Ad Stijnman earned his PhD from the University of Amsterdam and is a Fellow of the Royal Historical Society in London. He is an independent scholar for historical printmaking processes, specializing in manual intaglio printmaking techniques. He is the author of Engraving and Etching 1400–2000: A History of the Development of Manual Intaglio Printmaking Processes (2012) and co-author of Printing Colour 1400–1700: History, Techniques, Functions and Receptions (2015).
Read MoreToward the end of his 2015 lecture to the Association of Print Scholars, Peter Parshall discussed the ordering of art objects according to the “material factor [that] has long been a standard basis for curatorial alignments.”
Read the original German text of the manual here. See an annotated listing of instructive, workshop practice texts up to 1628 here. In the Stadtbibliothek Bamberg there is a 17th-century manuscript that catalogues the numerous copper printing plates, wooden printing blocks and lead casts collected by Paulus III Behaim von Schwarzbach (1592–1637) of Nuremberg. Appended at the end of the manuscript are instructions for the printing of copper plates, dated 16 Nov., 1628 (Fig. 1a). Read More
here. See also an annotated listing of instructive, workshop practice texts up to 1628 here. [p. 215] Actum Anno 1628. 16. Novembris Regeln, so im Kupferdrucken, so woln in abtruckung der Holzstöck fleisig in obacht zunemen. Kupferdrucken. ›Kupfer zuwaschen von der Truckschwärz‹ Read MoreRead an English translation of the manual, with an introduction by Anja Grebe and Ad Stijnman,