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020 |a9783319499895|9978-3-319-49989-5
024 7 |a10.1007/978-3-319-49989-5|2doi
041 |aeng
049 |aTürk Tarih Kurumu Kütüphanesi
050 4|aD203.2-475
072 7|aHBJD|2bicssc
072 7|aHBLH|2bicssc
072 7|aHIS010000|2bisacsh
072 7|aNHD|x3M|2thema
082 04|a940.903|223
090 |aDK/1190
100 1 |aBaker, James.|eauthor.|4aut|4http://id.loc.gov/vocabulary/relators/aut
245 14|aThe Business of Satirical Prints in Late-Georgian England|h[electronic resource] /|cby James Baker.
250 |a1st ed. 2017.
264 1|aCham :|bSpringer International Publishing :|bImprint: Palgrave Macmillan,|c2017.
300 |aXIII, 232 p. 20 illus.|bonline resource.
336 |atext|btxt|2rdacontent
337 |acomputer|bc|2rdamedia
338 |aonline resource|bcr|2rdacarrier
347 |atext file|bPDF|2rda
490 1 |aPalgrave Studies in the History of the Media,|x2634-6583
505 0 |aAcknowledgements -- List of Tables/Figures -- Chapter 1: Beginnings -- Chapter 2: Scandal -- Chapter 3: Production -- Chapter 4: People -- Chapter 5: Trade Networks -- Chapter 6: The Physical Marketplace -- Chapter 7: The Shops -- Chapter 8: Satiric Stock -- Bibliography -- Index.
520 |aThis book explores English single sheet satirical prints published from 1780-1820, the people who made those prints, and the businesses that sold them. It examines how these objects were made, how they were sold, and how both the complexity of the production process and the necessity to sell shaped and constrained the satiric content these objects contained. It argues that production, sale, and environment are crucial to understanding late-Georgian satirical prints. A majority of these prints were, after all, published in London and were therefore woven into the commercial culture of the Great Wen. Because of this city and its culture, the activities of the many individuals involved in transforming a single satirical design into a saleable and commercially viable object were underpinned by a nexus of making, selling, and consumption. Neglecting any one part of this nexus does a disservice both to the late-Georgian satirical print, these most beloved objects of British art, and to the story of their late-Georgian apotheosis – a story that James Baker develops not through the designs these objects contained, but rather through those objects and the designs they contained in the making.
650 0|aEurope|xHistory|x1492-.
650 0|aGreat Britain|xHistory.
650 0|aPrinting.
650 0|aPublishers and publishing.
650 0|aCivilization|xHistory.
650 0|aTechnology|xSociological aspects.
650 14|aHistory of Early Modern Europe.
650 24|aHistory of Britain and Ireland.
650 24|aPrinting and Publishing.
650 24|aCultural History.
650 24|aScience, Technology and Society.
773 0 |tSpringer Nature eBook
776 08|iPrinted edition:|z9783319499888
776 08|iPrinted edition:|z9783319499901
776 08|iPrinted edition:|z9783319842936
830 0|aPalgrave Studies in the History of the Media,|x2634-6583
856 40|uhttps://doi.org/10.1007/978-3-319-49989-5
912 |aZDB-2-HTY
912 |aZDB-2-SXH
950 |aHistory (SpringerNature-41172)
950 |aHistory (R0) (SpringerNature-43722)