Studies in Prints and Print­making

With this series, the publishers and editors have set out to present new insights into some of the lesser known aspects of the history of print­making as well as to publish more traditional studies on graphic art, be it collection catalogues and subject bibliographies or analyses of a printmaker's or publisher's output.
To date, the first aim has been exemplified by Van der Stock's contribution, whose research in the Antwerp city archives, for instance, has unearthed a great deal of new information on printed ephemera. As one reviewer noted, his book serves as 'a check against many commonly held assumptions about the principles and practices of early print­making at all levels.'
The books on Hondius and De Passe share a similar approach in presenting their main characters as part of the cultural, religious, social and economic developments of their time and as part of a milieu. Orenstein's book on Hondius includes an annotated list of all the prints and books to come out of Hondius's shop with the exception of those he engraved himself, wich have been fully catalogued in the volume of the New Hollstein series on Hondius by the same author.
Fuhring's catalogue of the Amsterdam Rijksmuseum's renowned collection of seventeenth-century ornament prints is an extensive publication on the more than 13,000 prints in the printroom of the Rijksmuseum.
Erik Hinterding's, Rembrandt as an etcher, the practice of production and distribution, caused a landslide in the field of Rembrandt research. This 3-volume publication saw the light in 2006 to celebrate the artist's 400th birthday and is still a benchmark in Rembrandt research.
Jenkins' long awaited Prints at the Court of Fontainebleau, c. 1542-47 takes a technical approach to the material, which includes analysis of paper, draftsmanship, and printing techniques and also contains a fully illustrated catalogue of the 440 prints attributed to the Schoolof Fontainebleau.