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1507: Click here to enlarge the image. Source:
Title: ‘Prima pars operum: in qua sunt Alphonsus. Triumphus. Panegyris Roberti Sanseverinatis et sylvae.’ Comments: This woodcut was used until 1528 [USTC]. Jodocus Badius Ascensius used three marks that showed a printing press during his career. The earliest one in 1506-1507, a second one in 1520, and a third one in 1521. Philippe Renouard (1969) describes the three marks on page 19 and 20. Madan (1895), page 226-7: ‘All three represent a printer in the act of taking an impression, standing on the right, and behind him an assistant with ink-balls, while on the left is a compositor at work. In the first we see a straight bar, apparently detachable, and a platen of very small size compared with the bed on which it comes down. ... There is also a handle and apparatus for running the form in and out. The title 'Prelū Ascensianū' in one line is on the press, and a monogram between ‘I’, and ‘B’ at foot.’ Technique: Woodcut Publications Falconer Madan (1895) ‘Early representations of the printing-Press with especial reference to that by Stradanus.’, Bibliographica. Volume 1, page 226-227. (Illustration #2). Alan May (2015) ‘Albrecht Dürer’s drawing of a printing press: a reconsideration.’ Journal of the Printing Historical Society, New series, 22. figure 3, pp 64. Philippe Renouard (1969) Imprimeurs & Libraries Parisiens du XVIe siècle, Tome Deuxième: Baaleu-Banville. Paris: Champion. [Link] Nigel Roche (2000) The iconography of the printing office to 1700. Unpublished MA thesis. Library and Information Studies, University College London. (Illustration #B). Louis-Catherine Silvestre (1853) Marques typographiques, volume 1, page 5, no 7. [link]. |
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