Publications

• 2019: Early Colour Printing: German Renaissance Woodcuts at the British Museum (London: Paul Holberton Press in association with the British Museum, in press for October 2019), ISBN 978-1-911300-75-5


• 2015: German Renaissance Colour Prints (British Museum, Nov 2015-Jan 2016), 35,000 visitors


• 2015: Ad Stijnman/Elizabeth Savage, eds., Printing Colour 1400–1700: Histories, Techniques, Functions and Receptions, Library of the Written World: Handpress World 41, ed. Andrew Pettegree (Leiden: Brill, 2015); reprint 2015. ISBN 978-90-04-29011-2. DOI: 10.1163/9789004290112


• 2013: Tudor Colour Printing (Cambridge University Library, Dec 2013-Jan 2014), exhibitions.lib.cam.ac.uk/tudorcolour (40,000 visitors)

• [2019]: ‘Hans Baldung Grien and Hans Wechtlin: Strasbourg’s First Colour Printmakers’, in Hans Baldung Grien. heilig | unheilig, ed. Holger Jacob-Friesen (Karlsruhe: Staatliche Kunsthalle Karlsruhe, forthcoming 2019)


• 2019: ‘Johann Schott as Hans Baldung’s Colour Printer, 1510–12’, Burlington Magazine, October/November 2019: 822–831


• 2019: Armida Sodo/Ludovica Ruggiero/Stefano Ridolfi/Elizabeth Savage/Luca Valbonetti/Maria Antonietta Ricci, ‘Dating of a Unique Six-Colour Relief print by Historical and Archaeometric Methods’, European Physics Journal Plus 134, special issue: Scientific Research in Conservation Science (June 2019): 276 (9 pp.) DOI: 10.1140/epjp/i2019-12718-7


• 2018: Elizabeth Savage/Ad Stijnman, ‘Une histoire des matériaux et techniques de l’impression en couleur en Occident’, 171–198  //  ‘A History of the Materials and Techniques of Colour Printing in the West’, 199–222, Under the Rainbow, ed. Tatiana Rihs (Lausanne: Ecole cantonale d’art de Lausanne, 2018)


• 2018: ‘Hans Burgkmair’s Colour Prints: An Overview’, Hans Burgkmair. Neue Forschungen, Veröffentlichungen des Zentralinstituts für Kunstgeschichte in München, ed. Wolfgang Augustyn/Manuel Teget-Welz (Passau: Zentralinstitut für Kunstgeschichte/Dietmar Klinger, 2018), 333–366


• 2018: Elisabeth Giselbrecht/Elizabeth Savage, ‘Printing Music: Technical Challenges and Synthesis, 1450–1530’, Early Music Printing in German-Speaking Lands, ed. Elisabeth Giselbrecht/Andrea Lindmayr-Brandl/Grantley McDonald (London: Ashgate, 2018), 84–99, plates 1–17


• 2018: Séverine Lepape/Elizabeth Savage, ‘Hans Burgkmair, L’Emperor Maximilian à cheval’, in Gravure en clair-obscur. Cranach, Raphaël, Rubens, ed. Séverine Lepape (Paris: Musée du Louvre/Liénart, 2018), 36–39


• 2018: Séverine Lepape/Elizabeth Savage, ‘Hans Burgkmair, Couple d’amants surprise par la Mort’, in Gravure en clair-obscur. Cranach, Raphaël, Rubens, ed. Séverine Lepape (Paris: Musée du Louvre/Liénart, 2018), 44–45


• 2018: ‘Anicius Manlius Boethis, De consolatione philosophiae’, in Colard Mansion: Incunabula, Prints and Manuscripts in Medieval Bruges, ed. Evelien Hauwaerts/Evelien de Wilde/Ludo Vandamme (Heule: Snoeck; Bruges: Groeninge Museum, 2018), 83


• 2018: ‘Alain Chartier, Le Quadrilogue invective’, in Colard Mansion: Incunabula, Prints and Manuscripts in Medieval Bruges, ed. Evelien Hauwaerts/Evelien de Wilde/Ludo Vandamme (Heule: Snoeck; Bruges: Groeninge Museum, 2018), 84


• 2017: ‘Die Farbholzschnitte von Lucas Cranach dem Älteren: Werke und Druckzustände’, in Lucas Cranach der Älter. Meister Marke Moderne, ed. Gunnar Heydenreich/Daniel Görres/Beat Wismer (Düsseldorf: Hirmer; Museum Kunstpalast, 2017), 58–62


• 2016: ‘The Mystery of the “Scrappy Fragments”: Untangling Robert Steele’s Discovery of Frisket Sheets’, Printing History (American Printing History Association) New Series 19 (Jan 2016): 16–32


• 2015: ‘Jost de Negker’s Woodcut Charles V (1519): An Undescribed Example of Gold Printing’, Art in Print 5/2 (July-Aug 2015): 9–15


• 2015: ‘New Evidence of Erhard Ratdolt’s Working Practices: The After-Life of Two Red Frisket-Sheets from the Missale Constantiense (1505)’, Journal of the Printing Historical Society New Series 22 (Spring 2015): 81–97.


• 2015: Ad Stijnman/Elizabeth Savage, ‘“Material Colours”: The Heritage of Colour Knowledge in Seventeenth- and Eighteenth-Century Printshops’, Colour Histories: Science Art, and Technology in the 17th and 18th Centuries, ed. Magdalena Bushart/Friedrich Steinle (Berlin/New York: De Gruyter, 2015), 95–113, 364–369


• 2015: Ad Stijnman/Elizabeth Savage, ‘A Historical Overview of Printed Colour before 1700′, in Printing Colour 1400–1700, 1–7 (Leiden: Brill, 2015). DOI: 10.1163/9789004290112_002


• 2015: Ad Stijnman/Elizabeth Savage, ‘Materials and Techniques of Early Colour Printing: A General Survey’, in Printing Colour 1400–1700, 11–22 (Leiden: Brill, 2015). DOI: 10.1163/9789004290112_003


• 2015: ‘Colour Printing in Relief before 1700: A Technical History’, in Printing Colour 1400–1700, 23–41 (Leiden: Brill, 2015). DOI: 10.1163/9789004290112_004


• 2015: ‘A Printer’s Art: The Development and Influence of Colour Printmaking in the German Lands, c.1476-c.1600′, in Printing Colour 1400–1700, 93–102 (Leiden: Brill, 2015). DOI: 10.1163/9789004290112_010


• 2015: Ad Stijnman/Elizabeth Savage, ‘Chronology: Developments in Colour Printing 1400–1700’, in Printing Colour 1400–1700, 93–102 (Leiden: Brill, 2015). DOI: 10.1163/9789004290112_023


• 2014: ‘Red Frisket Sheets, c. 1490–1700: The Earliest Artefacts of Colour Printing in the West’, Papers of the Bibliographical Society of America 108/4 (Dec 2014): 477–522. DOI: 10.1086/681568.


• 2014: Ad Stijnman/Elizabeth Upper, ‘Color Prints before Erhard Ratdolt: Engraved Paper Instruments in Lazarus Beham’s Buch von der Astronomie (Cologne: Nicolaus Götz, c. 1476)’, Gutenberg-Jahrbuch 89 (2014): 86–105


• 2014: ‘Flying Colours’, Apollo (June-July 2014), 44–49


• 2012: Elisabeth Giselbrecht/Elizabeth Upper, ‘Glittering Woodcuts and Moveable Music: Decoding the Elaborate Printing Techniques, Purpose and Patronage of the Liber selectarum cantionum (1520)’, in Senfl-Studien I, ed. Birgit Lodes/Stefan Gasch, 17–67, Wiener Forum für ältere Musikgeschichte 5 (Tutzing: Hans Schneider, 2012)

• [2019]: Review of Kathryn M. Rudy, ed., Image, Knife, and Gluepot: Early Assemblage in Manuscript and Print (2019), The Library (2019): forthcoming


• [2019]: Review of Edward H. Wouk, Frans Floris (1519/20–1570): Imagining a Northern Renaissance, Oud Holland: Journal for Art of the Low Countries (2019): forthcoming


• [2019]: Review of Lucy Peltz, Facing the Text: Extra-Illustration, Print Culture and Society in Britain 1769–1840, L’Illustrazione (2019): forthcoming


• 2018: Review of Suzanne Karr Schmidt, Interactive and Sculptural Printmaking in the Renaissance, Burlington Magazine (November 2018): 980–981


• 2018: Review of Susanna Berger, Philosophy of Art, Renaissance Quarterly 71/3 (September 2018), 1165–1166


• 2018: Review of Eric Marshall White, Editio princeps, Journal of the Printing Historical Society New Series 28 (March 2018): 97–98


• 2018: Review of Kathryn M. Rudy, Rubrics, Images and Indulgences in Late Medieval Netherlandish Manuscripts, Piety in Pieces, and Postcards on Parchment, The Library (June 2018), 231–232


• 2018: Review of Tributes to Jean Michel Massing, ed. Mark Stocker/Phillip G. Lindley, Burlington Magazine CLX (January 2018): 74


• 2017: ‘A Renaissance Art History of the Blockbook Canticum canticorum’ (review of Marilyn Aronberg Lavin, Allegory of Divine Love), Print Quarterly 34/3 (2017): 319–324


• 2014: ‘Renaissance Colour Prints at the Royal Academy are Unmissable’ (review of Renaissance Impressions, Royal Academy of Art, London), The Conversation (2014)


• 2013: ‘Printing the Rainbow’ (review of Michael Twyman, A History of Chromolithography), Apollo (Dec 2013): 112–13


• 2013: Review of Byron and Politics: ‘Born for Opposition’ (Maughan Library, Kings College London), SHARP News (Society of the History of Authorship, Reading and Publishing) 22/4 (Autumn 2013): 14


• 2013: ‘White Spirit’ (review of Victoria George, Whitewash and the New Aesthetic of the Protestant Reformation), Apollo (June 2013): 124–25


• 2013: ‘Celebrating Maximilian I’s Augsburg’ (review of Gregory Jecman and Freyda Spira, Imperial Augsburg), Print Quarterly 30/2 (June 2013): 183–86


• 2013: ‘Crafting Prints’ (review of Ad Stijnman, Engraving and Etching 1400–2000), Apollo Magazine (Feb 2013): 92–93


• 2012: ‘Review of Shakespeare: Staging the World (British Museum), SHARP News (Society of the History of Authorship, Reading and Publishing) 21/4 (Autumn 2012): 18


• 2012: ‘Printed Paintings’ (review of Hercules Segers and his ‘Printed Paintings’, British Museum), Apollo (Mar 2012): 178–179


• 2012: ‘The Wonders of the Kunstkammer: Hapsburg Collections Come to Cambridge’, review of Splendour & Power: Imperial Treasures from Vienna (Fitzwilliam Museum), Bulletin of the Society for Renaissance Studies (Apr 2012): 10–13


• 2012: ‘Plays of Light and Blazes of Colour’ (review of Melanie Grimm, et al., Lichtspiel und Farbenpracht), Print Quarterly 29 (Mar 2012): 48–49


• 2010: ‘A Happy (Re)marriage’ (review of Ad Stijnman and Claudia Kleine-Tebbe, Hochzeit von Bild und Buch), Print Quarterly 27/4 (Dec 2010): 401


• 2009: ‘A Visual Timeline for A Heavenly Craft’ (review of A Heavenly Craft, ed. Daniel De Simone), Print Quarterly 26 (Dec 2009): 371–373

• 2017: ‘Frisket Sheet for Printing Text in Red Ink’, Leiden Special Collections Blog, 14 Nov 2017, http://leidenspecialcollectionsblog.nl/articles/a-frisket-sheet-for-printing-in-red


• 2015: ‘Early Modern Frisket Sheets: A Regularly Updated Census’, BibSite: The Bibliographical Society of America, 9 Jan 2015, http://bibsocamer.org/wp-content/uploads/savage-Red-Frisket-Sheets.pdf


• 2014: ‘Art in Books: Lambrecht Hopfer’s Crucifixion (c.1525–50) in the Opuscula of Saint Bonaventure (1497)’, Cambridge University Library Incunabula Project Blog, 27 Nov 2014, https://inc.blog.lib.cam.ac.uk/?p=3343


• 2013: ‘Printing Colour in Tudor England: A New Exhibition’, Cambridge University Library Special Collections Blog, 16 Dec 2013, specialcollections.blog.lib.cam.ac.uk/?p=6612#more–6612


• 2013: Elisabeth Giselbrecht/Elizabeth Upper, ‘Printing Music and Art Together’, Renaissance Art and Music, 6 Apr 2013, http://www.renaissanceartandmusic.com/2013/04/06/guest-blog-post-elisabeth-giselbrecht


• 2012: ‘Tudor Colour Printmaking’, Centre for Material Texts Blog, Cambridge University, 10 Oct 2012, http://www.english.cam.ac.uk/cmt/?p=2730

• 2010: Nancy Thebaut/Elizabeth Upper, ‘Earth Movers: Quaking up Land Art’s Legacy of Feminism’, Bitch 48 (Fall 2010): 36–42


• 2010: ‘Zao Wou-Ki and the Art of Nature’, Above 13 (Spring 2010): 166–83


• 2009: ‘Dr Livingstone’s Lament: An Unpublished Letter by David Livingstone’, Above 11 (Winter 2009): 86–87