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While dealing in appropriately dry fashion with all the intricacies of production, trade and patronage, Griffiths manages to make the reader look harder at the materiality of the fine art engraving, its strange otherness as if it were a branch of sculpture rather than drawing. His magnificent book brings to an end the output of the British Museum Press, here concluding, like many a fine symphony, with a triumphant flourish. --Tom Phillips The Telegraph (09/01/2016)

The sheer amount of information on offer here, conveyed in such a lucidly written and lavishly illustrated book, marks this as a pinnacle of print studies. --Sheila McTighe (11/01/2016) While dealing in appropriately dry fashion with all the intricacies of production, trade and patronage, Griffiths manages to make the reader look harder at the materiality of the fine art engraving, its strange otherness as if it were a branch of sculpture rather than drawing. His magnificent book brings to an end the output of the British Museum Press, here concluding, like many a fine symphony, with a triumphant flourish. -- (09/01/2016) Antony Griffiths, who was Keeper of Prints and Drawings at the British Museum for 20 years from 1991 to 2011, has done something wholly admirable. After retiring and alongside delivering the Slade Lectures in Oxford, he sat down and has written an absolutely definitive book about the history of printmaking in Western Europe from its beginnings to the time that it began to be overtaken by other technologies, including lithography and photography.--Charles Saumarez Smith

""The sheer amount of information on offer here, conveyed in such a lucidly written and lavishly illustrated book, marks this as a pinnacle of print studies.""--Sheila McTighe (11/1/2016 12:00:00 AM) ""While dealing in appropriately dry fashion with all the intricacies of production, trade and patronage, Griffiths manages to make the reader look harder at the materiality of the fine art engraving, its strange otherness as if it were a branch of sculpture rather than drawing. His magnificent book brings to an end the output of the British Museum Press, here concluding, like many a fine symphony, with a triumphant flourish.""--Tom Phillips (9/1/2016 12:00:00 AM) Antony Griffiths, who was Keeper of Prints and Drawings at the British Museum for 20 years from 1991 to 2011, has done something wholly admirable. After retiring and alongside delivering the Slade Lectures in Oxford, he sat down and has written an absolutely definitive book about the history of printmaking in Western Europe from its beginnings to the time that it began to be overtaken by other technologies, including lithography and photography.--Charles Saumarez Smith

While dealing in appropriately dry fashion with all the intricacies of production, trade and patronage, Griffiths manages to make the reader look harder at the materiality of the fine art engraving, its strange otherness as if it were a branch of sculpture rather than drawing. His magnificent book brings to an end the output of the British Museum Press, here concluding, like many a fine symphony, with a triumphant flourish. --Tom Phillips The Telegraph (09/01/2016) The sheer amount of information on offer here, conveyed in such a lucidly written and lavishly illustrated book, marks this as a pinnacle of print studies. --Sheila McTighe Apollo Magazine (11/01/2016) Antony Griffiths, who was Keeper of Prints and Drawings at the British Museum for 20 years from 1991 to 2011, has done something wholly admirable. After retiring and alongside delivering the Slade Lectures in Oxford, he sat down and has written an absolutely definitive book about the history of printmaking in Western Europe from its beginnings to the time that it began to be overtaken by other technologies, including lithography and photography.--Charles Saumarez Smith Apollo Magazine

Antony Griffiths, who was Keeper of Prints and Drawings at the British Museum for 20 years from 1991 to 2011, has done something wholly admirable. After retiring and alongside delivering the Slade Lectures in Oxford, he sat down and has written an absolutely definitive book about the history of printmaking in Western Europe from its beginnings to the time that it began to be overtaken by other technologies, including lithography and photography.--Charles Saumarez Smith Apollo Magazine

Author Information

Between 1991 and 2010, Antony Griffiths was deputy keeper, then keeper, of Prints and Drawings at the British Museum. In 1984 he co-founded Print Quarterly, a journal dedicated to the art of the print. He was appointed a fellow of the British Academy in 2000. He has published widely on the subject.

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