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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), 101–120.
Baron, Sabrina, Eric N. Lindquist and Shelvin, Eleanor F. (ed.), Agent of Change: Print Culture Studies after Elizabeth L. Eisenstein (Amherst and Boston: 2007).
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), 56–66.
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), 415–437.
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): 12–26.
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).
Canova, Andrea, “Mantegna Invenit” in Mantegna 1431–1506, ed. Giovanni Agosti, and Dominique Thiébaut (Milan: 2008), 243–295.
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 149–181.
Canova, Andrea, ‘Andrea Mantegna e Gian Marco Cavalli: nuovi documenti mantovani’, Italia medioevale e umanistica, XLIII, 2002, 201–229.
Cerboni Baiardi, Anna, and Marzia Faietti, Marcantonio Raimondi: Il Primo Incisore di Raffaello (Urbino: 2022).
Chartier, Roger (ed.), Les Usages de L’imprimé (XVe–XIXe 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).
Christiansen, Keith, “The Case for Mantegna as Printmaker”, The Burlington Magazine, 135, no. 1086 (1993): 604–612.
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).
Dackerman, Susan & Daston, Lorraine (ed.), Prints and the Pursuit of Knowledge in Early Modern Europe, exhibition catalogue (Cambridge MA: 2011).
Eisenstein, Elisabeth, The Printing Press as an Agent of Change: Communications and Cultural Transformations in Early-Modern Europe (New York: 1980).
Eisenstein, Elizabeth, “An Unacknowledged Revolution Revisited”, The American Historical Review, Vol. 107, No. 1 (1999): 87–105.
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).
Emison, Patricia A., “The Raucousness of Mantegna’s Mythological Engravings”, Gazette des Beaux-Arts, 6, No. 124 (1994): 159–176.
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), 234–259.
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), 13–25.
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).
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), 37–58.
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), 334–338.
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).
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): 106–126.
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).
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), 18–38.
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): 251–288.
Landau, David, “Andrea Mantegna as Printmaker”, in Andrea Mantegna, ed. Jane Martineau (London: 1992), 44–55.
Landau, David and Parshall, Peter, The Renaissance Print 1470–1550 (New Haven and London: 1994).
Lehrs, Max, Geschichte und Kritischer Katalog des Deutschen, Niederländischen und Französischen Kupferstichs im XV. Jahrhundert, 16 vols (Vienna: 1908–1934).
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).
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).
McDonald, Mark P., “The Print Collection of Philip II at the Escorial”, Print Quarterly, Vol. 15, No. 1 (1998): 15–35.
McDonald, Mark P., The Print Collection of Cassiano dal Pozzo. Part I: Ceremonies, Costumes, Portraits and Genre, 3 vols (London: 2016).
McDonald, Mark P., The Print Collection of Cassiano dal Pozzo. Part II: Architecture, Topography and Military Maps, 3 vols (London: 2019).
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).
Oberhuber, Konrad, “Marcantonio Raimondi.” Bologna e l’umanesimo 1490–1510, exhibition catalogue, edited by Marzia Faietti and Konrad Oberhuber (Bologna: 1988), 51–210.
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), 145–149.
O’Connell, Sheila, The Popular Print in England 1550–1850 (London: 1999).
Orenstein, Nadine, Leeflang, Huigen, Ger Luijten and Christiaan Schuckman “Print 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).
Orenstein, Nadine, Hendrick Hondius and the Business of Prints in Seventeenth-Century Holland (Rotterdam: 1996).
Pagani, Valeria, “The Dispersal of Lafreri’s Inheritance 1581–89—The De’ Nobili-Arbotti-Clodio Partnership”, Print Quarterly, 28, no. 2 (2011): 119–136.
Parshall, Peter, “The Print Collection of Ferdinand, Archduke of Tyrol”, Jahrbuch der Kunsthistorischen Sammlungen in Wien, 78 (1982): 129–190.
Parshall, Peter, “Art and the Theatre of Knowledge: The Origins of Print Collecting in Northern Europe”, Harvard University Art Museums Bulletin, 2, No. 3 (1994): 7–36.
Parshall, Peter, “Antonio Lafreri’s Speculum Romanae Magnificentiae”, Print Quarterly, 23, no. 1 (2006): 3–27.
Parshall, Peter and Rainer Schoch (ed.), Fifteenth-Century Woodcuts and Their Public, exhibition catalogue (New Haven and London: 2005).
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).
Préaud, Maxime, et al., Dictionnaire des Éditeurs d’Estampes à Paris sous l’Ancien Régime (Paris: 1987).
Raven, James, Publishing Business in Eighteenth-Century England (Woodbridge and Rochester, NY: 2014).
Riggs, Timothy and Silver, Larry (ed.), Graven Images: The Rise of Professional Printmakers in Antwerp and Haarlem, 1540–1640 (Evaston IL: 1993).
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), 45–55.
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).
Savage, Elizabeth and Stijnman, Ad, Printing in Colour 1400–1700 (Leiden: 2015).
Simonsfeld, Henry, Der Fondaco dei Tedeschi in Venedig und die Deutsch-Venetianischen Handelsbeziehungen (Stuttgart: 1887).
Sheehan, Jacquelyn L., “Andrea Mantegna” in Jay A. Levenson, Konrad Oberhuber and Jacquelyn L. Sheehan, Early Italian Engravings from the National Gallery of Art (Washington: 1973).
Smentek, Kristel, Mariette and the Science of the Connoisseur in Eighteenth-Century Europe (Farnham: 2014).
Stijnman, Ad, Engraving and Etching 1400–2000: A History of the Development of Manual Intaglio Printmaking Processes (London: 2012).
Stock, Jan van der, Printing Images in Antwerp. The Introduction of Printmaking in a City: Fifteenth Century—1585 (Rotterdam: 1998).
Takahatake, Naoko, The Chiaroscuro Woodcut in Renaissance Italy, exhibition catalogue (Los Angeles: 2018).
Talbot, Charles, “Dürer and the High Art of Printmaking,” in The Essential Dürer, ed. Larry Silver and Jeffrey Chipps Smith (Philadelphia: 2010), 35–61.
Véliz Bomford, Zahira, “The Authority of Prints in Early Modern Spain”, Hispanic Research Journal, Iberian and Latin American Studies, 9 (2008), 416–436.
Waal, Jan van der, Prints in the Golden Age: From Art to Shelf Paper, exhibition catalogue (Rotterdam: 2006).
White, Christopher, Rembrandt as an Etcher: A Study of the Artist at Work (London: 1969).
Witcombe, Christopher. L., Print Publishing in Sixteenth-Century Rome: Growth and Expansion, Rivalry and Murder (Turnhout: 2008).
Zorach, Rebecca and Elisabeth Rodini (ed.), Paper Museums. The Reproductive Print in Europe, 1500–1800 (Chicago: 2005).
Zorach, Rebecca, The Virtual Tourist in Renaissance Rome: Printing and Collecting the Speculum Romanae Magnificentiae, exhibition catalogue (Chicago: 2008).
Zucker, Mark J., Early Italian Masters, vol. 25 (Commentary). Formerly Volume 13 (part 2). The Illustrated Bartsch, ed. Walter L. Strauss (New York: 1984).
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