Printing Colour 1700–1830 (IES, London)

Conference: Printing Colour 1700–1830

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

Convenors: Elizabeth Savage & Ad Stijnman

10-11 April 2018 (University of London)
Object Study Day: 18th-Century Colour-Print Cultures (12 April 2018, 9 London collections)


Following from Impressions of Colour and Printing Colour 1400–1700, Printing Colour 1700–1830 will be the first interdisciplinary assessment of Western colour printmaking in the long eighteenth century. The programme includes two days of papers, posters, and object sessions.

The next day, attendees are welcome to attend a free study day,  18th-Century Colour-Print Cultures, to see the objects that made history. Choose any three sessions from nine London collections: British Library, British Museum, Courtauld Institute of Art, Rob Dixon Collection, Senate House Library, Roger Smith Collection, St Bride Collection, V&A, and Wellcome Library.


Day 1: Presentations
10 April 2018, Senate House

9:30 Session 1: Methods & Materials
Chair: Jean Michel Massing (Cambridge)

  • From Anatomy to Embroidery: Printed Colour in Books and Periodicals
    Ad Stijnman (Leiden)
  • 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)

11:30 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 (;

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)

15:30 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)

17:15 KeynoteMargaret Morgan Grasselli (National Gallery of Art)
Chair: Ad Stijnman (Leiden)

  • Printed Paintings and Engraved Drawings: Technical Innovations in Colour Printing in Eighteenth-Century France

19:00 Dinner (pre-booked only)

Day 2: Presentations
11 April 2018, Senate House

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 (York)
  • Heroes in Colour: Two-Colour Printed Portrait Series from Late Eighteenth-Century Paris
    Lea Hagedorn (Herzog August Library)

11:30 Session 6: Posters & Objects

  1. English Wallpapers by Cowtan & Sons: ‘decorations of the highest class in every style of art’
    Wendy Andrews (Cambridge)
  2. Colour Printing in Lottery Bills, 1800-1826
    Rob Banham (Reading)
  3. Curious Colours of Currency: Security Printing during the Long Eighteenth Century
    Jake Benson (Leiden)
  4. ‘Printing different Colours on One Plate’: Colour Printing on English Ceramics from 1756
    Patricia Ferguson (British Museum)
  5. The English Wallpaper Trade, Colour Printing and the Consumer Revolution, 1750–1830
    Phillippa Mapes (English Heritage)
  6. Louis Gautier-Dagoty, Colour Printmaker in Milan
    Alice Nicoliello
  7. Colour in Print in Word and Deed
    Robin Rider (Wisconsin-Madison)
  8. Original Revivals: Two New ‘Old Master’ Colour Woodcuts from the Early Nineteenth Century
    Elizabeth Savage (Institute of English Studies)
  9. Colours of Anatomy: The Function and Style of Colour Printed Medical Figures compared to Fine Art Colour Prints 1500–1850
    Ad Stijnman (Leiden)
  10. Printing Fashion in Colour 1700–1830
    Corinne Thépaut-Cabasset (Versailles)
  11. John Baptist Jackson’s Woodcuts
    Evelyn Wöldicke (Stiftung Brandenburger Tor)

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

15:30 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)

17:15 Keynote: Martin Andrews (Reading)
Chair Elizabeth Savage (IES)

  • The Pursuit of Realism: Techniques and Processes to Create Full Colour, 1700–1830s

18:20 Wine Reception


Sponsored by the Fritz Thyssen Stiftung, with support from the British Academy, Wellcome Collection, Bibliographical Society, Institute of English Studies, Senate House Library, and Warburg Institute.

Click to download the fliers for details (JPG; 1MB):

Flier: Printing Colour 1700-1830   Flier for 18th-Century Colour Print Cultures