Revery

1929:
Aaron Bohrod
etching
plate: 5 1/8 x 3 7/8 in. (13.1 x 9.8 cm)
Smithsonian American Art Museum Link

The History of Plants According to Women, Children and Students

1542/2002: "For this suite of prints Borland selected 10 plates from one of the earliest and most important woodcut herbals, Leonhart Fuchs' 'De Historia Stirpium' (History of Plants), published in 1542, and reworked them as etchings. Fuchs' herbal is one of the earliest books on plants which can properly be called scientific, and it was immensely influential in medicine and botany in succeeding decades. His introduction credits the artist and engravers involved in the production of the images, but those who coloured the plates were unidentified women and children. Hand-colouring was skilled work which required careful copying from master copies or from the original watercolours. Crude, uneven or inaccurate colouring could obscure the finely-printed outlines, or misrepresent the species or variety , and thus undermine the usefulness of the image for purposes of identification. It was common practice for print publishers to employ women for this work, but there contributions were never credited.

Borland's [2002] publication of these prints reversed the usual hierarchy of credits and recognition - though a number of people were involved in the etching and colouring of the plates, only those undertaking the colouring were paid and credited." Link

Grotesques

" 1755: This print is an etching, made by using acid to burn lines into a metal plate that are then filled with ink. The plate is then pressed onto paper, which transfers the image.

Ever since the various East India Companies had begun to introduce porcelain and other exotic oriental goods to Europe in the 17th century, East Asia had fascinated Europeans.This print is the title-page to A New Book of Chinese Ornaments (1755), the first pattern book of Chinoiserie designs by the French painter and designer Jean-Baptiste Pillement (1728-1808). This print demonstrates how Pillement adapted traditional French Rococo ornament to his own idea of Chinese patterns suited to British taste. The curving foliage ladder is a typically French Rococo shape and recalls so-called Grotesques (decorative patterns full of sinuous lines, cloudy foliage, monkeys, sphinxes and other fancies) by the French master Jean Bérain (1639-1711). The wispy pavilion seemingly suspended in space, the monkey and cup of tea balanced on a branch, a Chinese man teetering on a C-shaped scroll, these are all characteristic of Pillement's work and suggest a fantastic, airy world, one that the artist delighted in portraying." Link