Dr Elizabeth Savage

Contact details

Name:
Dr Elizabeth Savage
Qualifications:
FRSA FRHistS
Position:
Senior Lecturer in Book History and Communications
Institute:
Institute of English Studies
Location:
School of Advanced Study, University of London, Senate House, Malet Street, London WC1E 7HU
Email address:
elizabeth.savage@sas.ac.uk
Website:
https://hcommons.org/members/leusavage/

Research Summary and Profile

Research interests:
History of art, History of the book
Regions:
Europe
Summary of research interests and expertise:
  • Fifteenth-century print culture and incunable studies
  • Sixteenth-century print, book and visual culture
  • Early modern illustrations
  • Visual paratexts, including printer’s devices and ornaments
  • The history of collecting printed material
  • Colour printing in the hand-press period, 1450-1830
  • Historical materials, techniques and workshop methods for printing, especially in relief
Publication Details

Related publications/articles:

Date Details
01-Oct-2019 Identifying Hans Baldung Grien’s colour printer, c.1511–12

Journal articles

Burlington Magazine 161 (October 2019): 830-839 Five colour woodblock prints designed by Hans Baldung Grien in Strasbourg in the second decade of the sixteenth century are exceptional both in his work and for their time. Analysing them in the context of contemporary book printing in the city helps to explain their technical excellence, allows their printer to be identified as Johann Schott and provides a firm dating.

01-Sep-2019 Review of Edward H. Wouk, Frans Floris (1519/20–1570): Imagining a Northern Renaissance

Review

Oud Holland Reviews (September 2019)

01-Jun-2019 Dating of a Unique Six-Colour Relief print by Historical and Archaeometric Methods

Journal articles

Armida Sodo/Ludovica Ruggiero/Stefano Ridolfi/Elizabeth Savage/Luca Valbonetti/Maria Antonietta Ricci. European Physics Journal Plus 134, special issue: Scientific Research in Conservation Science (June 2019): 276 (9 pp.)

01-Dec-2018 Anicius Manlius Boethis, De consolatione philosophiae

Chapters

in Colard Mansion: Incunabula, Prints and Manuscripts in Medieval Bruges, ed. Evelien Hauwaerts/Evelien de Wilde/Ludo Vandamme (Heule: Snoeck; Bruges: Groeninge Museum, 2018), 83

01-Dec-2018 Alain Chartier, Le Quadrilogue invective

Chapters

in Colard Mansion: Incunabula, Prints and Manuscripts in Medieval Bruges, ed. Evelien Hauwaerts/Evelien de Wilde/Ludo Vandamme (Heule: Snoeck; Bruges: Groeninge Museum, 2018), 84

01-Nov-2018 Review of Suzanne Karr Schmidt, Interactive and Sculptural Printmaking in the Renaissance

Review

Burlington Magazine (November 2018): 980–981

01-Oct-2018 Hans Burgkmair, L’Emperor Maximilian à cheval

Chapters

Séverine Lepape/Elizabeth Savage, in Gravure en clair-obscur. Cranach, Raphaël, Rubens, ed. Séverine Lepape (Paris: Musée du Louvre/Liénart, 2018), 36–39

01-Oct-2018 Hans Burgkmair, Couple d’amants surprise par la Mort

Chapters

Séverine Lepape/Elizabeth Savage, in Gravure en clair-obscur. Cranach, Raphaël, Rubens, ed. Séverine Lepape (Paris: Musée du Louvre/Liénart, 2018), 44–45

01-Sep-2018 Review of Susanna Berger, Philosophy of Art

Review

Renaissance Quarterly 71/3 (September 2018), 1165–1166

01-Jun-2018 Review of Kathryn M. Rudy, Rubrics, Images and Indulgences in Late Medieval Netherlandish Manuscripts, Piety in Pieces, and Postcards on Parchment

Review

The Library (June 2018), 231–232

01-Apr-2018 Une histoire des matériaux et techniques de l’impression en couleur en Occident

Chapters

Elizabeth Savage/Ad Stijnman, Under the Rainbow, ed. Tatiana Rihs (Lausanne: Ecole cantonale d’art de Lausanne, 2018), 171–198

01-Apr-2018 A History of the Materials and Techniques of Colour Printing in the West

Chapters

Elizabeth Savage/Ad Stijnman, Under the Rainbow, ed. Tatiana Rihs (Lausanne: Ecole cantonale d’art de Lausanne, 2018), 199–222

01-Mar-2018 Hans Burgkmair’s Colour Prints: An Overview

Chapters

Hans Burgkmair. Neue Forschungen, Veröffentlichungen des Zentralinstituts für Kunstgeschichte in München, ed. Wolfgang Augustyn/Manuel Teget-Welz (Passau: Zentralinstitut für Kunstgeschichte/Dietmar Klinger, 2018), 333–366

01-Mar-2018 Review of Eric Marshall White, Editio princeps,

Review

Journal of the Printing Historical Society New Series 28 (March 2018): 97–98

01-Mar-2018 Printing Music: Technical Challenges and Synthesis, 1450–1530

Chapters

Elisabeth Giselbrecht/Elizabeth Savage, Early Music Printing in German-Speaking Lands, ed. Elisabeth Giselbrecht/Andrea Lindmayr-Brandl/Grantley McDonald (London: Ashgate, 2018), 84–99, plates 1–17

01-Jan-2018 Review of Tributes to Jean Michel Massing, ed. Mark Stocker/Phillip G. Lindley

Review

Burlington Magazine CLX (January 2018): 74

01-Jan-2018 Review of Tributes to Jean Michel Massing, ed. Mark Stocker/Phillip G. Lindley

Review

Burlington Magazine CLX (January 2018): 74

14-Nov-2017 Frisket Sheet for Printing Text in Red Ink

Articles

Leiden Special Collections Blog, 14 Nov 2017

01-Apr-2017 Early Modern Frisket Sheets: A Regularly Updated Census

Research aids

 BibSite: The Bibliographical Society of America, first version 2015

01-Apr-2017 Die Farbholzschnitte von Lucas Cranach dem Älteren: Werke und Druckzustände

Chapters

In Lucas Cranach der Älter. Meister Marke Moderne, ed. Gunnar Heydenreich, Daniel Görres and Beate Wismer (Düsseldorf: Museum Kunstpalast, 2017), 58–62

01-Aug-2016 A Renaissance Art History of the Blockbook Canticum canticorum (review of Marilyn Aronberg Lavin, An Allegory of Divine Love)

Review

 In Print Quarterly 34/3: 319-324

01-Jan-2016 The Mystery of the Scrappy Fragments: Untangling Robert Steele's Discovery of Frisket Sheets

Journal articles

Printing History (American Printing History Association) New Series 19 (Jan 2016): 16-32

01-Sep-2015 'Material Colours': The Heritage of Colour Knowledge in Seventeenth- and Eighteenth-Century Printshops

Chapters

Ad Stijnman/Elizabeth Savage, in Colour Histories: Science Art, and Technology in the 17th and 18th Centuries, ed. Magdalena Bushart and Friedrich Steinle (Berlin/New York: De Gruyter, 2015), 95-113, 364-369

01-Aug-2015 A Historical Overview of Printed Colour before 1700

Ad Stijnman/Elizabeth Savage, in Ad Stijnman/Elizabeth Savage, eds., Printing Colour 1400-1700: Histories, Techniques, Functions and Receptions, Library of the Written World: Handpress World 41, ed. Andrew Pettegree (Leiden: Brill, 2015), 1-7

01-Aug-2015 The Materials and Techniques of Early Colour Printing: A General Survey

Chapters

Ad Stijnman/Elizabeth Savage, in Ad Stijnman/Elizabeth Savage, eds., Printing Colour 1400-1700: Histories, Techniques, Functions and Receptions, Library of the Written World: Handpress World 41, ed. Andrew Pettegree (Leiden: Brill, 2015), 11-22

01-Aug-2015 Colour Printing in Relief before 1700: A Technical History

Chapters

Elizabeth Savage, in Ad Stijnman/Elizabeth Savage, eds., Printing Colour 1400-1700: Histories, Techniques, Functions and Receptions, Library of the Written World: Handpress World 41, ed. Andrew Pettegree (Leiden: Brill, 2015), 23-41

01-Aug-2015 A Printer's Art: The Development and Influence of Colour Printmaking in the German Lands, c.1476-c.1600

Chapters

Elizabeth Savage, in Ad Stijnman/Elizabeth Savage, eds., Printing Colour 1400-1700: Histories, Techniques, Functions and Receptions, Library of the Written World: Handpress World 41, ed. Andrew Pettegree (Leiden: Brill, 2015), 93-102

01-Aug-2015 Printing Colour 1400-1700: Histories, Techniques, Functions and Receptions

Edited Book

Ad Stijnman/Elizabeth Savage, eds., Printing Colour 1400-1700: Histories, Techniques, Functions and Receptions, Library of the Written World: Handpress World 41, ed. Andrew Pettegree (Leiden: Brill, 2015); reprint 2015.

  • IFPDA Book Awards, Honourable Mention: ‘every dealer, collector, and curator of old master prints will need this volume in their library’
  • De Boekenwereld: ‘inspiring standard reference work’
  • Journal of the Printing Historical Society: ‘cri de coeur’
  • The Library: ‘significant’, ‘major advance in our knowledge’
  • L’Illustrazione: ‘the most complete panorama…of the current state of research’

01-Jul-2015 Jost de Negker's Woodcut Charles V (1519): An Undescribed Example of Gold Printing

Journal articles

Art in Print 5/2 (July-Aug 2015): 9-15

01-Mar-2015 New Evidence of Erhard Ratdolt's Working Practices: The After-Life of Two Red Frisket-Sheets from the Missale Constantiense (1505)

Journal articles

Journal of the Printing Historical Society (Spring 2015): 81-97

01-Dec-2014 Red Frisket Sheets, c. 1490-1700: The Earliest Artefacts of Colour Printing in the West

Journal articles

Papers of the Bibliographical Society of America 108/4 (Dec 2014): 477-522

27-Nov-2014 Art in Books: Lambrecht Hopfer's Crucifixion (c.1525–50) in the Opuscula of Saint Bonaventure (1497)

Articles

Cambridge University Library Incunabula Project Blog, 27 Nov 2014

01-Jun-2014 Flying Colours

Journal articles

Apollo (June-July 2014), 44-49

14-Mar-2014 Renaissance Colour Prints at the Royal Academy are Unmissable (review of Renaissance Impressions, Royal Academy of Art, London)

Review

 The Conversation (2014)

01-Jan-2014 Color Prints before Erhard Ratdolt: Engraved Paper Instruments in Lazarus Beham's Buch von der Astronomie (Cologne: Nicolaus Götz, c. 1476)

Journal articles

Ad Stijnman/Elizabeth Upper, in Gutenberg-Jahrbuch 89 (2014): 86-105

16-Dec-2013 Printing Colour in Tudor England: A New Exhibition

Articles

Cambridge University Library Special Collections Blog, 16 Dec 2013, specialcollections.blog.lib.cam.ac.uk/?p=6612#more–6612

01-Dec-2013 Printing the Rainbow (review of Michael Twyman, A History of Chromolithography)

Review

Apollo (Dec 2013): 112-13

01-Sep-2013 Review of Byron and Politics: 'Born for Opposition' (Maughan Library, Kings College London)

Review

 SHARP News (Society of the History of Authorship, Reading and Publishing) 22/4 (Autumn 2013): 14

01-Jun-2013 White Spirit (review of Victoria George, Whitewash and the New Aesthetic of the Protestant Reformation)

Review

 Apollo (June 2013): 124-25

01-Jun-2013 Celebrating Maximilian I's Augsburg (review of Gregory Jecman and Freyda Spira, Imperial Augsburg)

Review

 Print Quarterly 30/2 (June 2013): 183-86

06-Apr-2013 Printing Music and Art Together

Articles

Elisabeth Giselbrecht/Elizabeth Upper', Renaissance Art and Music, 6 Apr 2013

01-Feb-2013 Crafting Prints (review of Ad Stijnman, Engraving and Etching 1400-2000)

Review

 Apollo Magazine (Feb 2013): 92-93

10-Oct-2012 Tudor Colour Printmaking

Articles

Centre for Material Texts Blog, Cambridge University, 10 Oct 2012

01-Sep-2012 Review of Shakespeare: Staging the World (British Museum, London)

Review

 SHARP News (Society of the History of Authorship, Reading and Publishing) 21/4 (Autumn 2012): 18

01-Apr-2012 The Wonders of the Kunstkammer: Hapsburg Collections Come to Cambridge, review of Splendour & Power: Imperial Treasures from Vienna (Fitzwilliam Museum)

Review

Bulletin of the Society for Renaissance Studies (Apr 2012): 10-13

01-Mar-2012 'Plays of Light and Blazes of Colour (review of Melanie Grimm, et al., Lichtspiel und Farbenpracht)

Review

Print Quarterly 29 (Mar 2012): 48-49

01-Mar-2012 'Printed Paintings (review of Hercules Segers and his 'Printed Paintings', British Museum, London)

Review

Apollo (Mar 2012): 178-179

01-Jan-2012 Glittering Woodcuts and Moveable Music: Decoding the Elaborate Printing Techniques, Purpose and Patronage of the Liber selectarum cantionum (1520)

Chapters

Elisabeth Giselbrecht/Elizabeth Upper, in Senfl-Studien I, ed. Birgit Lodes and Stefan Gasch, 17-67, Wiener Forum für ältere Musikgeschichte 5 (Tutzing: Hans Schneider, 2012)

01-Dec-2010 A Happy (Re)marriage (review of Ad Stijnman and Claudia Kleine-Tebbe, Hochzeit von Bild und Buch)

Review

Print Quarterly 27/4 (Dec 2010): 401

01-Mar-2010 Zao Wou-Ki and the Art of Nature

Articles

Above 13 (Spring 2010): 166-83

01-Dec-2009 A Visual Timeline for A Heavenly Craft (review of A Heavenly Craft, ed. Daniel De Simone)

Review

Print Quarterly 26 (Dec 2009): 371-373

01-Dec-2009 Dr Livingstone's Lament: An Unpublished Letter by David Livingstone

Articles

Above 11 (Winter 2009): 86-87

Earth Movers: Quaking up Land Art's Legacy of Feminism

Articles

Bitch 48 (Fall 2010): 36-42

Publications available on SAS-space:

Date Details
May-2006 Paper: 'Family and household in late seventeenth-century London'

NonPeerReviewed

A paper given at the Economic History Society Annual Conference, University of Reading, 1 April 2006

Dec-2006 Paper: 'Households and families in seventeenth-century London'

NonPeerReviewed

A paper given at the European Association for Urban History Conference, Stockholm, 31 August 2006

Jan-2006 Views of Hosts: Reporting the Alien Commodity Trade, 1440-45 database

NonPeerReviewed

Access database of 6 related tables containing the names and commodity descriptions from 2,300 individual business transactions which took place between alien and English merchants during the early 1440s. Refer to 'Views of Hosts database guide.doc' for further information

Dec-2007 Source specific datasets, Cheapside and Tower Hill, 1558-1769

NonPeerReviewed

A series of datasets comprising transcriptions of sources (in a semi-structured format) from the Cheapside parishes of All Hallows Honey Lane, St Martin Ironmonger Lane, St Mary Colechurch, St Mary Le Bow, and St Pancras Soper Lane, and the Tower Hill precinct of the extramural parish of St Botolph Aldgate, 1558-1769.

Dec-2007 Paper: 'Putting People in Place - the Jigsaw Project'

NonPeerReviewed

A presentation describing the methodology of the People in Place Project

Dec-2007 Paper: 'Family, housing and household in early modern London'

NonPeerReviewed

Paper given at the Pre-Modern Towns Group Annual Conference, Institute of Historical Research, London, January 2005

Dec-2007 Paper: 'Family and household in late 17th century London: a Social Snapshot'

NonPeerReviewed

Paper given to the British Society for Population Studies Conference, University of Southampton, 19th September 2006

Dec-2007 Poll Tax data

NonPeerReviewed

Datasets comprising Poll Tax data for the parishes of All Hallows Honey Lane, St Martin Ironmonger Lane, St Mary Colechurch, St Mary le Bow and St Pancras Soper Lane, 1678-1694.These datasets have been drawn up to indicate property and household divisions more clearly than in the 'raw' datasets that can be found under the Source Specific Datasets collection.

Dec-2007 Summary statistics sample

NonPeerReviewed

A selection of derived datasets presenting statistical information about householders and families in seventeenth century Cheapside and Tower Hill.

Jan-2008 Full Project Database

NonPeerReviewed

The full database generated by the 'People in Place' project, 2003-2006.

Jan-2008 People in Place: Definitions of Household and Family

NonPeerReviewed

The definitions of 'household' and 'family' used in the People in Place project, and the rules by which specific households and families were identified in the sources examined.

Nov-2008 Oxford Dayschool 22/11/08

NonPeerReviewed

Paper entitled '‘For the house her self and one servant’: households and families in late seventeenth-century London' delivered at Oxford Dayschool 22/11/08.

London Hearth Tax project database

NonPeerReviewed

Nov-2009 ‘For the house her self and one servant’: Family and Household in Late Seventeenth-century London

PeerReviewed

The 1695 returns for the marriage duty tax provide a unique opportunity to investigate the composition of London’s domestic groups. Traditional schemes for the analysis of the early modern family and household fail to capture the complexities of metropolitan living, and a ‘London-specific’ methodology is outlined for use in the returns’ classification. Application of this scheme to returns from two contrasting areas of London, a cluster of wealthy city-centre parishes and a poorer suburban precinct, reveals a series of structural differences in their families and households that are attributable to the wealth and social status of their respective populations. However, some aspects of the domestic experience within the two areas are more comparable than previous accounts would suggest.

The rich among the poor: neighbourly interaction in London’s eastern suburb, 1540–1700

NonPeerReviewed

Conference paper delivered to the Anglo-American Conference, 2009

Housing environments and health in early modern London

NonPeerReviewed

Conference paper delivered at the CMH@20 conference, 2008

Life in the Suburbs: Outputs and Next Steps

NonPeerReviewed

Life in the Suburbs source transcriptions: Taxation Records

NonPeerReviewed

Collected transcripts of taxation sources used in the Life in the Suburbs Project. The sources cover various areas of the parish of St Botolph Aldgate in the period 1540-1720. The transcripts are semi-structured and held in Microsoft Excel format.

Life in the Suburbs source transcriptions: Parish Records

NonPeerReviewed

Collected transcripts of parish and vestry sources used in the Life in the Suburbs Project. The sources cover various areas of the parish of St Botolph Aldgate in the period 1540-1720.

Parish Clerks' Memorandum Books, St Botolph Aldgate, 1583-1625

NonPeerReviewed

The raw transcripts of the Parish Clerks' Memorandum Books. These books comprise a journal of events in the parish of St Botolph Aldgate in the period 1583-1625 as recorded by the parish clerks. Significantly wider in scope than the parish registers, these sources offer a uniquely rich and detailed view into the social and economic lives of the parishioners.

Sep-2012 London and beyond: essays in honour of Derek Keene

PeerReviewed

This volume contains selected papers from a major conference held in October 2008 to celebrate the 20th anniversary of the setting up of the Centre for Metropolitan History at the IHR, and the contribution of Professor Derek Keene to the Centre, the IHR and the wider world of scholarship. 'One of the pioneer volumes in the handsomely produced new Institute of Historical Research Conference series, this book serves as a fitting tribute to one of the most influential urban historians of our time.' - Ian Archer, Urban History, May 2013.

Research Projects & Supervisions

Research projects:

Details
Colour-Printed Book Illustrations in Tudor England, 1485–1603

Cambridge University: Munby Fellowship in Bibliography, 2012/13

Early Modern Yellow Text Blocks

ongoing

Printing Colour 1700–1830: Discoveries & Rediscoveries in the Long 18th Century

Fritz Thyssen Stiftung: Conference award, co-PI, 2017/18

Revolutions in Print and Print Collecting: The Holtorp Collection

University of Manchester: Research Associate, 2014/15

The Craft of Collecting: Hiero von Holtorp and the Creation of Bibliography

British Academy: Postdoctoral Fellowship, 2016–2019

The Matrix Reloaded: Establishing Cataloguing and Research Guidelines for Artefacts of Printing in Heritage Collections

British Academy: Rising Star Engagement Award (BARSEA), 2017/18

Women’s Ownership of Medical Knowledge in Tudor and Stuart England

London Arts & Humanities Partnership: Collaborative Doctoral Award, co-PI, with Royal College of Physicians, 2020–2024

Current PhD topics supervised:

Dates Details
From: 01-Oct-2019
Until:
Women’s Ownership of Medical Knowledge in Tudor and Stuart England, 1485-1714

Collaborative Doctoral Award with the Royal College of Physicians, through the London Arts & Humanities Partnership

From: 01-Oct-2018
Until:
The Print Collection of Count Saverio Marchese (1757–1833)

Krystle Attard Trevisan

Available for doctoral supervision: Yes

Professional Affiliations

Professional affiliations:

Name Activity
Association of Print Scholars Founding jury member, Grants Program
Royal Society of Arts Fellow
Royal Historical Society Fellow
International Council of Museums Member, UK Committee
Printing Historical Society Member, Publications Committee; Grants & Prizes Committee

Collaborations:

Name Type Activity Start date End date
Hans Baldung Grien heilig | unheilig curated by HolgerJacob-Friesen/Julia Carrasco (Staatliche Kunsthalle Karlsruhe, 30 November 2019–8 March 2020) exhibition 30-Nov-2019 08-Mar-2020
Gravure en clair-obscur. Cranach, Raphaël, Rubens curated by Séverine Lepape (Musée du Louvre, Paris, 18 October 2018–14 January 2019) exhibition 18-Oct-2018 14-Jan-2019
Cranach. Meister Marke Moderne curated by Gunnar Heydenreich, Daniel Görres and Beat Wismer (Museum Kunstpalast Düsseldorf, 8 April–30 July 2017) exhibition 08-Apr-2017 30-Jul-2017
Haute Lecture by Colard Mansion: Innovating Text and Image in Medieval Bruges curated by Ludo Vandamme, Evelien Hauwaerts, and Evelien de Wilde (Groeningemuseum, Bruges, 1 March–3 June 2018) exhibition 01-Mar-2018 03-Jun-2019
Digital Resuscitation: The Officina Plantiniana’s Collection of 14,000 Woodblocks Advisory committee member 01-Apr-2019 01-Apr-2021
Graphic Arts Group Member
Registering the Matrix: Printing Matrices as Sites of Artistic Mediation advisor panel convened by Jun Nakamura, Association of Print Scholars session at College Art Association annual conference 01-Aug-2019
Relevant Events

Related events:

Date Details
28-Nov-2019 Mysteries of Printing the Book of St Albans

Print and Book Initiative, School of Advanced Study, University of London

18-Jul-2019 Finding Hans Baldung Grien’s Colour Printer

Zentralinstitut für Kunstgeschichte, Munich

03-Jul-2019 Convenor, ‘Five Centuries of the Nuremberg Chronicle’

masterclass with David McKitterick, Institute of English Studies/Senate House Library

03-Jul-2019 London Rare Books School Annual Lecture: David McKitterick, Books for Breakfast: Mid-Victorian Collecting, Changing Tastes and Different People

Institute of English Studies

26-Jun-2019 Writing Women: Reviving Kana Shodo (‘Woman-Hand’), a Forgotten Female Script: Lecture & Demonstration by Kaoru Akagawa, Master of Japanese Calligraphy

Book and Print Initiative, School of Advanced Study. Official Event of Japan-UK Season of Culture 2019-2020 & National Writing Day 2019

23-Apr-2019 Hands-on Workshop: Reconstructing the Colour-Printing the Book ofSt Albans

Utrecht Centre for Medieval Studies

23-Apr-2019 Printing Colour in Late Medieval England: The Baffling “Craft” of the Book of St Albans (1486)’,

Utrecht Centre for Medieval Studies

10-Apr-2019 Original Revivals: New Old Master Colour Prints for the Collecting Market in the Long Eighteenth Century

 Printing Colour 1700–1830: Discoveries, Rediscoveries and Innovations in the Long Eighteenth Century, School of Advanced Study, University of London

26-Mar-2019 Historical and Chemical-Physics Characterisation of a Previously Unknown, Unique, Six-Colour Relief Print

 Armida Sodo/Ludovica Ruggiero/Stefano Ridolfi/Elizabeth Savage/Luca Valbonetti/Maria Antonietta Ricci, at Innovation in Art Research and Technology (InART), Parma

30-Jan-2019 Convenor, Restitution and Re-education: Postwar Cultural Policy for/in Germany: Sources and Methodology

Masterclass with Iris Lauterbach. Institute of English Studies + Warburg Institute + Institute of Historical Research

30-Jan-2019 Lecture + book launch: Iris Lauterbach, ‘The Central Collecting Point in Munich: A New Beginning for the Restitution and Protection of Art’

Institute of English Studies/Warburg Institute/Institute of Historical Research

01-Jan-2019 Book and Print Initiative seminars, School of Advanced Study

30 speakers in 2018/19. Co-convened with Raphaële Mouren and Argula Rublack.

28-Nov-2018 ‘Finding Hans Baldung Grien’s Colour Printer’, Work in Progress Seminar, Institute of English Studies

18-Oct-2018 ‘Identifying Hans Baldung’s Colour Printer, c.1511–12’, Hans Baldung Grien. Neue Perspektiven auf sein Werk, Staatliche Kunsthalle Karlsruhe

07-Sep-2018 'The Advent of Colour Printing an Illustrated Talk on the Book of St Albans’, St Albans Museum

28-Jun-2018 Panel: Science and Knowledge. Multiplied and Modified: Reception of the Printed Image in the Fifteenth and Sixteenth Centuries, University of Warsaw/National Museum in Warsaw

10-Apr-2018 Printing Colour 1700–1830: Discoveries and Rediscoveries in the Long Eighteenth Century (IES)

Eighteenth-century book and print cultures are considered to be black and white (with a little red). Colour-printed material, like William Blake's visionary books and French decorative art, is considered rare and exceptional. However, recent discoveries in archives, libraries and museums are revealing that bright inks were not extraordinary. Artistic and commercial possibilities were transformed between rapid technical advances around 1700 (when Johannes Teyler and Jacob Christoff Le Blon invented new colour printing techniques) and 1830 (when the Industrial Revolution mechanised printing and chromolithography was patented). These innovations added commercial value and didactic meaning to material including advertising, books, brocade paper, cartography, decorative art, fashion, fine art, illustrations, medicine, trade cards, scientific imagery, texts, textiles and wallpaper.

The saturation of some markets with colour may have contributed to the conclusion that only black-and-white was suitable for fine books and artistic prints. As a result, this printed colour has been traditionally recorded only for well-known ‘rarities’. The rest remains largely invisible to scholarship. Thus, some producers are known as elite ‘artists’ in one field but prolific ‘mere illustrators’ in another, and antecedents of celebrated ‘experiments’ and ‘inventions’ are rarely acknowledged. When these artworks, books, domestic objects and ephemera are considered together, alongside the materials and techniques that enabled their production, the implications overturn assumptions from the historical humanities to conservation science. A new, interdisciplinary approach is now required.

Following from Printing Colour 1400-1700, this conference will be the first interdisciplinary assessment of Western colour printmaking in the long eighteenth century, 1700–1830. It is intended to lead to the publication of the first handbook colour printmaking in the late hand-press period, creating a new, interdisciplinary paradigm for the history of printed material.

01-Dec-2017 ECR Training Day: Researching Print Matrices/Printing Surfaces

This free, hands-on, object-based training day will introduce 10 ECRs to the research of historical matrices/printing surfaces (e.g. cut woodblocks, etched metal plates, litho stones). The emphasis is pre-1830. By analysing the objects and resulting impressions, participants will learn how to describe them; identify how they were made, used and copied; relate them to printed content; and use them as primary material in their own research. The interdisciplinary remit includes text and image, as well as decorations, initials, medicine, music, mathematical symbols, scientific imagery, and more. This event is the first application of a new research framework, which will later be published open access. Participants will learn new research skills and, through their feedback, help shape the future of research in fields related to print heritage. The training is convened by Elizabeth Savage and facilitated by Giles Bergel and Roger Gaskell.

22-Sep-2017 The Matrix Reloaded: Establishing Cataloguing & Research Guidelines for Artefacts of Printing Images

The material turn in fields that rely on printed matter has led to interest in how those texts and images were—and are—produced. Those objects, including cut woodblocks, etched/engraved metal plates, and lithographic stones, could be fundamental to research. Tens of thousands survive from the last 500 years, but the vast majority are inaccessible because they do not fit into the cataloguing structures and controlled vocabularies used by the libraries, archives and museums that hold them. Those that are accessible tend to be under-used, as few researchers are equipped to understand them or communicate about them across disciplinary boundaries. Even the most basic term is debated: to book historians/in libraries, pieces of type are multiples cast from a matrix (mould); to artists and art historians/in museums, the resulting types are the matrices (the sheets printed from them are the multiples).

As new possibilities to catalogue and digitise these artefacts are revealing their research potential, a common framework could advance knowledge of image-printing processes and images’ role in the print trade. This twelve-month project will create a research network and distil a single, interdisciplinary best practice from existing standards across disciplines and heritage collections to train researchers to engage with them.

As a precondition for this training is consensus on terminology, methodology and best practice, (1) an international, interdisciplinary working group will be formed. It will agree on recommendations following (2) a conference and (3) this closed summit in September 2017. The aim of BARSEA scheme is to cascade benefits to early career researchers, so this framework will be put into practice at (4) a training session for ECRs in December 2017, refined, and (5) published open access in March 2018 so that researchers in many places and disciplines can use these objects in their research from the start of their academic careers.

This research is supported by a British Academy Rising Star Engagement Award.

21-Sep-2017 Fabric-Covered Woodblocks Printed with “Oil Paints” in Late Medieval England?

 Blocks Plates Stones: Matrices/Printing Surfaces in Research and Collections, Courtauld Institute of Art

21-Sep-2017 Blocks Plates Stones: Matrices/Printing Surfaces in Research and Collections (Courtauld Institute/British Academy)

The material turn in fields that rely on historical printed matter has led to interest in how those texts and images were—and are—produced. Those objects, including cut woodblocks, etched and engraved metal plates, and lithographic stones, could be fundamental to research. Tens of thousands survive from the last 500 years, but the vast majority are inaccessible because they do not fit into the cataloguing structures and controlled vocabularies used by the libraries, archives and museums that hold them. Those that are accessible tend to be under-used, as few researchers are equipped to understand them or communicate about them across disciplinary boundaries. Even the most basic term is debated: in book research, a matrix is the mould for casting pieces of type; in art research, each resulting type is a matrix (and the sheets printed from them are the multiples). As new possibilities to catalogue and digitise these artefacts are revealing their research potential, it is essential to establish how they can best be made available and how they can be used in research.

This deeply interdisciplinary conference will survey the state of research into cut woodblocks, intaglio plates, lithographic stones, and other matrices/printing surfaces. It will bring together researchers, curators, librarians, printers, printmakers, cataloguers, conservators, digital humanities practitioners, and others who care for or seek to understand these objects. The discussion will encompass all media and techniques, from the fifteenth century through the present.

15-Sep-2017 Aberystwyth Bibliographical Group: ‘Early Colour Printing and Book Illustration’, Symposium

31-Aug-2017 Norwegian University of Science and Technology, Gjøvik: Printing, Colour, Design: Historical Perspectives: ‘Relief and Intaglio Colour Printing Techniques before the 19th Century’

21-Jun-2017 Panel: People of the Book, The Book in the Low Countries: New Perspectives, Hidden Collections, Institute of Historical Research

06-Apr-2017 Prints in Books: The Materiality, Art History and Collection of Illustrations (Association of Annual Art Historians annual conference)

Book illustrations, especially from the hand-press period (1450–1830), are an essential but traditionally overlooked source of art historical information. Although the hierarchies of fine art over popular art are dissolving, and modern disciplinary distinctions between text and image (or art and book) are giving way to cross-disciplinary and holistic approaches to printed material, printed images that happen to be inside books often fall outside the remits of art historical, literary, bibliographical and material research. 

One reason is that practical and academic barriers impede access to the art historical information that book illustrations can provide. Due to incompatible cataloguing standards adopted by libraries and art museums, researchers can struggle to identify book illustrations across collections. Cataloguing protocols may reduce hundreds of significant woodcuts in a book to the single word ‘illustrated’; some world-leading graphic art digitisation initiatives exclude book illustrations. As the global digitised corpus expands, will book illustrations be more represented in print scholarship or will they continue to fall into the gap between art and book? As material objects and visual resources, should they be considered bibliographical, art historical or iconographical material? And how do such classifications influence their interpretation? 

This interdisciplinary panel seeks to establish a platform for discussion about the position of printed book illustrations in graphic art scholarship. Theoretical and object-based papers related to any aspect of collecting, cataloguing and interpreting printed book illustrations, broadly defined, are welcome, as are papers that explore the materiality, iconography, historiography or art history of printed pictures inside books.

31-Mar-2017 Philadelphia Museum of Art and Kislak Center for Special Collections, University of Pennsylvania: ‘Paper, Ink, and Fabric? Illustrating the Book of St Albans, 1486’, Objects of Study: Paper, Ink, and the Material Turn

12-Dec-2016 Manuscripts in the Making: Art and Science, Cambridge University/Fitzwilliam Museum: 'Printing Fabric with “Oil Paints” in Late Medieval England?'

30-Sep-2016 Kislak Center for Special Collections, University of Pennsylvania: ‘The Language of Scientific Illustrations: Cross-Disciplinary Cataloguing Conundrums’, Materiality of Scientific Knowledge: Image-Text-Book

01-Sep-2016 The 15th Century Conference (Royal Holloway, London): ‘An Unidentified Fifteenth-Century Printing Technique? Reconstructing Workshop Methods for the Book of St Albans, 1486’

01-Jul-2016 King’s College, Cambridge: “Spotlit” Soldiers: Sixteenth-Century Works-in-Progress or Eighteenth-Century Forgeries?’ Retirement Symposium and Celebrations in Honour of Jean Michel Massing

20-Jun-2016 Cambridge University Library: ‘A Previously Undescribed Printing Technique? Re-examining the 1486 Book of St Albans’

12-May-2016 Library of Congress (Washington, DC): Ad Stijnman/Elizabeth Savage, ‘Printing Colour 1400–1700’, lecture and book signing

25-Apr-2016 Huntington Library (San Marino, California): ‘A Previously Undescribed Printing Technique? Re-examining the 1486 Book of St Albans’

20-Mar-2016 University of Reading: ‘Deciphering the First Colour-Printed Images in England: The Book of St Albans, 1486’

23-Feb-2016 Faculty of English, Cambridge University: Renaissance Research Workshop

12-Feb-2016 Courtauld Institute of Art (London): ‘‘Whitewashing’ the Early Modern Print’, Placing Prints: New Developments in the Study of Print, 1400-1800

19-Oct-2015 Oxford Bibliographical Society, Oxford University: ‘“Unmasking" the Most Common Colour-Printmaking Technique in Early Modern Europe'

23-Sep-2015 John Rylands Research Institute, University of Manchester: ‘A Baffling Breakthrough? Making Colour in the 1486 Book of St Albans’, Research Seminars

24-May-2015 Panel: Ephemerality and Durability in Early-Modern Visual and Material Culture, Centre for Research in the Arts, Social Sciences and Humanities and Trinity Hall, Cambridge

26-Mar-2015 Renaissance Society of America/Historians of Netherlandish Art (Berlin): 'Frankfurt Printers and the Market for Colour Prints in the Sixteenth Century', Frankfurt and the Art Market in the Sixteenth Century: Prints and Books

20-Jan-2015 Gonville and Caius College, Cambridge: 'The Many Inventions of Colour Printing: Art, Books and Ephemera, 1470-1600', Comparative Social and Cultural History Seminar, Faculty of History

11-Dec-2014 Zentralinstitut für Kunstgeschichte (Munich): 'Burgkmairs Farbholzschnitte', Hans Burgkmair: Neue Forschungen zu einem Künstler der deutschen Renaissance, 11-13 Dec (unable to attend)

13-Nov-2014 St Bride Institute (London): 'Manuscript to Press to Binding: Red Frisket Sheets and the Creation of Colour Printing, c.1490-1630', Landmarks of Printing: from Origins to the Digital Age, Printing Historical Society 50th Anniversary Conference

08-Nov-2014 Kunsthistorisches Institut, Philipps-Universität (Marburg, Germany): 'Moondials & Maps, Medicine & Mathematics: Printing Colour in Early Scientific Publications', Naturwissenschaft & Illustration im 15.-16. Jh.

09-Oct-2014 John Rylands Library, University of Manchester: 'The Materiality of the Press: Use and Reuse in Early Modern Printshops', Print and Materiality in the Early Modern World

01-Oct-2014 John Rylands Research Institute Research Showcase

monthly seminar, 2014/15

07-Jul-2014 Herzog August Bibliothek (Wolfenbüttel, Germany): 'Mapping the Dissemination of Early Colour Printmaking Technologies, 1476-c.1600'

27-Jun-2014 Herzog August Bibliothek (Wolfenbüttel, Germany): 'Printing the 1505 Missale Constantiense: New Artefacts from Erhard Ratdolt's Press'

14-Jun-2014 St John's College, Cambridge: 'Colouring the Reformation Book', Reform and Reformation: The Seventh Research Colloquium

02-Jun-2014 British Library (London): 'Reconstructing Early Modern Workshop Practice for Colour Printing, c.1490-1630', Seminar on Textual Bibliography for Modern Foreign Languages

12-Feb-2014 College Art Association (Chicago): 'Early Modern "Decals": Printing Intarsia in the German-Speaking Lands, c.1550-c.1650', Objectifying Prints: Hybrid Media 1450-1800

10-Feb-2014 University of Chicago: 'Hiding in Plain Sight: Rediscovering Printed Colour in Early Modern Europe, 1500-1600'

26-Jan-2014 Bibliographical Society of America (Grolier Club, New York): 'The Earliest Artifacts of Color Printmaking in the West: Red Frisket Sheets, c.1490-1630', annual conference

16-Jan-2014 Warburg Institute, University of London: 'Colour Printing in the Renaissance: The Strasbourg Edition of Ptolemy's Geography (1513)', Map and Society Lectures

27-Nov-2013 Universidade do Porto: Ad Stijnman/Elizabeth Upper, 'The Colourful Printed Past: Early Colour Printmaking, 1450-1700', Pure Print: Classical Printmaking in Contemporary Art

18-Oct-2013 American Printing History Association (Grolier Club, New York): 'Rediscovering Colour in German Graphic Art, 1487-ca. 1600', Seeing Color/Printing Color (annual conference)

16-Oct-2013 Darwin College, Cambridge: 'Early Modern Colour Woodcuts (They Existed!) and Their International Context (There were Lots of Them!)', Humanities Talks

01-Oct-2013 Centre for Research in the Arts, Humanities and Social Sciences, Cambridge University: 'ArtStor: A Case Study', Managing Digital Images: An Introduction for Researchers

27-Sep-2013 Early Modern Studies Institute, University of Southern California/Huntington Library: 'Saving Waste: Early Modern Colour Frisket Sheets as Palimpsests of Functions', Ephemerality and Durability in Early Modern Visual and Material Culture

15-Aug-2013 Folger Shakespeare Library (Washington, DC): 'Palimpsests of Functions: Manuscripts as Frisket Sheets for Colour Printmaking as Binding Scraps', New Bownde: New Scholarship in Early Modern Binding

18-May-2013 Kanazawa College of Art (Kanazawa, Japan): Ad Stijnman/Elizabeth Upper, 'Early European Colour Prints, 1450-1800, with a Note on Colour-printed Early Japanese Etchings'

01-May-2013 Cambridge Bibliographical Society, Cambridge University: 'Beheaded Cows, English Religious Politics and the Title Vignette of Rede me and be nott wrothe (1528)'

22-Mar-2013 Early Modern Research Centre, University of Reading: 'A Survey of Early Modern Colour Printmaking in Europe', Printed Image and Decorative Print, 1500-1750

21-Mar-2013 British Museum (London): 'Printing with Gold before the Reformation', Colour in Prints and Drawings, Graphic Arts Group

12-Mar-2013 University of Wales (Trinity Saint David, Bangor University and Aberystwyth University, via Welsh Video Network): 'The Invisibility of Colour in European Printmaking, 1500-1600', Research Seminar, Institute for Medieval and Early Modern Studies

21-Feb-2013 Centre for Material Texts, Cambridge University: Ad Stijnman/Elizabeth Upper, 'Cycles of Invention: Historical Developments of "New" Innovations in Colour Printing, c.1600-1700'

18-Dec-2012 Bibliographical Society, Society of Antiquaries (London): 'Colour Printmaking in Tudor Books'

15-Oct-2012 British Museum (London): 'Erasmus Loy's Printed "Intarsia"', Graphic Arts Group

28-Jun-2012 Technische Universität Berlin: Ad Stijnman/Elizabeth Upper, 'Early Modern Colour Printing, 1600-1700', Colour in the 17th and 18th Centuries: Connexions between Science, Arts, and Technology

10-Feb-2012 King's College, Cambridge: 'God's Red Fingernails & Half a Wild Child: Accident and Innovation in Colour-Printed Book Illustrations from Early Modern Germany, ca. 1500-1550', King's College Seminar

08-Dec-2011 CRASSH, Cambridge University: 'Blood in Books and Woodgrain on Walls: Previously Unknown Functions of Colour Woodcuts in Sixteenth-Century Germany', Impressions of Colour: Rediscovering Colour in Early Modern Printmaking, ca 1400-1700

08-Dec-2011 Impressions of Colour: Rediscovering Colour in Early Modern Printmaking, ca 1400-1700

The absence of colour has been long been considered a defining characteristic of early modern printmaking. Colour printing from the hundreds of years between the invention of the printing press and 1700, when Jacques Christophe Le Blon developed the three-colour method we use today, has been thought of as rare and extraordinary. However, new research has revealed that bright inks added commercial value, didactic meaning and visual emphasis to subjects as diverse as anatomy, art, astronomy, biology, cartography, medicine, militaria and polemics in both single-sheet prints and books.

Despite the significance and scale of these discoveries, the bias against colour continues to dominate print scholarship; the colour in colour prints is often ignored. As the technology to disseminate images in their original colour has spread, much important material has suddenly become available to scholars. Now that techniques that were thought to have been isolated technical experiments seem to have been relatively common practice, a new, unified history of, and conceptual framework for, early modern colour printing has become necessary, and significant aspects of early modern print culture now must be reconsidered. This conference aims to explore new methodologies and foster new ways of understanding the development of colour printing in Europe through an interdisciplinary consideration of the production.

The conference will feature a demonstration of early colour printing techniques in the Historical Printing Room, a display of books with early colour printing at the University Library and a display of early colour prints at the Fitzwilliam Museum.

02-Nov-2011 Justus-Liebig-Universität (Gießen, Germany): Alice Klein/Elizabeth Upper, 'Die Drucker Schott und Grüninger: Straßburg, ein Zentrum der Farbdruckerei um 1510-1530', Druckvorgänge: Drucktechniken vor 1600

17-Oct-2011 Warburg Institute, University of London: 'The (Re)Inventions of Colour Printing: The Significance of Johann Grüninger's Failed Experiments of 1517-1518', Art History Seminar

01-Jul-2011 Research Centre for Book, Text and Place, Bath Spa University: 'Printing Colour in Early Modern German Book Illustrations: The Significance of Johann Grüninger's Failed Experiments of 1517-1518', Book Encounters 1500-1750

01-May-2011 History of Art, Cambridge University: 'Printing Colour in the Age of Dürer: German 'Chiaroscuro' Woodcuts, 1487-ca. 1572',

24-Mar-2011 Renaissance Society of America (Montreal): Elisabeth Giselbrecht/Elizabeth Upper, 'Golden Woodcuts and Movable Notes: Printing Technology and Patronage in Early Modern Germany', Decorated Music: Visual Art in a Musical Context

24-Nov-2010 Fitzwilliam Museum (Cambridge): 'The Prestige of Printing in Gold and…Gray? New Research on Hans Burgkmair's Maximilian I (1510)', New Research Lecture Series

30-Apr-2010 King's College, Cambridge: 'Printing Gold in the "Golden Age" of German Prints', Lunchtime Seminar

03-Feb-2010 Interdisciplinary Early Modern Seminar, Cambridge University: 'Mit Fleiss getruckt': The Glittering Coat of Arms of Cardinal Matthäus Lang von Wellenburg in Ludwig Senfl's Liber selectarum cantionum (1520)

01-Oct-2009 New Research Lecture Series (Fitzwilliam Museum, Cambridge)

 monthly seminar, 2014/15

Fabric-Covered Woodblocks Printed with “Oil Paints” in Late Medieval England?

 Blocks Plates Stones: Matrices/Printing Surfaces in Research and Collections, Courtauld Institute of Art

Knowledge transfer activities:

Details
Exhibition curator, German Renaissance Colour Prints (British Museum, Nov 2015-Jan 2016)

Exhibition contributor, European Colour Woodcuts, 1500-1600. section of 'Good bookes to be sought': Munby the Collector (Cambridge University Library, June-Sept 2013)

Exhibition curator, Tudor Colour Printing (Cambridge University Library, Dec2013-Jan 2014)

Exhibition curator, maps: MA Photographic Studies, University of Westminster (Ambika P3, London)

Exhibition curator, Voice of the Grain: MA Photographic Studies, University of Westminster (Ambika P3, London)

Exhibition curator, MAPS, MA Photographic Studies, University of Westminster (Ambika P3, London, September 2011)

Exhibition curator, Light Sensitive: MA Photographic Studies, University of Westminster (Ambika P3, London)

Exhibition curator, Dying to Know: MA Photographic Studies, University of Westminster (Ambika P3, London)

Exhibition curator, Skip Intro: MA Photographic Studies, University of Westminster (Ambika P3, London)

Exhibition curator, SPAM: MA Photographic Studies, University of Westminster (Shoreditch Town Hall, London)

Consultancy & Media
Available for consultancy:
Yes
Media experience:
Yes
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