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  • Illustrirte Geschichte der Buchdruckerkunst 289
  • source: https://bibliotekus.artlebedev.ru/books/illustrirte-geschichte-der-buchdruckerkunst/290/
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  • Translated by google lens from original text: Our Supplement 8 gives yet another example of BREITKOPP's titanic enterprise: a portrait of piece lines and dots. This sheet has never been made public (LORCK says in his works, Die Druckkunst und der Buchhandel in Leipzig, "no one saw the samples); I doubt whether the same is set at all and I believe that we are dealing with a handiwork by BREITKOPF here have us. This sheet is also of further interest in that it shows the oldest known transfer. Why did BREITKOPP need the transfer when the picture was typeset, he could easily have printed the typesetting? That a transfer was possible in the XVIII century, proves the statement of ALOIS SENEFELDER: "Experiments showed that fine red chalk, simply rubbed gently with gum water, was good for transfer printing. 181 This transfer print was, as the traces show, made on the copper printing press. Since it was not possible to photograph the sheet, I had the same thing copied exactly by the skilled lithographer Mr. BRETTER and the owner of the relevant lithography, Mr. ZOLLER, understood it, one of the jobs to have the negative copy deducted as shown in the original. In my opinion, BREITKOPF hand-printed lines and dots as they were to be set into the network of lines, after having previously drawn the outlines with a pencil (traces of which are still present on the original); it was arduous work. A negative was then to be produced for the typesetting, and this was done by means of transfer printing. There are two sheets of it, one on the grid and one without it. Whether the execution was not satisfactory to BREITKOPF or whether other difficulties stood in the way of the execution remains to be seen.

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  • leipzig (1/5)
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  • 1776 (1/11)
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  • breitkopf (1/12)
Time Period
  • 1700s (1/4)

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