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]