Steindruckerey (Munich and Vienna, 1818; English translation, London, 1819; French translation, Paris, 1819), that marked the real beginnings of chromolithography as we might call it today, since it included a three-colour facsimile of part of a page from the Fust and Schoeffer Psalter of 1457, as well as a chapter devoted to colour printing." -- Twyman, https://www.georgebaxter.com/baxter-the-chromolithographic-conte

			Senefelder's early work was of facsimiles: https://www.historyofinformation.com/detail.php?id=436

			=== British context ===

	Henry Shaw, Illuminated Ornaments Selected from the Manuscripts of the Middle Age (1833)		Henry Shaw, Illuminated Ornaments Selected from the Manuscripts of the Middle Age (1833)
Line 26:		Line 32:
	* Corrected galley proofs: https://primo.getty.edu/permalink/f/19q6gmb/GETTY_ALMA21131046060001551		* Corrected galley proofs: https://primo.getty.edu/permalink/f/19q6gmb/GETTY_ALMA21131046060001551

	== French context ==		=== French context == =

	Godefroy Engelmann, brought lithography to Paris and invented and patented a process for making chromolithographs; see Leon Lang, Godefroy Engelmann, imprimeur lithographe les incunables, 1814-1817 (1977)		Godefroy Engelmann, brought lithography to Paris and invented and patented a process for making chromolithographs; see Leon Lang, Godefroy Engelmann, imprimeur lithographe les incunables, 1814-1817 (1977)
Line 70:		Line 76:
	Engelmann proofs at Princeton: https://graphicarts.princeton.edu/2014/07/21/archive-of-proofs-and-samples-from-the-societe-engelmann-pere-et-fils-ca-1839/		Engelmann proofs at Princeton: https://graphicarts.princeton.edu/2014/07/21/archive-of-proofs-and-samples-from-the-societe-engelmann-pere-et-fils-ca-1839/

	== ~~Handwritten~~ books ==

			== For use in making handwritten books ==

	Lithography used for handwritten books hard to set in letterpress type; examples:		Lithography used for handwritten books hard to set in letterpress type; examples:

Wtrettien: /* French context */

2022-11-21T01:30:17Z

French context

← Older revision		Revision as of 01:30, 21 November 2022
Line 29:		Line 29:

	Godefroy Engelmann, brought lithography to Paris and invented and patented a process for making chromolithographs; see Leon Lang, Godefroy Engelmann, imprimeur lithographe les incunables, 1814-1817 (1977)		Godefroy Engelmann, brought lithography to Paris and invented and patented a process for making chromolithographs; see Leon Lang, Godefroy Engelmann, imprimeur lithographe les incunables, 1814-1817 (1977)

			Twyman points out that Engelmann in his patent of his color printing process seems to have imagined it as a means of ''picture printing''; "Not only was Engelmann’s process targeted at picture printers, but it was based on the idea of printing them in just three or four colours. He had already produced other kinds of lithography in colour, including some large text-based posters in the 1820s and at least one book cover, which he printed in three colours in 1835 (fig. 2). Clearly he did not regard this kind of work as ‘chromolithographie’. Nevertheless, the significance of his patent lay not so much in the idea of picture printing, but in the particular approach he took to it. This had to be the case if he wanted to be able to claim his process as an ‘invention’, since other lithographers had printed pictures in colour before him. So we are left with this confusion over what chromolithography actually means. Some French writers on colour lithography have tried to make a distinction between picture printing in colour and other colour work, such as jobbing printing and the book cover illustrated here. They limit their use of ‘chromolithographie’ to pictorial work (regardless of whether the method used was Engelmann’s) and apply the word ‘lithocolore’ – a term that pre-dates Engelmann’s process and was originally used by him to describe it – to non-pictorial work." https://www.georgebaxter.com/baxter-the-chromolithographic-conte

	Engelmann’s Album Chromolithographique ou Recueil d'Essays du Nouveau Procédé d'impression lithographique en couleurs (1838)		Engelmann’s Album Chromolithographique ou Recueil d'Essays du Nouveau Procédé d'impression lithographique en couleurs (1838)
Line 40:		Line 42:

	Gruel and Engelmann, Nouvelles Heures et Prières Composées dans le style des Manuscrits du XIVe au XVIe siècle (ca 1880)		Gruel and Engelmann, Nouvelles Heures et Prières Composées dans le style des Manuscrits du XIVe au XVIe siècle (ca 1880)

			Gruel and Engelmann, Manuel historique et bibliographique de l'amateur de reliures (1887)
			* https://catalog.hathitrust.org/Record/101750869
			* illustrations of binding in chromolithograph

	Gruel and Engelmann, Les reliures remarquables du Musée Britannique (1889)		Gruel and Engelmann, Les reliures remarquables du Musée Britannique (1889)
	* Chromolithographs of bindings		* Chromolithographs of bindings
			* https://catalog.hathitrust.org/Record/100204994

	Curmer, L'imitation de Jésus-Christ (1855-7) – “landmark” according to Twyman		Curmer, L'imitation de Jésus-Christ (1855-7) – “landmark” according to Twyman
	* “has long been recognized as a landmark French book, and its 400 pages of border decorations continue to delight the eye through the variety of their design and their vivid use of colour. In his introductory text Curmer explained his sources and outlined his production methods. A team of artists under his personal direction made drawings from original manuscripts in several libraries (what is now the Bibliothèque nationale, the libraries of the Arsenal and Sainte-Geneviève, as well as other libraries in France and overseas.). The text of the book, taken from a variety of religious sources and translated by Michel de Marillac, runs through most of the book within its border designs, each of the four texts being preceded by a full-page illustration.”		* “has long been recognized as a landmark French book, and its 400 pages of border decorations continue to delight the eye through the variety of their design and their vivid use of colour. In his introductory text Curmer explained his sources and outlined his production methods. A team of artists under his personal direction made drawings from original manuscripts in several libraries (what is now the Bibliothèque nationale, the libraries of the Arsenal and Sainte-Geneviève, as well as other libraries in France and overseas.). The text of the book, taken from a variety of religious sources and translated by Michel de Marillac, runs through most of the book within its border designs, each of the four texts being preceded by a full-page illustration.”
	* https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t60627p1m&view=thumb&seq=1		* https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t60627p1m&view=thumb&seq=1

			Curmeer, Œuvre de Jehan Foucquet (1866-7)
			* https://catalog.hathitrust.org/Record/000379203
			* Randall points out it has the same dedication style as woven book of hours

	Peintures et ornements des manuscrits classés dans un ordre chronologique, pour servir à l'histoire des arts du dessin depuis le IVe siècle de l'ère chrétienne jusqu'à la fin du XVIe siècle (Paris: Imprimerie impériale, 1835-69)		Peintures et ornements des manuscrits classés dans un ordre chronologique, pour servir à l'histoire des arts du dessin depuis le IVe siècle de l'ère chrétienne jusqu'à la fin du XVIe siècle (Paris: Imprimerie impériale, 1835-69)

Wtrettien: /* French context */

2022-11-21T01:23:16Z

French context

← Older revision		Revision as of 01:23, 21 November 2022
Line 59:		Line 59:
	Engelmann proofs at Princeton: https://graphicarts.princeton.edu/2014/07/21/archive-of-proofs-and-samples-from-the-societe-engelmann-pere-et-fils-ca-1839/		Engelmann proofs at Princeton: https://graphicarts.princeton.edu/2014/07/21/archive-of-proofs-and-samples-from-the-societe-engelmann-pere-et-fils-ca-1839/

	== Handwritten books		== Handwritten books ==

	Lithography used for handwritten books hard to set in letterpress type; examples:		Lithography used for handwritten books hard to set in letterpress type; examples: