Circulation and Control: Artistic Culture and Intellectual Property in the Nineteenth Century - cover image

Copyright

Marie-Stéphanie Delamaire; Will Slauter

Published On

2021-10-08

ISBN

Paperback978-1-80064-146-4
Hardback978-1-80064-147-1
PDF978-1-80064-148-8
HTML978-1-80064-645-2
XML978-1-80064-151-8
EPUB978-1-80064-149-5
MOBI978-1-80064-150-1

Language

  • English

Print Length

542 pages (xiv+528)

Dimensions

Paperback156 x 38 x 234 mm(6.14" x 1.48" x 9.21")
Hardback156 x 41 x 234 mm(6.14" x 1.63" x 9.21")

Weight

Paperback2243g (79.12oz)
Hardback2654g (93.62oz)

Media

Illustrations114

OCLC Number

1276901821

LCCN

2020479107

BIC

  • LNR
  • LNRC
  • KNTP
  • HBTB
  • AV
  • BGF
  • APF
  • AJ

BISAC

  • LAW050010
  • HIS000000
  • PHO000000
  • BIO001000

LCC

  • K1420.5

Keywords

  • production of images
  • circulation of images
  • lithographs
  • engravings
  • paintings
  • dagerreotypes
  • stereoscopic view
  • sculpture
  • visual art
  • copyright
  • patents
  • art history
  • law
  • publishing
  • graphic arts
  • intellectual property
  • culture
  • economics
  • technology
  • nineteenth century
  • history
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Circulation and Control

Artistic Culture and Intellectual Property in the Nineteenth Century

  • Marie-Stéphanie Delamaire (editor)
  • Will Slauter (editor)
The nineteenth century witnessed a series of revolutions in the production and circulation of images. From lithographs and engraved reproductions of paintings to daguerreotypes, stereoscopic views, and mass-produced sculptures, works of visual art became available in a wider range of media than ever before. But the circulation and reproduction of artworks also raised new questions about the legal rights of painters, sculptors, engravers, photographers, architects, collectors, publishers, and subjects of representation (such as sitters in paintings or photographs). Copyright and patent laws tussled with informal cultural norms and business strategies as individuals and groups attempted to exert some degree of control over these visual creations.

With contributions by art historians, legal scholars, historians of publishing, and specialists of painting, photography, sculpture, and graphic arts, this rich collection of essays explores the relationship between intellectual property laws and the cultural, economic, and technological factors that transformed the pictorial landscape during the nineteenth century.

This book will be valuable reading for historians of art and visual culture; legal scholars who work on the history of copyright and patent law; and literary scholars and historians who work in the field of book history. It will also resonate with anyone interested in current debates about the circulation and control of images in our digital age.

Reviews

This deserves a place on the shelf of anyone studying nineteenth-century art, history, or intellectual property.

Travis McDade

Nineteenth-Century Art Worldwide, vol. 21, no. 1,

Full Review

Contents

1. Law, Culture, and Industry: Toward a History of Intellectual Property for Visual Works in the Long Nineteenth Century

(pp. 1–36)
  • Marie-Stéphanie Delamaire
  • Will Slauter
https://doi.org/10.11647/obp.0247.01

2. The First Copyright Case under the 1735 Engravings Act: The Germination of Visual Copyright?

(pp. 39–76)
  • Isabella Alexander
  • Cristina S. Martinez
https://doi.org/10.11647/obp.0247.02

3. Who Owns Washington? Gilbert Stuart and the Battle for Artistic Property in the Early American Republic

(pp. 77–118)
  • Marie-Stéphanie Delamaire
https://doi.org/10.11647/obp.0247.03

4. The Scope of Artistic Copyright in Nineteenth-Century England

(pp. 119–144)
  • Simon Stern
https://doi.org/10.11647/obp.0247.04

5. The ‘Death of Chatterton’ Case: Reproductive Engraving, Stereoscopic Photography, and Copyright for Paintings circa 1860

(pp. 145–194)
  • Will Slauter
https://doi.org/10.11647/obp.0247.05

6. Before an Image Was Worth a Thousand Words: Ben-Hur and Copyright’s Right of Derivatives

(pp. 195–234)
  • Oren Bracha
https://doi.org/10.11647/obp.0247.06

7. The Frame Maker/Picture Dealer: A Crucial Intermediary in the Nineteenth-Century American Popular Print Market

(pp. 236–272)
  • Erika Piola
https://doi.org/10.11647/obp.0247.07

8. Piracy, Copyright, and the Transnational Trade in Illustrations of News in the Mid-Nineteenth Century

(pp. 273–294)
  • Thomas Smits
https://doi.org/10.11647/obp.0247.08

9. (Re)Assembling Reference Books and Recycling Images: The Wood Engravings of the W. and R. Chambers Firm

(pp. 295–336)
  • Rose Roberto
https://doi.org/10.11647/obp.0247.09

10. Architectural Copyright, Painters and Public Space in Mid-Nineteenth-Century Britain

(pp. 339–366)
  • Elena Cooper
  • Marta Iljadica
https://doi.org/10.11647/obp.0247.10

11. Nineteenth-Century American Sculpture and United States Design Patents

(pp. 367–400)
  • Karen Lemmey
https://doi.org/10.11647/obp.0247.11

12. New or Improved? American Photography and Patents c. 1840s to 1860s

(pp. 401–442)
  • Shannon Perich
https://doi.org/10.11647/obp.0247.12

13. King Tāwhiao’s Photograph: Copyright, Celebrity, and the Commercial Image in Nineteenth-Century New Zealand

(pp. 443–470)
  • Jill Haley
https://doi.org/10.11647/obp.0247.13

14. ‘Photography VS the Press’: Copyright Law and the Rise of the Photographically Illustrated Press

(pp. 471–496)
  • Katherine Mintie
https://doi.org/10.11647/obp.0247.14

Contributors

Marie-Stéphanie Delamaire

(editor)
Associate Curator of Fine Arts at Winterthur Museum, Garden & Library

Will Slauter

(editor)