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British Library PROGRAMME Conference Details PRINTING COLOUR 1700-1830 Discoveries, Rediscoveries & Innovations in the Long 18th Century 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, producers may be 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, with 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 will bring together researchers, curators, special collections librarians, printers, printmakers, cataloguers, conservators, art historians, book historians, digital humanities practitioners, scientists, and others who care for colour-printed material, seek to understand them, or use them in research. The discussion will encompass all media, techniques, and functions, from fashion to fine art, wallpaper to scientific communication. The programme includes papers, posters, and private views of nine collections. Sponsors This event is sponsored by a major conference grant from the Fritz Thyssen Stiftung. It is also supported by the British Academy, Bibliographical Society, Institute of English Studies, Senate House Library, and Wellcome Collection. Organisers Convenors: Elizabeth Savage (IES), Ad Stijnman (Leiden); Assistants: Gemma Cornetti (Warburg), Marianne Yule (British Museum) 2 Printing Colour 1700–1830 Table of Contents Programme Day 1: Papers (Senate House) ....................................................................................................... 2 Day 2: Papers (Senate House) ....................................................................................................... 4 Day 3: Collection Visits (London collections) .............................................................................. 6 At a Glance: Posters ........................................................................................................... 8 Abstracts Papers .............................................................................................................................................. 9 Posters ............................................................................................................................................ 19 Biographies ............................................................................................................................ 24 Maps Senate House ................................................................................................................................ 33 Venue 1: British Library ................................................................................................................ 34 Venue 2: British Museum ............................................................................................................. 35 Venue 3: Courtauld ...................................................................................................................... 36 Venue 4: Senate House Library ................................................................................................... 37 Venue 5: St Bride Library ............................................................................................................. 38 Venue 6: V&A ................................................................................................................................ 39 Venue 7: Wellcome Library ......................................................................................................... 40 Enjoying the conference? Please tweet! Twitter: @PrintColourProj, @IES_London | #PrintingColour Just make sure not to share photos of anyone's face without their permission. IES, London, 10-12 April 2017 1 Programme: Day 1 Tuesday, 10 April 2018, Macmillan Hall 9:00 Registration 9:30 Session 1: Methods & Materials Chair Jean Michel Massing (Cambridge University) • From Anatomy to Embroidery: Printed Colour in Books and Periodicals Ad Stijnman (Leiden University) • The Vagaries of Technology Transfer: J. C. Le Blon's Wander into Tapestry-Making and its Connections to his Colour Printing Ventures Sarah Lowengard (The Cooper Union) • From Colour Theory to Colour Practice: Printmakers in Pursuit of the 'Right’ Pigments Manon van der Mullen (Rijksmuseum) & Dionysia Christoforou (Rijksmuseum) 11:00 Coffee 11:30 Session 2: New ‘Old’ Masters Chair Olenka Horbatsch (British Museum) • Coloured Inks in Imitation of Old Masters Drawings Benedetta Spadaccini (Ambrosiana) • Colour Printing: Worn Plates, Fine Impressions and 'Furniture' Prints Rob Dixon (sirjoshuareynolds.com;stipple.co.uk) 12:30 Lunch (presenters only) 2 Printing Colour 1700–1830 14:00 Session 3: Colour-Printing Drawings I Chair Jef Schaeps (Leiden University Library) • Blood, Earth and Ink: Gilles Demarteau and Red Chalk-Manner Printing Juliet Carey (Waddesdon Manor) • Between Painting and Graphic Arts: Colour Printmaking in 18th Century Russia Zalina Tetermazova (Pushkin State Museum of Fine Arts) 15:00 Coffee 15:30 Session 4: Colour-Printing Decoration Chair Sarah Grant (V&A) • Bringing Colour to Books and Objects with Decorated Paper Sidney Berger (Simmons College; University of Illinois, Urbana-Champaign) & Michèle Cloonan (Simmons College) • 18th-Century Paper Hangings and the Application of Colour Andrew Bush (National Trust) • Chinoiserie in Colour: Jean-Baptiste Pillement and the Development of à la poupée Printing in France Geert-Jan Janse (Utrecht University) 17:00 Break 17:15 Keynote I Chair Ad Stijnman (Leiden University) • Printed Paintings and Engraved Drawings: Technical Innovations in Colour Printing in Eighteenth-Century France Margaret Morgan Grasselli (National Gallery of Art) 18:00 Closing Remarks 19:00 Dinner (presenters only) Tas (22 Bloomsbury Street, London WC1B 3QJ) IES, London, 10-12 April 2017 3 Programme: Day 2 Wednesday, 11 April 2018, Macmillan Hall 9:30 Session 5: Colour-Printing as a Symbolic Form Chair Esther Chadwick (British Museum) • Colour Impressions from Norway: A Voyage Pittoresque through Colour Prints at the End of the 18th Century Chiara Palandri (National Library of Norway) • ‘each having a sort of accidental look': William Blake’s Processes of Colour Printing Michael Phillips (University of York) • Heroes in Colour: Two-Colour Printed Portrait Series from Late Eighteenth-Century Paris Lea Hagedorn (Herzog August Library) 11:00 Coffee 11:30 Session 6: Posters & Objects 12:30 Lunch (presenters only) 14:00 Session 7: Colour-Printing Drawings II Chair Antony Griffiths • The Market for Colour Printmaking in Louis XVI’s Paris: The Example of Louis-Marin Bonnet (1736–1793) Corinne Le Bitouzé (Bibliothèque nationale de France) • ‘Gravés d’après les Originaux …': Maria Katharina and Johann Gottlieb Prestel’s Prints after Drawings in the Context of Colour Printing in the Second Half of the Eighteenth Century Claudia-Alexandra Schwaighofer 15:00 Coffee 4 Printing Colour 1700–1830 15:30 Session 8: Towards a Mass Market Chair Rachel Sloan (Courtauld) • Elisha Kirkall and his Proposals for Printing in Chiaroscuro, Natural Colours and Tints Simon Turner (Hollstein) • British Stipple Engravings Printed in Colour, 1775-1820 David Alexander • George Baxter’s Contribution to the Rise of Commercial Colour Printing in the 1830s to 1850s Roger Smith (New Baxter Society) 17:00 Break 17:15 Keynote II Chair Elizabeth Savage (IES) • The Pursuit of Realism: Techniques and Processes to Create Full Colour, 1700–1830s Martin Andrews (University of Reading) 18:15 Closing Remarks 18:20 Wine Reception IES, London, 10-12 April 2017 5 Programme: Day 3 Thursday, 12 April 2018, London Collections 10:00 Private Views: Session I (advance registration required) • Venue 3: Courtauld Institute of Art • Venue 4: Senate House Library + Rob Dixon + Roger Smith • Venue 6: V&A Museum (meet 10:30) • Venue 7: Wellcome Library (meet 9:30 for breakfast) 11:00 Break; travel to Session II 12:00 Private Views: Session II (advance registration required) • Venue 2: British Museum • Venue 4: Senate House Library + Rob Dixon + Roger Smith •
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