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The last quarter of the nineteenth century witnessed a surge of interest in prints among Parisian art enthusiasts. The taste and the knowledge of the distinct stages of each print's evolution, known as states, were developed. One aspect of this creative process was of particular interest to collectors: the parts of the print left blank in the process of its creation. Some printmakers were particularly admired and their work prized for those states in which the emerging composition was broken up by the white of the paper. This was especially the case with Claude-Ferdinand Gaillard (1834–1887). His work and its reception by collectors are central to this article. [ABSTRACT FROM AUTHOR]

The study focuses on ornamental prints (as components of pattern books) published and circulated all over Europe during the second half of the nineteenth century and in the first decades of the twentieth century. This special object type forms a particular segment not only in the history of ornamental prints and decorative arts in general but also in the history of architecture, applied arts, art education and archaeology. Enriched descriptions of these prints therefore have the potential to be of great benefit to scientific research in all the disciplines mentioned. The primary aim of this study is to survey and elaborate the standardized description of ornamental prints, considering them as visual works and describing them as museum objects. The paper attempts to answer questions posed from the multi-layered approach to scientific research, namely how to record ornamental prints that belong to a special object type, consisting of mixed visual and textual contents; and how to group the information in order to obtain the richest possible sets of data. The conceptual model of the standardized description will be elucidated with numerous examples, embedded in the broader art historical context. [ABSTRACT FROM AUTHOR]

The article focuses on broadside and lithograph prints that depict the Atlantic Cable project started in 1854 aimed at building a telegraph line that will cross the Atlantic Ocean.

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Writers on American prints generally have ignored the speculative and entrepreneurial aspects of printing and publishing, and business histories are difficult to reconstruct because so little primary evidence remains. This article stitches together information from a variety of sources about workshop practices and staffing, coloring, costs, distribution and advertising, and the importance of job printing in the production of American lithographs from the late 1820s through the Civil War. [ABSTRACT FROM AUTHOR]

Recirculating the assertion of magazine historian Frank Luther Mott, subsequent generations of scholars maintained that Godey's Lady's Magazine eschewed content treating the social, political, and economic issues of the day. This article challenges that nearly universal reading of Godey's by arguing for the importance of a close reading of the “match plates” commissioned by Godey for his magazine. Appearing between 1840 and 1860, these plates, many engraved from pendant paintings created expressly for Godey, draw on the popularity of stage melodrama, dramatic tableau, and tableaux vivants to enact a performative morality addressing major social, economic, and political issues. Early match plates contrast virtue and vice, capitalizing on the enormous popularity of William Hogarth's engraving series Industry and Idleness. Match plates appear also in the popular fashion plates of the magazine – echoing the city mystery novels, plays, and prints first popularized by Eugene Sue – in Christmas for the Rich/Christmas for the Poor and Dress the Maker/Dress the Wearer. By 1860, even the magazine's “useful” contents, such as the pattern work prized by Godey's readers, echo the popularity of match plates: hence Fruit for Working/Flowers for Working. Closer attention to Godey's engravings calls for a reassessment of Mott's assertion. [ABSTRACT FROM PUBLISHER]

The article discusses the drawings, lithographs and engravings by the explorer William George Richardson Hind, including his brother Henry Youle Hind's publishing of the prints of William's artwork in the 1863 book "Explorations in the Interior of the Labrador Peninsula: The Country of the Montagnais and Naskapee Indians." Particular focus is given to William's exploration of Labrador Peninsula, Newfoundland and Labrador, including his depiction of exploration in his artwork.

The article discusses the practice of American printers creating prints and engravings featuring images of Canada during the late eighteenth and early nineteenth centuries. Relations between the Canadian maritime provinces and New England, as well as tariff regulations, helped promote the sale of American prints in Canada and the shared colonial experiences of the two countries helped encourage interest in the subject matter in both countries. Some of the notable people discussed include artists Salathiel Ellis, Fitz Henry Lane, and Alexander Robertson.

In this article, the author describes his research on the 19th century German-American printer Charles Magnus, who was active from 1850 until his death in 1900. Magnus produced a wide variety of ephemera including books, maps, prints, and song sheets. Emphasis is given to the collection of Magnus' works at the Winterthur Museum, Garden, and Library, and the author's role in their preservation and study. Topics discussed include previous research on Magnus by historians including Helena Zinkham, Raymond Marsh, and George N. Malpass, Magnus' wife Christina Magnus, and a print by Magnus depicting the capture of Jefferson Davis, leader of the Confederate States of America.

The authors consider the N. Currier and Currier & Ives print sales lists and catalogues to determine which subjects of lithographs were most popular during the nineteenth century. The first sale list is dated 1851 for N. Currier, and the print lists for Currier & Ives for the years 1858, 1868, 1872, c.1873, and c.1881 are analyzed. The distribution of the subject matter categories of small folio prints is compared to the subjects of artworks created as large folio prints. The authors surmise that 19th century American popular culture encouraged Currier & Ives to produce religious, sentimental, and romanticized images.

The article discusses the social issues associated with the prints of 19th century American painter Lily Martin Spenser. Her prints featured children in a variety of humorous situations and were created for print publisher William Schaus. The author argues that Spenser's prints appealed to the public because they presented non-threatening views of African American children and idealized representations of middle class white children during a period when urban slums threatened the middle class' feeling of safety and security.

The article offers a look at the Indian courtesans in Cartes-de-Visite. Cartes-de-Visite in the 19th century includes various subjects and is described as an interface between photography and social scene. It is noted that cartes served either as causes of sentiment or publicity. According to the author, publicity is the great interest of courtesans when it comes to cartes. It can also be observed that the ingrained traditions and ethos of the society have influenced the approach of courtesans to photography, including their poses. Various photographs copied from carte-de-visite albumen prints are also presented.

Reports on the increase in attention to 19th century prints in several art museum exhibitions in the U.S. Exhibition of prints by Gavarni at Yale University Art Gallery in New Haven, Connecticut; Exhibition of Theodore Chasseriau's prints at Baltimore Museum of Art in Maryland; Show on American 19th century engravings at Frederick S. Wight Art Gallery of University of California in Los Angeles.

The article reports that a number of hand-painted prints from the mid-19th century book “The Birds of America,” by John James Audubon sold at the London, England auction house Sotheby’s for 11.6 million dollars to an anonymous bidder.

The article presents the spring 2006 exhibition of printmakers. The exhibition is an annual activity which features the exceptional prints of the selected printmaker. For the Spring 2006 sixteenth occasion, Jeremy Lewison's personal collection are in exhibit. It features a wide collection of contemporary printmaking materials. The occassion was started in 1963 with a small group of print enthusiasts organizing the event in the town of Biella which became the tradition of different artists from various countries.

The article announces that a wide resource for the study of nineteenth-century printmaking is now published in the Internet in France in 1997. The publication in the Internet is said to be under the direction of George D. McKee, and is now duly supported by the ARTFL Project and the Centre National de Recherche Scientifique of France. It contains all the listings of prints that were printed in the Bibliographie de la France since 1811. However, it is claimed that these listings were copied from the public notice of filings, therefore under the penalty of law by the editors and by the "imprimeurs lithographe" of the prints themselves.