frontispiece. diamond sutra from cave 17, dunhuang. printed in the ninth year of the xiantong era of...

Frontispiece. Diamond Sutra from Cave 17, Dunhuang. printed in the ninth year of the Xiantong Era of the Tang Dynasty, 868 CE.

Ink on paper, woodblock handscroll.© British Library Board Or 8210/P2. [Fig. 10-1]

Johannes Gutenberg. Page from the Gutenberg Bible, page 162 recto with initials “M” and “E” and depiction of Alexander the Great, Mainz. 1455–56.text printed with movable letters and hand-painted initials and marginalia.bpk, Berlin/Staatsbibliothek zu Berlin, Stiftung Preussischer Kulturbesitz,

Berlin, Germany/Ruth Schacht/Art Resource, NY. [Fig. 10-2]

Hartmann Schedel. The Nuremberg Chronicle: View of Venice. 1493.movable letters and hand-painted initials and marginalia.

illustration size approximately 10 × 20 in.Image copyright © The Metropolitan Museum of Art. Image source: Art

Resource, NY. The Metropolitan Museum of Art, New York, NY, U.S.A, Rogers Fund, 1921. (21.36.145). [Fig. 10-3]

Relief-printing technique. Line art.[Fig. 10-4]

Emil Nolde. Prophet. 1912.Woodcut (Schiefler/Mosel 1966 [W] 110 only).

image: 12-5/8 × 8-7/8 in.; sheet: 15-3/4 × 13-5/16 in.Rosenwald Collection. Photograph © Board of Trustees, National Gallery of Art, Washington, D.C. 1943.3.6698. Courtesy Stiftung Seebull, Ada and Emil

Nolde. [Fig. 10-5]

Suzuki Harunobu. Two Courtesans, Inside the Display Window.Japanese, Edo period, about 1768–69.

Woodblock print (nishiki-e), ink and color on paper. 26-3/8 × 5-1/16 in.Museum of Fine Arts, Boston. Denman Waldo Ross Collection, 06.1248.

Photograph © 2012 Museum of Fine Arts, Boston. [Fig. 10-6a]

yin and yang symbol. Line art.[Fig 10-6b]

Suzuki Harunobu. Visiting (Kayoi), from the series Seven Komachi in Fashionable Disguise (Fûryû yatsushi nana Komachi). Japanese, Edo period,

about 1766–67.Woodblock print (nishiki-e), ink and color on paper. 12-1/16 × 5-5/16 in.Museum of Fine Arts, Boston. William Sturgis Bigelow Collection. 11.16497.

Photograph © 2012 Museum of Fine Arts, Boston. [Fig. 10-7]

Kitagawa Utamaro. The Fickle Type, from the series Ten Physiognomies of Women. c. 1793.

Woodcut. 14 × 9-7/8 in.The New York Public Library / Art Resource, NY. [Fig. 10-8]

Kitagawa Utamaro. Utamaro’s Studio, Eshi ...dosa-hiki (the three primary steps in producing a print from drawing to glazing), from the series Edo

meibutsu nishiki-e kosaku. c. 1790.Oban triptych, ink and color on paper. 24-3/4 × 9-5/8 in.

Clarence Buckingham Collection, 1939.2141. The Art Institute of Chicago. Photography © The Art Institute of Chicago. [Fig. 10-9]

Vincent van Gogh. Japonaiserie: The Courtesan (after Kesai Eisen). 1887.Oil on canvas. 41-3/8 × 24 in.

Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 10-10]

“Le Japon,” cover of Paris Illustré. May 1886.Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 10-11]

Kitagawa Utamaro. Shaving a Boy’s Head. c. 1795.Color woodblock print. 15-1/8 × 10-1/4 in.

The Minneapolis Institute of Arts. Bequest of Richard P. Gale. 74.1.153. [Fig. 10-12]

Mary Cassatt. The Bath. 1890–91.Drypoint and aquatint on laid paper. plate: 12-5/8, 9-3/4 in.; sheet: 17-

3/16 × 12 in.Rosenwald Collection. Photograph © Board of Trustees, National Gallery of

Art, Washington, D.C. Photo: Dean Beasom. [Fig. 10-13]

J. W. Powell. Noon-Day Rest in Marble Canyon, from Exploration of the Colorado River of the West. 1875.

Plate 25 opposite page 75. Wood engraving after an original sketch by Thomas Moran. 6-1/2 × 4-3/8 in.

Courtesy, History Colorado 978.06/P871eS. [Fig. 10-14]

Cyril E. Power. The Tube Train. about 1934.Color linocut, completed edition print on very thin off-white Asian paper.

12-5/16 × 12-11/16 in.Private Collection / © Redfern Gallery, London / The Bridgeman Art Library.

[Fig. 10-15]

Intaglio printmaking technique, general view. Line art.

[Fig. 10-16]

Intaglio printmaking techniques, side views. Line art.

[Fig. 10-17]

After J. M. W. Turner. Snow Storm: Steamboat off a Harbor’s Mouth (1842). 1891.

Engraving on steel.©The Trustees of the British Museum. [Fig. 10-18]

Albrecht Dürer. Adam and Eve, First State. 1504.Engravings. 9-7/8 × 7-5/8 in.

Graphische Sammlung, Albertina, Wien. [Fig. 10-19]

Albrecht Dürer. Adam and Eve, Second State. 1504.Engravings. 9-7/8 × 7-5/8 in.

Graphische Sammlung, Albertina, Wien. [Fig. 10-20]

Albrecht Dürer. Adam and Eve, Fourth State. 1504.Engravings. 9-7/8 × 7-5/8 in.

Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY. Fletcher Fund, 1919 (19.73.1). The Metropolitan Museum of

Art, New York, NY, U.S.A. [Fig. 10-21]

Rembrandt van Rijn. The Angel Appearing to the Shepherds. 1634.Etching. 10-1/4 × 8-1/2 in.

Rijksmuseum, Amsterdam. [Fig. 10-22]

Yuji Hiratsuka. Epicure Extravaganza. 2011.4-color intaglio (etching, aquatint) on Japanese Kozo (mulberry) paper. 36

× 24 in.Courtesty of the artist. [Fig. 10-23]

Mary Cassatt. The Map (The Lesson). 1890.Drypoint. 6-3/16 × 9-3/16 in.

Joseph Brooks Fair Collection, 1933.537. The Art Institute of Chicago. Photography © The Art Institute of Chicago. [Fig. 10-24]

Prince Rupert. The Standard Bearer. 1658.Mezzotint. 11 × 11-7/8 in.

Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY. The Metropolitan Museum of Art, New York, NY, U.S.A., Harris

Brisbane Dick Fund, 1933. 32.52.32. [Fig. 10-25]

Jane Dickson. Stairwell. 1984.Aquatint on Rives BFK paper. 35-3/4 × 22-3/4 in.

Courtesy of the Artist. [Fig. 10-26]

Honoré Daumier. Rue Transnonain, April 15, 1834. 1834.Lithograph. 11-1/2 × 17-5/8 in.

The Charles Deering Collection, 1953.530. The Art Institute of Chicago. Photography © The Art Institute of Chicago. [Fig. 10-27]

Robert Rauschenberg. Accident. 1963.Lithograph on paper. 41 × 29 in.

Gift of the Women's Committee, Corcoran Gallery of Art (64.9.2). Art © Estate of Robert Rauschenberg/Licensed by VAGA, New York, NY. [Fig. 10-28]

June Wayne. Stellar Roil, Stellar Winds 5. 1978.Lithograph. image: 11 × 9-1/4 in.; paper: 18-3/4 × 14-3/4 in.Art © June Wayne/Licensed by VAGA, New York, NY. [Fig. 10-29]

June Wayne. Knockout. 1996.Lithograph. image: 28-1/4 × 35-3/8 in.; paper: bleed.

Art © June Wayne/Licensed by VAGA, New York, NY. [Fig. 10-30]

Roger Shimomura. Enter the Rice Cooker. 1994.Color screen print on Saudners 410 gram HP. image 36 × 41 in. edition: 170.Spencer Museum of Art, University of Kansas. Gift of the art, 2005.0072.

[Fig. 10-31]

Peter Halley. Exploding Cell. 1994.Series of nine screenprints, composition and sheet. (each): 36-1/2 × 47-1/8

in.Printer: Heinrici Silkscreen, New York. Publisher: Edition Schellmann, New York. Edition: 32. Museum of Modern Art, New York. Gift of the artist. ©

Peter Halley. [Fig. 10-32]

Fritz Scholder. Dream Horse G. 1986.Monotype. 30 × 22 in.

Courtesy of the artist. [Fig. 10-33]

Andy Warhol. Marilyn Monroe. 1967.Silkscreen print. 37-1/2 × 37-1/2 in.

© 2012 Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York. Robert Gale Doyon Fund and Harold F. Bishop Fund purchase. Chazen Museum of Art, University of Wisconsin-Madison. [Fig. 10-

34]

Andy Warhol. San Francisco Silverspot, from the Endangered Species series. 1983.

Screenprint. 38 × 38 in.© 2012 Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York. Courtesy Ronald Feldman Fine Arts, New York /

www.feldmangallery.com. Photo: Dr. James Dee. [Fig. 10-35]