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  • Ackley, Clifford, Rembrandt’s Journey: Painter, Draftsman, Etcher, exhibition catalogue (Boston: 2003).

  • Agosti, Giovanni, Su Mantegna. I, La Storia dell’Arte Libera la Testa (Milan: 2005).

  • Aymonino, Adriano, “The Musaeum of the First Duchess of Northumberland (1716–1776) at Northumberland House in London”, in Susan Bracken, Andrea M. Gáldy and Adriana Turpin (ed.), Women Patrons and Collectors (Newcastle: 2012), 101120.

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  • Baron, Sabrina, Eric N. Lindquist and Shelvin, Eleanor F. (ed.), Agent of Change: Print Culture Studies after Elizabeth L. Eisenstein (Amherst and Boston: 2007).

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  • Bartrum, Giulia (ed.), Albrecht Dürer and his Legacy: The Graphic Work of a Renaissance Artist, exhibition catalogue (London: 2002).

  • Bartsch, Adam von, Le Peintre Graveur, 21 vols (Vienna: 1802–1821).

  • Blum, André, L’Oeuvre Gravé d’Abraham Bosse (Paris: 1924).

  • Boorsch, Suzanne, “Mantegna and His Printmakers”, in Andrea Mantegna, edited by Jane Martineau (London: 1992), 5666.

  • Boorsch, Suzanne, “Mantegna and Engraving: What We Know, What We Don’t Know, and a Few Hypotheses”, in Andrea Mantegna: Impronta del Genio (Atti del Convegno Internazional ed Studi: Padova, Verona, Mantova, 8, 9, 10 Novembre 2006), i, ed. Rodolfo Signorini, Viviana Rebonato, and Sara Tammaccaro (Florence: 2010), 415437.

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  • Borea, Evelina, Lo Specchio dell’Arte Italiana: Stampe in Cinque Secoli, i (Pisa: 2009).

  • Bury, Michael, “The Taste for Prints in Italy to c.1600”, Print Quarterly, 2, No. 1 (1985): 1226.

  • Bury, Michael, The Print in Italy: 1550–1620 (London: 2001).

  • Campbell, Caroline, Dagmar Korbacher, Neville Rowley, and Sarah Vowles, Mantegna and Bellini: A Renaissance Family, exhibition catalogue (London: 2018).

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  • Canova, Andrea, “Mantegna Invenit” in Mantegna 1431–1506, ed. Giovanni Agosti, and Dominique Thiébaut (Milan: 2008), 243295.

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  • Canova, Andrea, ‘Gian Marco Cavalli incisore per Andrea Mantegna e altre notizie sull’oreficeria e la tipografia a Mantova nel XV secolo’, Italia medioevale e umanistica, XLII, 2001 149181.

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  • Canova, Andrea, ‘Andrea Mantegna e Gian Marco Cavalli: nuovi documenti mantovani’, Italia medioevale e umanistica, XLIII, 2002, 201229.

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  • Cerboni Baiardi, Anna, and Marzia Faietti, Marcantonio Raimondi: Il Primo Incisore di Raffaello (Urbino: 2022).

  • Chartier, Roger (ed.), Les Usages de L’imprimé (XVeXIXe siècle) (Paris: 1987).

  • Chartier, Roger (ed.), The Culture of Print: Power and the Uses of Print in Early Modern Europe, translated by Lydia G. Cochrane (Cambridge: 1989).

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  • Christiansen, Keith, “The Case for Mantegna as Printmaker”, The Burlington Magazine, 135, no. 1086 (1993): 604612.

  • Clayton, Timothy, The English Print 1688–1802 (New Haven and London: 1997).

  • Consagra, Francesca, “The De’ Rossi Family Print Publishing Shop: A Study in the History of the Print Industry in Seventeenth-Century Rome” (PhD Thesis, The Johns Hopkins University, Baltimore: 1993).

  • Dackerman, Susan, Painted Prints: The Revelation of Color in Northern Renaissance & Baroque Engravings, Etchings & Woodcuts (Baltimore: 2002).

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  • Dackerman, Susan & Daston, Lorraine (ed.), Prints and the Pursuit of Knowledge in Early Modern Europe, exhibition catalogue (Cambridge MA: 2011).

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  • Eisenstein, Elisabeth, The Printing Press as an Agent of Change: Communications and Cultural Transformations in Early-Modern Europe (New York: 1980).

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  • Eisenstein, Elizabeth, “An Unacknowledged Revolution Revisited”, The American Historical Review, Vol. 107, No. 1 (1999): 87105.

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  • Ehrle, Francesco, Roma Prima di Sisto V: Lapianta di Roma du Perac-Lafrery del 1577, Contributo alia Storia del Commercio delle Stampe a Roma nel Secolo Sedicesimo et Diciasettesimo (Rome: 1908).

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  • Emison, Patricia A., “The Raucousness of Mantegna’s Mythological Engravings”, Gazette des Beaux-Arts, 6, No. 124 (1994): 159176.

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  • Faietti, Marzia, and Oberhuber, Konrad, Bologna e l’Umanesimo 1490–1510 (Bologna: 1988).

  • Feulner, Karoline, “The Life of the Virgin: Marketed, Plagiarized, and Copyrighted”, in Albrecht Dürer: His Art in Context, exhibition catalogue, ed. Jochen Sander (Munich, London and New York: 2013), 234259.

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  • Fiorenza, Giancarlo, “Marcantonio Raimondi’s Early Engravings: Myth and Imitation in Renaissance Bologna”, in Bologna. Cultural Crossroads from the Medieval to the Baroque: Recent Anglo-American Scholarship (Atti del Convegno Internazionale, Bologna 2011), ed. Gian Mario Anselmi, Angela De Benedictis and Nicholas Terpstra (Bologna: 2013), 1325.

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  • Fucci, Robert, Rembrandt’s Changing Impressions, exhibition catalogue (New York: 2015).

  • Gáldy, Andrea M., and Heudecker, Sylvia (ed.), Collecting Prints and Drawings (Newcastle: 2018).

  • Globe, Alexander, Peter Stent, London Printseller, a Catalogue Raisonné of his Engraved Plates and Books (Vancouver: 1985).

  • Gnann, Achim, Ekserdjian, David and Foster, Michael, Chiaroscuro: Renaissance Woodcuts from the Collections of Georg Baselitz and The Albertina, Vienna, exhibition catalogue (London: 2014).

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  • González de Zárate, Jesus Maria, Real Colecciòn de Estampas de San Lorenzo de El Escorial, 10 vols (Madrid: 1992[–1]996).

  • Gregory, Sharon, Vasari and the Renaissance Print (Farnham: 2012).

  • Griffiths, Anthony, “Print Collecting in Rome, Paris, and London in the Early Eighteenth Century”, Harvard University Art Museums Bulletin, 2, no. 3 (1994), 3758.

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  • Griffiths, Antony, The Print in Stuart Britain 1603–1689 (London: 1998).

  • Griffiths, Antony, “The Prints of John V of Portugal”, Print Quarterly, 22, no. 3 (2005), 334338.

  • Griffiths, Anthony, The Print before Photography: An Introduction to European Printmaking, 1550–1820 (London: 2016).

  • Grivel, Marianne, Le Commerce de L’Estampe à Paris au XVIIe Siècle (Geneva: 1986).

  • Hartley, Craig, “An Unfinished Fan by Abraham Bosse”, Print Quarterly, 10, no. 4 (1993), 402.

  • Hind, Arthur Mayger, A History of Engraving and Etching from the 15th Century to the Year 1914 (London: 1923).

  • Hind, Arthur Mayger, Early Italian Engraving, 7 vols (London: 1938–1948).

  • Hinterding, Erik, Ger Luijten, and Royalton-Kisch, Martin (eds.), Rembrandt the Printmaker, exhibition catalogue (Chicago: 2000).

  • Hinterding, Erik, Rembrandt as an Etcher, Studies in Prints and Printmaking, vi, translated from the Dutch by Michael Hoyle, 3 vols (Ouderkerk aan den Ijssel: 2006).

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  • Hollstein, Friedrich Wilhelm, Dutch and Flemish Etchings, Engravings and Woodcutrs, ca. 1450–1700 (Amsterdam: 1949–).

  • Hollstein, Friedrich Wilhelm, German Etchings, Engravings and Woodcuts, ca. 1450–1700 (Amsterdam: 1954–).

  • Ivins, William M. Jr, Prints and Visual Communication (Cambridge MA and London: 1969).

  • Johns, Adrian, “How to Acknowledge a Revolution”, The American Historical Review, Vol. 107, No. 1 (1999): 106126.

  • Johns, Adrian, The Nature of the Book: Print and Knowledge in the Making (Chicago and London: 1998).

  • Jones, Michael, The Print in Early Modern England: An Historical Oversight (New Haven and London: 2010).

  • Karr Schmidt, Suzanne and Nichols, Kimberly (ed.), Altered and Adorned: Using Renaissance Prints in Daily Life, exhibition catalogue (Chicago: 2011).

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  • Koerner, Joseph Leo, ‘Albrecht Dürer: a Sixteenth-Century Influenza’, in Albrecht Dürer and His Legacy: The Graphic Works of a Renaissance Artist, ed. Giulia Bartrum (London: 2002), 1838.

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  • Körner, Hans, Der Früheste Deutsche Einblattholzschnitt (Mittenwald: 1979).

  • Kristeller, Paul, Andrea Mantegna (London, New York and Bombay: 1901).

  • Landau, David, “Revisiting Mantegna”, Print Quarterly, 38, no. 3 (2021): 251288.

  • Landau, David, “Andrea Mantegna as Printmaker”, in Andrea Mantegna, ed. Jane Martineau (London: 1992), 4455.

  • Landau, David and Parshall, Peter, The Renaissance Print 1470–1550 (New Haven and London: 1994).

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  • Lightbown, Ronald W., Mantegna: With a Complete Catalogue of Paintings, Drawings and Prints (Oxford: 1986).

  • Lincoln, Evelyn, The Invention of the Italian Renaissance Printmaker (New Haven and London: 2000).

  • Lomartire, Saverio, Andrea Mantegna e L’Incisione Italiana del Rinascimento nelle Collezioni dei Musei Civici di Pavia (Milan: 2003).

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  • Love, Harold, Scribal Publication in Seventeenth-Century England (Oxford: 1993).

  • Mandroux-França, Marie-Thérèse and Maxime Préaud (ed.), Catalogues de la Collection d’Estampes de Jean V, Roi du Portugal, 3 vols (Lisbon and Paris: 1996–2003).

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  • McDonald, Mark P., “The Print Collection of Philip II at the Escorial”, Print Quarterly, Vol. 15, No. 1 (1998): 1535.

  • McDonald, Mark P., The Print Collection of Cassiano dal Pozzo. Part I: Ceremonies, Costumes, Portraits and Genre, 3 vols (London: 2016).

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  • McDonald, Mark P., The Print Collection of Cassiano dal Pozzo. Part II: Architecture, Topography and Military Maps, 3 vols (London: 2019).

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  • McDonald, Mark P., The Print Collection of Ferdinand Columbus 1488–1539: A Renaissance Collector in Seville, 2 vols (London: 2004).

  • Monteyne, Joseph, The Printed Image in Early Modern London: Urban Space, Visual Representation, and Social Exchange (Aldershot: 2007).

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  • Oberhuber, Konrad, “Marcantonio Raimondi.” Bologna e l’umanesimo 1490–1510, exhibition catalogue, edited by Marzia Faietti and Konrad Oberhuber (Bologna: 1988), 51210.

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  • Oberhuber, Konrad, “Mantegna and the Role of Prints: A Prototype for Artistic Innovation in the North and the South”, in Renaissance Venice and the North: Crosscurrents in the Time of Bellini, Dürer, and Titian ed. Bernard Aikema and Beverly Louise Brown (London: 1999), 145149.

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  • O’Connell, Sheila, The Popular Print in England 1550–1850 (London: 1999).

  • Orenstein, Nadine, Leeflang, Huigen, Ger Luijten and Christiaan SchuckmanPrint Publishers in the Netherlands”, in Dawn of the Golden Age: Northern Netherlandish Art 1580–1620, exhibition catalogue, ed. Ger Luijten, Ariane van Suchtelen, Reinier J. Baarsen, and Walter Kloek (Amsterdam: 1993).

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  • Orenstein, Nadine, Hendrick Hondius and the Business of Prints in Seventeenth-Century Holland (Rotterdam: 1996).

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  • Parshall, Peter, “Antonio Lafreri’s Speculum Romanae Magnificentiae”, Print Quarterly, 23, no. 1 (2006): 327.

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  • Passavant, Johann David, Le Peintre-Graveur, 6 vols (Leipzig: 1860–1864).

  • Pon, Lisa, Raphael, Dürer, and Marcantonio Raimondi: Copying and the Italian Renaissance Print (New Haven and London: 2004).

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  • Roeck, Bernd, “Venice and Germany: Commercial Contacts and Intellectual Inspirations”, in Renaissance Venice and the North: Crosscurrents in the Time of Bellini, Dürer, and Titian ed. Bernard Aikema and Beverly Louise Brown (London: 1999), 4555.

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  • Rupprich, Hans, Dürer Schriftlicher Nachlass, 3 vols (Berlin: 1956–1969).

  • Russell, Gillian, The Ephemeral Eighteenth Century, Print, Sociability, and the Cultures of Collecting (Cambridge: 2020).

  • Salzberg, Rosa, Ephemeral City: Cheap Print and Urban Culture in Renaissance Venice (Manchester: 2014).

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  • Smentek, Kristel, Mariette and the Science of the Connoisseur in Eighteenth-Century Europe (Farnham: 2014).

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