Karen L. Bowen is an independent scholar and lecturer on book illustration. Dirk Imhof is the curator of rare books and archives at the Plantin-Moretus Museum of Antwerp.

'This study constitutes an impressive achievement by Bowen and Imhof. Thanks to their phenomenal knowledge of the Plantin archives, they have been able to provide an in-depth analysis of the use of copper plates for book illustrations at the Plantin Press in the second half of the sixteenth century. Even more important, however, are the general conclusions that they are able to draw concerning the production of illustrated books in the early modern period. The successful production of books with intaglio prints was only possible when the publisher worked with a sophisticated and flexible long-term strategy involving such considerations as commercial factors, costs and practical considerations of production, demand for the edition in diverse markets, and the potential reuse of the plates. The authors rightly argue that this throws new light on the production of illustrated books in the early modern period.' Translation from De Gulden Passer

• Introduction: precedents for Plantin's work; 1. Printing with intaglio illustrations; 2. 'L'excellente, and fameuse Cité d'Anvers': Antwerp and its artists; 3. Plantin's first projects with engravings (1559–1571); 4. Liturgical editions and the spread of engraved book illustrations; 5. The 1580s and Plantin's etched book illustrations; 6. Plantin prints for others' editions with intaglios.

Karen L. Bowen is an independent scholar and lecturer on book illustration. Dirk Imhof is the curator of rare books and archives at the Plantin-Moretus Museum of Antwerp.

'This study constitutes an impressive achievement by Bowen and Imhof. Thanks to their phenomenal knowledge of the Plantin archives, they have been able to provide an in-depth analysis of the use of copper plates for book illustrations at the Plantin Press in the second half of the sixteenth century. Even more important, however, are the general conclusions that they are able to draw concerning the production of illustrated books in the early modern period. The successful production of books with intaglio prints was only possible when the publisher worked with a sophisticated and flexible long-term strategy involving such considerations as commercial factors, costs and practical considerations of production, demand for the edition in diverse markets, and the potential reuse of the plates. The authors rightly argue that this throws new light on the production of illustrated books in the early modern period.' Translation from De Gulden Passer

• Introduction: precedents for Plantin's work; 1. Printing with intaglio illustrations; 2. 'L'excellente, and fameuse Cité d'Anvers': Antwerp and its artists; 3. Plantin's first projects with engravings (1559–1571); 4. Liturgical editions and the spread of engraved book illustrations; 5. The 1580s and Plantin's etched book illustrations; 6. Plantin prints for others' editions with intaglios.