Platemark s2e23 continues hosts Ann Shafer and Tru Ludwig’s conversation on reproductive prints. Once again, for clarity, a reproductive print is one in which an artist creates a design (a drawing, painting, sculpture) and another artist creates a print after that original design. These can be sanctioned by the first artist or not or they can occur long after the first artist‘s death. It is customary to acknowledge all the artists in the strip of lettering at the bottom of the print (called the address). This way credit is given where due. Over time, reproductive prints became quite formulaic and staid—wait until we get to the early 19th century. When photography was developed in the 1830s, it wasn’t long before there was little need for the reproductive print. Episode image : Domenico del Barbiere (Italian, 1506–1565) after Michelangelo (Italian, 1475–1564). Group from Last Judgment, St. Bartholomew, St. Peter, and other Apostles, n.d. Engraving. Sheet: 14 3/4 x 8 7/8 in. (37.5 x 22.5 cm.). Metropolitan Museum of Art, New York. Israhel van Meckenem (German, c. 1445–1503) after Martin Schongauer (German, 1445–1491). Death of the Virgin, c. 1480/90. Engraving. Sheet (trimmed to plate mark): 24.8 x 16.9 cm (9 3/4 x 6 5/8 in.), National Gallery of Art, Washington, D.C. Martin Schongauer (German, 1445–1491). Death of the Virgin, c. 1470–74. Engraving. Plate: 25.7 x 16.8 cm. Achenbach Foundation, Fine Arts Museums of San Francisco. Albrecht Dürer (German, 1471–1528). The Presentation in the Temple, from the series The Life of the Virgin, c. 1505. Woodcut. Sheet: 17 3/8 x 12 1/16 in. (44.2 x 30.6 cm.); image: 11 11/16 x 8 3/16 in. (29.7 x 20.8 cm.). Metropolitan Museum of Art, New York. Marcantonio Raimondi (Italian, c. 1480–before 1534) after Albrecht Dürer (German, 1471–1528). The Presentation of Jesus to Simeon in the Temple, c. 1500–34. Engraving. Sheet (trimmed within platemark): 11 7/16 × 8 1/8 in. (29 × 20.7 cm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 9 5/8 x 7 1/2 in. (245 x 190 mm.). Metropolitan Museum of Art, New York. Master LCz (German, active c. 1480–1505). The Temptation of Christ, c. 1500/1505. Engraving. Sheet (trimmed to platemark): 227 x 165 mm. (8 15/16 x 6 ½ in.). National Gallery of Art, Washington, D.C. Martin Schongauer (German, c. 1435/50–1491). Saint Anthony Tormented by Demons, c. 1470–75. Engraving. Sheet: 30 x 21.8 cm (11 13/16 x 8 9/16 in). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Four Horsemen of the Apocalypse, from the series The Apocalypse, 1498. Woodcut. 393 x 285 mm (15 1/2 x 11 1/4 in). Baltimore Museum of Art, Baltimore. Laocoön and His Sons, c. 200 BCE–70 CE. Marble. 208 × 163 × 112 cm. (6’ 10 » × 5’ 4 » × 3’ 8 »). Vatican Museums, Vatican City. The Dying Gaul, Roman copy after a sculpture situated in the Pergamon Acropolis. Photo: DEA / G. NIMATALLAH/Getty Images Winged Victory of Samothrace, 2nd century BCE. Marble. Height: 2.75 m. Louvre, Paris. Marco Dente da Ravenna (Italian, active by 1515–1527). Laocoön and his two sons being attacked by serpents, c. 1506. Engraving. Sheet (trimmed to platemark): 11 1/8 × 15 5/8 in. (282 × 397 mm.). Metropolitan Museum of Art, New York. Marco Dente da Ravenna (Italian, active 1515–1527). Laocoön and his two sons being attacked by serpents, c. 1520. Engraving. Sheet (trimmed to platemark): 17 7/16 × 12 15/16 in. (443 × 329 mm.). Metropolitan Museum of Art, New York. Nicolas Beatrizet (French, 1515–c. 1566). Laocoön, 16th century. Engraving. Sheet (trimmed to platemark): 17 1/2 x 12 3/16 in. (44.5 x 31 cm.). Metropolitan Museum of Art, New York. William Blake (British, 1757–1827). Laocoön, c. 1826–27. Engraving. Félix Bracquemond (French, 1833–1914). Portrait of Edmond de Goncourt, 1881–82. Etching and drypoint (eighth state of eight). Plate: 510 x 339 mm (20 1/16 x 13 3/8 in.). Minneapol