Printing Colour 1700-1830 offers a broad-ranging examination of the rich period of invention, experimentation and creativity surrounding colour printing in Europe between two critically important developments, four-colour separation printing around 1710, and chromolithography around 1830. Its 28 field-defining contributions by 23 leading experts expand the corpus beyond rare fine art impressions to include many millions of colour-printed images and objects. The chapters unveil the explosive growth in the production and marketing of colour prints at this pivotal moment. They address the numerous scientific and technological advances that fed the burgeoning popularity for such diverse colour-printed consumer goods as clothing, textiles, wallpapers, and ceramics. They recontextualise the rise in colour-printed paper currencies, book endpapers and typography, and ephemera, including lottery tickets and advertisements. This landmark volume launches colour printing of the long 18th century as an interdisciplinary field of study, opening new avenues for research across historical and scientific fields.

Margaret Morgan Grasselli, Harvard University,Elizabeth Savage, University of London

Dr Elizabeth Savage FSA FRHistS is Senior Lecturer in Book History and Communications, School of Advanced Study, and Head of Academic Research Engagement, Senate House Library, University of London. In 2020-22, she was an Honorary Fellow at Centre for the Study of the Book, Bodleian Libraries, Oxford University. In 2022-23, she was a Fellow at Linda Hall Library. Her research into pre-industrial European printing techniques, especially for colour, has won awards including the Schulman and Bullard Article Prize. Her latest book is Early Colour Printing: German Renaissance Woodcuts at the British Museum, and she co-edited Printing Colour 1400-1700. She regularly curates and contributes to exhibitions about print heritage, for example at the British Museum and Musée du Louvre. She teaches at London Rare Books School.

Dr Margaret Morgan Grasselli worked for forty years at the National Gallery of Art in Washington, thirty as Curator of Old Master Drawings. Having retired in 2020, she then served as Visiting Lecturer in the department of History of Art and Architecture of the Faculty of Arts and Sciences at Harvard University (2020-2022) and Visiting Senior Scholar for Drawings at the Harvard Art Museums (2020-2023). An expert on French drawings, she is also an authority on French colour prints of the 18th century. She organised the 2003 exhibition at the National Gallery of Art, Colorful Impressions: The Printing Revolution in Eighteenth-Century France, and was the editor and primary author of the accompanying catalogue.

Introduction, Margaret Morgan Grasselli, Elizabeth SavagePart I: Materials and Techniques Printing Colour in 18th-Century EuropeTools, Machines, and Presswork for Printing Colour in 18th-Century Europe, Margaret Morgan Grasselli, Elizabeth SavageColour Printing Inks and Colour Inking in 18th-Century Europe, Elizabeth SavagePart II Relief Techniques: Letterpress, and Colour WoodcutColour Letterpress in Europe in the Long 18th Century, Ad StijnmanElisha Kirkall and his Proposals for Printing in Chiaroscuro, Natural Colours and Tints, 1720-1740, Simon TurnerPrinting Chiaroscuro and Colour Woodcuts in Paris, Venice, and London c.1725-70, Tico SeifertBringing Colour to Books and Objects with Decorated Paper in the Long 18th Century, Sid Berger, Michèle CloonanColour for Commerce: Letterpress-Printed Ephemera in Britain, 1700-1830, Rob BanhamPart III Mezzotint and Trichromatic PrintingThe Politics of Process Mezzotint: Jacob Christoff Le Blon's Reputation, 1700-89, Elizabeth SavageFrom Colour Theory to Colour Practice: Printmakers in Pursuit of the Ideal Pigments in 18th-Century Europe, Dionysia Christoforou, Manon van der Mullen, Victor GonzalezColouring the Body: Printed Colour in Medical Treatises during the Long Eighteenth Century, Julia NurseColour Printing in Late 18th-Century Italy: Édouard and Louis Dagoty, 1770-1800, Alice NicolielloPart IV Chalk, Pastel and Watercolour Manner, and AquatintPrinted Paintings and Engraved Drawings: Technical Innovations in Colour Printing in 18th-Century France, Margaret Morgan GrasselliColoured Prints in Imitation of Old Master Drawings in 18th-Century Italy: Anton Maria Zanetti the Elder, Benigno Bossi, Francesco Rosaspina and their Contemporaries, Benedetta SpadacciniFrançois-Philippe Charpentier and the Development of Aquatint in France in the 1760s, Rena HoisingtonA Voyage pittoresque in Norway through Colour Prints, 1789-c.1815, Chiara PalandriThe Market for Colour Prints in Paris at the End of the 18th Century, Corinne Le BitouzéMultiple-Plate Colour Prints and the Problems of Variant Impressions, Missing Plates, and Disappearing Inks, Margaret Morgan GrasselliPart V Stipple and a la PoupéeEnglish Colour-Printed Stipple Engravings, 1774-1800, David AlexanderBetween Painting and Graphic Arts: Colour Printmaking in Russia, 1750s-1800s, Zalina TetermazovaAnne Allen, Jean Pillement, and the Development of à la poupée Printing in France, Geert-Jan JanseThe Contribution of à la poupée-inked Colour Printing to Natural History Illustration in France, 1800-1870, Karen CookPart VI Consumer Goods and Expanding Markets for Colour PrintingAnatomy to Embroidery: Intaglio Colour-Printed Illustrations in European Books and Periodicals, 1700-1850, Ad StijnmanEarly Dye-Patterned Colour on Calico in Europe, 1600-1840, Susan GreenePrinted Wallpaper in England in the Long Eighteenth Century, Phillippa MapesColour Printing on English Ceramics, 1751-70, Patricia FergusonPart VII Technical Experimentation and IndustrialisationWilliam Blake's Colour Printing: Methods & Materials, Michael PhillipsInnovation and Tradition in Early 19th-Century Colour Printing, Michael TwymanThe Beginnings of Commercial Colour Printing in Europe, 1835-1840, Michael Twyman