Relevant bibliographies by topics / European Engravers

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Academic literature on the topic 'European Engravers'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "European Engravers"

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Tomicka, Joanna A. "Nadzwyczajna zwyczajność. Rembrandt rytownik. Nowatorstwo wobec tradycji." Artifex Novus, no. 3 (October 1, 2019): 114–29. http://dx.doi.org/10.21697/an.7068.

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 The scientific interests of Rev. Professor Janusz Pasierb revolved mostly around questions related to Polish art, often in the perspective of European interconnections, inspirations, as well as differences. The present study has been inspired by an observation by Rev. Professor Pasierb made in reference to a sphere of human activity unrelated to art. Describing in one of his papers the figure of Bishop Konstantyn Dominik (1870–1942), Professor Pasierb employed the phrase extraordinary ordinariness17. In the present text, this term will be used to discuss an artist whose oeuvre depicts ‘extraordinary ordinariness’ in the most multi-aspected and spectacular way. Rembrandt van Rijn was at once a traditionalist and innovator, both in regard to the range of employed subjects and compositional schemes and his craftsmanship. His knowledge of the achievements of his forerunners, continuously developed, inspired his own artistic quest. Despite the fact that he was a painter in the period when elaborated allegory was universally employed, he insisted on the realism of scenes and directness of compositions in order to bring out the extra-sensual dimension, based on symbolism hidden in prosaic life. His works open spaces of universal experiences and feelings, at the same time inclining us to pose questions concerning their complex intellectual interpretation or Rembrandt’s technique. His mastery is equally palpable in his biblical compositions, landscapes or brilliant psychological portraits, while each of the genres was depicted by him both in painting and in graphic arts, which was rare in the times when most artists specialized in only one medium, or even in one genre, like portraits or landscapes, in one medium. Rembrandt is one of the artists referred to as painters-engravers (peintre-graveur), like Albrecht Dürer or Lucas van Leyden before him. In graphic arts in particular, he introduced new technical and compositional solutions, issuing works that often astound with their innovative approach and extremely individual interpretation. Rembrandt’s versatility in terms of addressing various genres is particularly visible in his prints. Certain subjects were resumed by him as he looked for ever new solutions. Several chosen examples of graphic works depicting religious themes combining in various aspects traditionalism and innovation will be discussed to illustrate Rembrandt’s iconographic, compositional and technical concepts and search.
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Kohnle, U., J. A. Pajares, J. Bartels, H. Meyer, and W. Francke. "Chemical communication in the European pine engraver,Ips mannsfeldi(Wachtl) (Col., Scolytidae)." Journal of Applied Entomology 115, no. 1-5 (1993): 1–7. http://dx.doi.org/10.1111/j.1439-0418.1993.tb00357.x.

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Wu, Huiyi. "Alien Voices under the Bean Arbor: How an Eighteenth-Century French Jesuit Translated Doupeng xianhua 豆棚閒話 as the “Dialogue of a Modern Atheist Chinese Philosopher”*". T’oung Pao 103, № 1-3 (2017): 155–205. http://dx.doi.org/10.1163/15685322-10313p04.

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This article examines an eighteenth-century French Jesuit’s translation of the final chapter of the early Qing collection of vernacular stories Doupeng xianhua 豆棚閒話 (Idle Talks under the Bean Arbor), which became a “philosophical dialogue” of a “modern atheist Chinese philosopher.” The trajectory of the text is examined by analyzing the layers of meaning superposed upon it by a succession of agencies: the original author Aina Jushi 艾衲居士, a Jiangnan literatus who philosophized on the fall of the Ming dynasty; Father François-Xavier Dentrecolles, the Jesuit missionary who translated the text with extensive commentaries of his own to make a case against atheism; the Parisian editor Jean-Baptiste Du Halde who published the translation in the landmark of Jesuit sinology, Description de l’Empire de la Chine et de la Tartarie chinoise (1735); the engravers in Paris and the Hague who remolded its cosmological diagrams to conform to their own scientific and aesthetic standards; and finally, its European re-translators and readers, some of whom used it as a weapon against the Jesuits and the Catholic Church. The gains and losses of the Doupeng xianhua during this process are discussed, as well as the new light brought by the French translation on its circulation in Qing China. Finally, the challenge this atypical case poses to received narratives of the Sino-Western cultural exchange through the Jesuit mission is assessed. Cet article examine la traduction au XVIIIe siècle, par un jésuite français, du dernier chapitre du recueil de contes vernaculaires Doupeng xianhua 豆棚閒話 (Propos oisifs sous la tonnelle des haricots), qui devient un « dialogue philosophique » d’un « philosophe chinois athée moderne ». La trajectoire de ce texte est retracée en analysant les strates successives de sens superposées sur ce texte grâce à des acteurs divers : l’auteur de l’original Aina Jushi 艾衲居士, un lettré du Jiangnan qui a philosophé sur la chute de la dynastie des Ming ; le missionnaire jésuite François-Xavier Dentrecolles qui a traduit le texte avec une profusion de commentaires de son propre cru contre l’athéisme ; l’éditeur parisien Jean-Baptiste Du Halde qui a publié cette traduction dans la Description de l’Empire de la Chine et de la Tartarie chinoise (1735), un monument de la sinologie française ; les graveurs à Paris et à La Haye qui ont retravaillé les diagrammes cosmologiques conformément à leurs propres normes scientifiques et esthétiques ; et enfin, les re-traducteurs et lecteurs européens de ce texte, certains desquels l’ont utilisé contre les jésuites et l’Église catholique. La conclusion évoque les gains et les pertes du Doupeng xianhua au cours de ce processus et l’éclairage que peut apporter cette traduction française sur la diffusion de l’original dans la Chine des Qing. Elle envisage enfin le défi posé par ce cas atypique aux récits conventionnels sur la médiation des jésuites dans les échanges culturels entre la Chine et l’Europe.
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Kohnle, U., J. P. Vité, C. Erbacher, J. Bartels, and W. Francke. "Aggregation response of European engraver beetles of the genus Ips mediated by terpenoid pheromones." Entomologia Experimentalis et Applicata 49, no. 1-2 (1988): 43–53. http://dx.doi.org/10.1111/j.1570-7458.1988.tb02475.x.

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Yangwen, Zheng. "Chinese Collection 457: the Call for Global History." Bulletin of the John Rylands Library 91, no. 1 (2015): 35–44. http://dx.doi.org/10.7227/bjrl.91.1.3.

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With the help of the Jesuits, the Qianlong emperor (often said to be Chinas Sun King in the long eighteenth century) built European palaces in the Garden of Perfect Brightness and commissioned a set of twenty images engraved on copper in Paris. The Second Anglo-Chinese Opium War in 1860 not only saw the destruction of the Garden, but also of the images, of which there are only a few left in the world. The John Rylands set contains a coloured image which raises even more questions about the construction of the palaces and the after-life of the images. How did it travel from Paris to Bejing, and from Belgium to the John Rylands Library? This article probes the fascinating history of this image. It highlights the importance of Europeans in the making of Chinese history and calls for studies of China in Europe.
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Walravens, Hartmut. "Copper-engraving in China: The First Chinese-European Co-Operative Project in the Field of Art." Art Libraries Journal 22, no. 1 (1997): 16–19. http://dx.doi.org/10.1017/s0307472200010269.

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While copper-printing can be traced back to the Yuan Dynasty in China, the art of copper-engraving was introduced by the Italian missionary, Matteo Ripa, in 1711. The first work to be printed with this new technique was Illustrations of 36 Vista ofthejehol Palace (1712). The Qianlong emperor wanted pictures of his military campaigns in Eastern Turkestan engraved on copper, and so he arranged for a series of sixteen engravings to be executed in Europe. Following the success of this initiative, pictures of his subsequent military exploits were engraved on copper by Chinese artists. Thus, while the West learned a great deal from China about paper and printing, copper-engraving is a technique which China acquired from the West in spite of a supposed lack of interest in the West.
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Wallduck, Rosalind, and Silvia M. Bello. "An Engraved Human Bone from the Mesolithic–Neolithic Site of Lepenski Vir (Serbia)." Cambridge Archaeological Journal 26, no. 2 (2016): 329–47. http://dx.doi.org/10.1017/s0959774316000020.

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Post-mortem manipulations of the body were common at Mesolithic–Neolithic sites along the Danube River. During assessment of disarticulated human remains from Lepenski Vir, an unusual set of incisions (notches) were observed on the diaphysis of a human left radius along with a few cut-marks. Very few studies have attempted to distinguish clearly the characteristics of these modifications. All incisions were examined using a Scanning Electron Microscope and a Focus Variation Microscope that generated measurable three-dimensional digital models. Our results indicate that, on the basis of their micro-morphometric features, qualitative and quantitative distinctions can be made between cut-marks and notches, a methodology which can be applied to other engraved bones. Cut-marks, accidentally produced during flesh removal, were more irregular, longer, narrower and shallower than the notches. The notches, produced by a ‘nick and slice’ motion (pressure was applied to the bone, then the tool was pulled in one direction), were deliberately engraved. This engraved human bone is a rare example within a Prehistoric European context, possibly a form of notation, marking or counting a series of (important) events.
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Hulsenboom, Paul. "De Poolse Hercules. Romeyn de Hooghe en de Nederlandse receptie van Jan III Sobieski voorafgaand aan het Ontzet van Wenen." Neerlandica Wratislaviensia 29 (April 15, 2020): 87–109. http://dx.doi.org/10.19195/0860-0716.29.6.

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This paper explores the Dutch perceptions of the Polish king John III Sobieski before his famous victory over the Turks at the 1683 Battle of Vienna. Sobieski’s military triumphs and rise to power in the 1670s elicited various favourable responses from the Dutch Republic, most notably several prints by the etcher and engraver Romeyn de Hooghe. His prints laid the foundation for Sobieski’s image as a great European and Christian military leader, but also a specifically Polish and Catholic hero. Sobieski’s war efforts and the image formed of him by De Hooghe cohered with the negative Dutch perceptions of the Turks, as well as with Poland-Lithuania’s reputation as a bulwark of Christendom. The countless glorifying prints, poems and other European responses to Sobieski after his victory at Vienna were in many cases inspired by the image of the Polish monarch created in the Northern Netherlands during the 1670s.
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Marshack, Alexander. "Methodology and the search for notation among engraved pebbles of the European late Palaeolithic." Antiquity 69, no. 266 (1995): 1049–51. http://dx.doi.org/10.1017/s0003598x0008265x.

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Cafagna, Fabio. "Images of Transparency and Resurrection from Leonardo da Vinci to Crisóstomo Martínez." Nuncius 32, no. 1 (2017): 52–84. http://dx.doi.org/10.1163/18253911-03201003.

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The essay aims to discuss the fortune of the well-known iconography of the “transparent body” by Leonardo da Vinci, clearly and first of all in the field of artistic anatomy. Some of the most illuminating evidence of this legacy can be found in the plates realized in Paris at the end of the 17th century by the mysterious Valencian engraver Crisóstomo Martínez. These incredible documents are strictly connected to the odd vogue of transparency that, in the same years, seems to affect also European literature, e.g. the pastoral novel Le Berger extravagant by Charles Sorel, the science fiction stories by Cyrano de Bergerac and the famous and “exemplar” tale El licenciado Vidriera by Miguel de Cervantes.
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Books on the topic "European Engravers"

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Reutlingen, Städtisches Kunstmuseum Spendhaus, and Stiftung Museum Schloss Moyland, eds. Wege zu Gabriele Münter und Käthe Kollwitz: Holzschnitte von Künstlerinnen des Jugendstils und des Expressionismus. Stadt Reutlingen, 2013.

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Bowen, Karen Lee. Christopher Plantin and engraved book illustrations in sixteenth-century Europe. Cambridge University Press, 2008.

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Merker, Gernot H. Glasgravur in Europa =: Engraving of glass in Europe. Verein der Freunde und Förderer des Bergbau- und Industriemuseum Ostbayern, 1994.

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The Dassiers of Geneva: Eighteenth-Century European Medallists: Volume I: Jean Dassier, Medal Engraver: Geneva, Paris and London, 1700-1733; Volume II: Dassier and Sons: An Artistic Enterprise in Geneva, Switzerland and Europe, 1733-1759. Musée d'art et d'histoire, Geneva; Cabinet des médailles du canton de Vaud, 2002.

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Smith, John Chaloner. British mezzotinto portraits: Being a descriptive catalogue of these engravings from the introduction of the art to the early part of the present century : arranged according to the engravers, the inscriptions given at full length, and the variations of state precisely set forth : accompanied by biographical notes, and appendix of a selection of the prices produced at public sales by some of the specimens, down to the present time. Martino Pub., 2004.

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Fine European Gunmakers: Best Continental European Gunmakers & Engravers. Safari Press, 2003.

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Duany, Jorge, ed. Picturing Cuba. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9781683400905.001.0001.

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This book delves into several defining moments of Cuba’s artistic evolution from a multidisciplinary perspective, including art history, architecture, photography, history, literary criticism, and cultural studies. Situating Cuban art within a wider social and historical context, fifteen prominent scholars and collectors scrutinize the enduring links between Cuban art and cultural identity. Covering the main periods in Cuban art (the colonial, republican, and postrevolutionary phases, as well as the contemporary diaspora), the contributors identify both the constant and changing elements and symbols in the visual representation of Cuba’s national identity. The essays collected in this volume provide insightful information and interpretation on the historical trajectory of Cuban and Cuban-American art. From colonial engravers to contemporary photographers, several generations of Cuban artists have been fascinated—perhaps even obsessed—with picturing Cuba’s landscapes, architecture, people, and customs. Each generation of artists focused on various tropes of Cuban identity, whether it was the tropical environment, the lights and colors of the island, certain human types, the fusion of European and African traditions, or the uprootedness produced by exile and resettlement in another country. Even when artists shed the attempt to represent their subject matter realistically, they sought to contribute to a longstanding national tradition in dialogue with a broader international scenario. The cumulative result of more than three centuries of Cuban art is a kaleidoscopic view of the island’s nature, population, culture, and history.
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Ross, Michael. Jacques Wiener's Most Remarkable Edifices of Europe: The Man, Monuments, and Medals. American Numismatic Society, 2020.

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Christopher Plantin and Engraved Book Illustrations in Sixteenth-Century Europe. Cambridge University Press, 2008.

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Series, Michigan Historical Reprint. American and European railway practice in the economical generation of steam ... and in permanent way ... By Alexander L. Holley, n. P. With seventyseven plates, engraved by J. Bien. Scholarly Publishing Office, University of Michigan Library, 2005.

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Book chapters on the topic "European Engravers"

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"The Rock Engravers." In My European Family. Bloomsbury Sigma, 2017. http://dx.doi.org/10.5040/9781472941480.0038.

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Pinçon, Geneviéve. "A Topographical Approach to Parietal Figures: The Monumental Sculptures of the Roc-aux-Sorciers (Vienne, France) Produced in Daylight at the Back of a Rockshelter and on its Ceiling." In Palaeolithic Cave Art at Creswell Crags in European Context. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199299171.003.0017.

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The wonderful discovery of parietal figures in the entrance chamber of Church Hole by P. Bahn, P. Pettitt and S. Ripoll in 2003 invites us to study the elements that are linked to the topography of parietal figures made on ceilings in daylight. At Creswell, early excavations had revealed Magdalenian occupations. This association between habitation and parietal figures recalls other contexts, such as for example that of the Roc-aux-Sorciers at Angles-sur-l’Anglin (Vienne, France). This Magdalenian site contains a sculpted, engraved, and painted parietal assemblage which extends for more than 50 m at the foot of the cliff along the Anglin River. The upstream part of the site, called the Taillebourg cave, and which corresponds to a typical vestibule, yielded numerous decorated blocks that came from a major collapse of the cave’s ceiling; their refitting is currently under way. The downstream part, known as the abri Bourdois, which is a shallow overhang, at present contains a sculpted, engraved, and painted frieze, almost 20 m long, located on the vertical wall at the back of the rockshelter. Today the shelter’s ceiling has no traces of sculpture or engraving, but nothing confirms or rules out the presence of parietal figures here in the Magdalenian. After an analysis of the spatial organization of the figures in the abri Bourdois, we shall look at the elements at our disposal for understanding the figures on the ceiling of the Taillebourg cave in order to grasp whether the difference in location and the morphology of the supports had any impact on the spatial organization of the figures in the site as a whole. The site of the Roc-aux-Sorciers is located in Poitou-Charentes, in central-west France, in the commune of Angles-sur-l’Anglin. It was oficially classed as a historical monument on 18 January 1955. Facing directly south, it extends for about 50 m, at the foot of cliffs, near the present-day village, on the right bank of the Anglin (Fig. 12.1).
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Brückner, Martin. "The Manufactured Map, 1790–1830." In Social Life of Maps in America, 1750-1860. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469632605.003.0002.

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The symbolic and social value of maps changed irreversibly at the turn of the nineteenth century when Mathew Carey and John Melish introduced the business model of the manufactured map. During the decades spanning the 1790s and 1810s respectively, Carey and Melish revised the artisanal approach to mapmaking by assuming the role of the full-time map publisher who not only collected data from land surveyors and government officials but managed the labor of engravers, printers, plate suppliers, paper makers, map painters, shopkeepers, and itinerant salesmen. As professional map publishers, they adapted a sophisticated business model familiar in Europe but untested in America. This chapter documents the process of economic centralization and business integration critical to the social life of preindustrial maps and responsible for jump-starting a domestic map industry that catered to a growing and increasingly diverse audience.
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Barker, Nicolas. "The Growth of Copperplate Script." In Pen, print and communication in the eighteenth century. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622300.003.0002.

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The formation and development of the ‘copperplate’ script was one of the distinctive features of the growth of the British mercantile empire in the eighteenth century. Joseph Champion, whose script typified it, popularised in his engraved writing manuals, and reached its apex in The Universal Penman, a large folio of different scripts and forms used in commercial documents. Through it, ‘copperplate’ spread throughout Britain and its dependencies, and from them to other countries in Europe and North America.
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Gross, Natan. "Mordechai Gebirtig: The Folk Song and the Cabaret Song." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0007.

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This chapter details how Mordechai Gebirtig engraved his name on the history of Jewish cabaret in Poland between the wars. Every singer had his songs in his or her repertoire. These songs spread from the cabaret stages (kleynkunstbine) of Łódź and Warsaw to all of Poland and to the entire Jewish world. Even today they are alive on the stage and in Jewish homes; they are an indispensable part of the repertoire of Jewish singers. They are also arousing increasing interest among non-Jewish audiences in Poland, Germany, the Netherlands, Italy, and the United States. Since the destruction of European Jewry, these songs have become a crucial means of learning about Jewish folklore and the life of the Jewish poor, matters inadequately recorded in Yiddish literature and other sources.
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"The Burin, the Blade, and the Paper’s Edge: Early Sixteenth-Century Engraved Scabbard Designs by Monogrammist ac." In The Primacy of the Image in Northern European Art, 1400–1700. BRILL, 2017. http://dx.doi.org/10.1163/9789004354128_027.

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Pike, Alistair W. G., and Mabs Gilmour. "VeriWcation of the Age of the Palaeolithic Cave Art at Creswell Crags." In Palaeolithic Cave Art at Creswell Crags in European Context. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199299171.003.0008.

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Upon discovery of the Creswell cave art in April 2003, and a systematic survey and study of known images in June of the same year, it was believed on several grounds that the art was clearly of Pleistocene antiquity (Pettitt 2003). The reasoning was as follows: . The sharp line and bright colour of engraved graffiti dating to the 1940s stand in clear contrast to the eroded and dulled nature of the genuine art. Clearly, on the grounds of weathering the art is not a modern forgery. . In several places, thin flowstone crusts clearly overlay engravings, demonstrating a degree of antiquity for the art. . The location of almost all of the art at heights considerably above the reach of an adult’s arm span, given the current level of the floor in Church Hole Cave, indicates that if the engravings were made after 1876 (when the sediments were excavated down to their current levels) a ladder would have been necessary. While this cannot be ruled out, it would imply considerable effort in forging the art, certainly to avoid drawing attention to the perpetrator. . Several images bear clear resemblances to known Upper Palaeolithic art, particularly that of the Magdalenian, both in terms of style and subject matter. By contrast, none of the art can be said to have Holocene parallels, that is, if it were Mesolithic or later, it would be unique. On the grounds of parsimony it seems that the closest estimate of antiquity therefore was Pleistocene. . At least one of the images (the large bovid) represents a species known to be extinct in Europe, either since the seventeenth century (if identified as Bos primigenius) or the Late Pleistocene (if Bison priscus). The discovery team were therefore confident from the first that genuine Upper Palaeolithic cave art had been discovered. This having been said, a critical reason for the ‘Creswell Art in European Context’ conference was to expose the art to the scrutiny of international experts in Palaeolithic archaeology and rock art, and the clear consensus of the conference delegates was that the art is genuine.
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Baptista, António Martinho, and António Pedro Batarda Fernandes. "Rock Art and the Côa Valley Archaeological Park: A Case Study in the Preservation of Portugal’s Prehistoric Rupestral Heritage." In Palaeolithic Cave Art at Creswell Crags in European Context. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199299171.003.0019.

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Although Nelson Rebanda—the archaeologist working for the electricity company (EDP) that was building a dam in the Côa river—probably discovered the first Côa Valley engraved surface with Palaeolithic motifs (the now well-known Rock 1 of Canada do Inferno) in November 1991, the find was only revealed to the public in November 1994 (Jorge 1995; Rebanda 1995). Subsequently, the first reports on ‘important archaeological finds in the Côa Valley’ started to appear in the newspapers. The Canada do Inferno engravings were located upstream and very near to the construction site of the Côa dam. The construction work advanced at a good pace and the completion of the dam would irremediably destroy the engravings. The public revelation of the find instantly triggered a huge controversy since the first specialists to visit the site immediately classified the engravings as being of Palaeolithic style. As a result of the media attention on the Côa and right after the broadcast of the first TV reports, a pilgrimage to the Côa Valley rock-art surfaces began. Reacting to the first news on an affair that was starting to be known as ‘the Côa scandal’, IPPAR (the state body that, at the time, was in charge of managing archaeology in Portugal) created, at the end of November 1994, a committee to follow the archaeological rescue work being done in the Côa. Nevertheless, and considering the serious problem created by the construction of the dam (and the construction work continued), it rapidly became evident that IPPAR was gradually losing control over the situation as it shifted to the public domain. In December 1994, IPPAR asked UNESCO for an expert opinion to challenge the efforts of EDP (the Portuguese Power Company responsible for the construction of the dam and at the time totally state owned) to demonstrate that the Côa findings were not of Palaeolithic chronology. Throughout 1995, this would be a crucial issue since some defended the position that, if the engravings were not Palaeolithic, their patrimonial value would not be very important and, therefore, the dam could be built!
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Bahn, Paul G. "The Historical Background to the Discovery of Cave Art at Creswell Crags." In Palaeolithic Cave Art at Creswell Crags in European Context. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199299171.003.0006.

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On 14 April 2003, we made the first discovery of Palaeolithic cave art in Britain. Since portable art of the period had long been known in this country (Sieveking 1972; Campbell 1977: vol. 2, figs. 102, 105, 143), it had always seemed probable that parietal art must also have existed. It was fairly obvious that paintings were unlikely to be discovered—barring the finding of a totally unknown cave or a new chamber within a known cave—since paintings tend to be quite visible, and somebody (whether owner, speleologist, or tourist) would probably have reported them by now. Engravings, in contrast, can be extraordinarily difficult to see without a practised eye, oblique lighting, and, often, a great deal of luck. Such was the purpose of our initial survey and, sure enough, we rapidly encountered engraved marks in a number of caves, which we will be investigating more fully and systematically in the near future. At the well-known sites of Creswell Crags, on the Derbyshire/Nottinghamshire border, we found both figurative and non-figurative engravings of the period. This was third time lucky for British cave art, following two false alarms. In the first, in 1912 the abbé Henri Breuil and W. J. Sollas claimed that ten wide red parallel horizontal painted stripes under calcite in the Welsh coastal cave of Bacon Hole (east of Paviland) were ‘the first example in Great Britain of prehistoric cave painting’ (see The Times, 14 Oct. 1912, p. 10; Sollas 1924: 530–1; Garrod 1926: 70; Grigson 1957: 43–4); but Breuil later stated (1952: 25) that their age could not be fixed. Subsequently, these marks rapidly faded, and are now thought to have been natural or to have been left by a nineteenthcentury sailor cleaning his paint brush (Morgan 1913; Garrod 1926; Houlder 1974: 159; Daniel 1981: 81) In 1981, the Illustrated London News rashly published—without verification of any kind—an ‘exclusive’ claiming the discovery of Palaeolithic animal engravings in the small cave of Symonds Yat in the Wye Valley (Rogers et al. 1981; Rogers 1981). Subsequent investigation showed that the marks were entirely natural, and that the claim was utterly groundless (Daniel 1981: 81–2; Sieveking 1982; Sieveking and Sieveking 1981; and, for a grudging retraction, Illustrated London News, May 1981, p. 24).
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Conference papers on the topic "European Engravers"

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Shumkin, Vladimir, Tatiana Krylova, and Galina Sinitsyna. "THE FRAGMENT OF ENGRAVED SLAB FROM THE SITE ZEKHNOVO III." In Evolution of Neolithic cultures of Eastern Europe. Samara State University of Social Sciences and Humanities, 2019. http://dx.doi.org/10.31600/978-5-91867-189-4-2019-106-108.

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Bouvry, Florence. "The ainted and engraved scenes of hunter-fishermen from the late Mesolithic to the Neolithic in Europe: what changes are they refecting?" In SUBSISTENCE STRATEGIES IN THE STONE AGE, DIRECT AND INDIRECT EVIDENCE OF FISHING AND GATHERING. Institute for the History of Material Culture Russian Academy of Science, 2018. http://dx.doi.org/10.31600/978-5-907053-00-7-2018-256-259.

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