[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/department-of-prints-and-photography-of-the-national-library-of-france-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/department-of-prints-and-photography-of-the-national-library-of-france-wikipedia\/","headline":"Department of prints and photography of the National Library of France – Wikipedia","name":"Department of prints and photography of the National Library of France – Wikipedia","description":"before-content-x4 The Department of Prints is in the Tubeuf hotel, on the Richelieu de la BNF site The Department of","datePublished":"2018-07-02","dateModified":"2018-07-02","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/44a4cee54c4c053e967fe3e7d054edd4?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/44a4cee54c4c053e967fe3e7d054edd4?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/1\/18\/Bibliotheque_national_parigi.JPG\/220px-Bibliotheque_national_parigi.JPG","url":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/1\/18\/Bibliotheque_national_parigi.JPG\/220px-Bibliotheque_national_parigi.JPG","height":"165","width":"220"},"url":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/department-of-prints-and-photography-of-the-national-library-of-france-wikipedia\/","wordCount":11984,"articleBody":"     (adsbygoogle = window.adsbygoogle || []).push({});before-content-x4 The Department of Prints is in the Tubeuf hotel, on the Richelieu de la BNF site The Department of prints and photography is a service of the National Library of France (BNF) which retains, describes and highlights the visual collections of the BNF.        (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Located on the Richelieu site (58 rue de Richelieu \/ 5 rue Vivienne, in the 2 It is Paris arrondissement), it is housed in a mansion of XVII It is century, the Tubeuf hotel.          (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Table of ContentsThe prints before 1720 [ modifier | Modifier and code ] The creation of a specialized administration [ modifier | Modifier and code ] The cabinet at XIX It is century [ modifier | Modifier and code ] The cabinet at XX It is century [ modifier | Modifier and code ] List of Department Directors [ modifier | Modifier and code ] Cabinet guards [ modifier | Modifier and code ] Conservative then conservatives in chief [ modifier | Modifier and code ] Department directors [ modifier | Modifier and code ] Other preservatives and notable agents [ modifier | Modifier and code ] Entry modes [ modifier | Modifier and code ] Organization of collections [ modifier | Modifier and code ] Catalogs and work instruments [ modifier | Modifier and code ] Inventory of the French Fund [ modifier | Modifier and code ] Inventory of the French Fund XVI It is century [ modifier | Modifier and code ] Inventory of the French Fund XVII It is century [ modifier | Modifier and code ] Inventory of the French Fund XVIII It is century [ modifier | Modifier and code ] Inventory of the French fund after 1800 [ modifier | Modifier and code ] Foreign funds [ modifier | Modifier and code ] Drawings [ modifier | Modifier and code ] The reading room [ modifier | Modifier and code ] Exhibitions [ modifier | Modifier and code ] Publications [ modifier | Modifier and code ] The print news [ modifier | Modifier and code ] Lacouri\u00e8re Price [ modifier | Modifier and code ] The prints before 1720 [ modifier | Modifier and code ] The king’s library certainly includes prints for a very long time but, like the prints, they are far from being considered as a priority [ g 1 ] . A more proactive policy is implemented in the middle of XVII It is century, when Jacques Dupuy seeks to obtain that the prints are subject to the legal deposit (the obligation appears explicitly for the first time in 1642 [ b 1 ] ) and himself bequeathed around thirty portfolios of prints to the king (April 27, 1654, entries in 1656), which constitutes the first important gift [ first ] . It is essentially by donations and expensive acquisitions of private collections that the collections increase. The purchase of the collection of Michel de Marolles, Abb\u00e9 de Villeloin, in 1667 is so important that this date is often considered that of the birth of the cabinet of prints of the Royal Library [ first ] . Having started its collection of prints in 1644, Marolles already had more than 80,000 in 1657 [ g 2 ] and published in 1666 a summary catalog, where he suggests that he would not oppose his purchase by the king:        (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4“I was kind enough to leave an estate to the public to make him conceive to at least how much this kind of curiosity can be worn, where it is found so many things so pleasant and so useful for the instruction of a young prince by the industry of someone who states to use it. It is also certain that of all the things that are estimated to serve the embellishment and the enlargement of a large library, it is not more beautiful or that can cost less [ 2 ] \u00bb He hopes to be named preceptor of the dolphin. However, he fails to obtain this place, which does not prevent Colbert from obtaining his collection for only 26,000 pounds [ g 3 ] . She arrives at the Royal Library from March 11 to 15, 1667 and includes nearly 100,000 pieces [ 3 ] , [ g 4 ] . It is Marolles himself who takes care of classifying the collection before the wallets receive a binding of red morocco with royal weapons. The library is also enriched by another type of engravings, those of the “King’s Cabinet”. After having installed in 1667 “ordinary engravers of the king” to the goblins, Louis XIV decided, “in order to encourage the art of engraving and to continue its history”, to engrave military and cultural events on copper and cultural events important to his reign. This is how the King’s tapestries and the Test and rings races made by the Roy and by the princes and lords of his court in the year 1662 and in 1673 the Pleasures of the enchanted island . These plates, which are then connected and embellished with description to serve gifts for diplomats or courtiers, are also deposited at the Royal Library [ g 5 ] . The king makes the greatest artists of time work there (Audran, Chauveau, Mellan, Silvestre, etc.). From 1670, a printer in brief size, Jean Goyton, settled within the library: when Louis XIV came to visit the library in 1681, he wanted to try the press [ b 2 ] . As this workshop is very expensive and the prints produced are essentially used as a gift to great characters or courtiers, Colbert decides to offer the boards to the public, which allows to pay engravers and to cover part of the fees of the library [ b 3 ] .  The portrait of King John II is part of the Gaigni\u00e8res collection and belongs to the Department of Prints. He has been on deposit at the Louvre since 1925. Finally, the library is enriched in print in a last way: thanks to the “prints of privilege”. The first edicts establishing the legal deposit (1537, 1617 …) do not designate prints. It was only in that of March 19, 1642 that the text expressly names the “books and figures \u00bb. Finally, the judgment of the council of May 17, 1672 mentions the possibility of obtaining privileges for isolated prints and linked them to the legal deposit of two copies at the Royal Library. But as with books, the prints of privileges go very badly in the collections and the library acts little to gain in efficiency. The first description of the print fund of the royal library dates from 1684, that is to say after J\u00e9r\u00f4me II Bignon, master of the bookstore, and Louis Colbert, the library guard, are both replaced by the Abbot of Louvois. We then find it: the collections of Marolles; A series of prints and geographic maps in leaves (thirty-two padded packages and listed A to Z and AA in II, comprising approximately 3,800 pieces); Books with connected figures (eleven volumes); geographic maps and other “rolled on bastons” [ g 6 ] . Other major donations still enrich the fund in the constitution at the start of the XVII It is century. Nicolas Cl\u00e9ment, employee for several decades at the King’s Library, gives his personal collection in 1710: it consists of 108 portfolios, or 18,000 portraits engraved [ g 7 ] . The following year, it was Roger de Gaigni\u00e8res who gave his collection to the king against a life annuity of 4000 pounds per year and his enjoyment his life during. More than 25,000 pieces from the collection of this scholar came to the King’s Library in December 1716. Jean-Paul Bignon was appointed guard of the king’s library in 1718. He wrote in 1731: “When Mr. Duke of Orleans took care of me, I was afflicted at the excess of seeing how much she was little responded to the title of library of one of the greatest kings […]. The prints were the most neglected part [ g 8 ] . \u00bb The creation of a specialized administration [ modifier | Modifier and code ] In order to gain efficiency, Bignon reorganizes the Royal Library by entrusting private funds to specialized personnel: the “Cabinet of Grav\u00e9e Prints and Boards” has since its special administration. It is particularly the object of bignon care [ b 4 ] . The first guard is the Hay, who works with his future successor, Ladvenant. The latter then begin to write less succinct catalogs than those who pre -existed, in particular the piece in -piece inventory of the Marolles collection and the reclassification of Privileges of Privilege [ g 9 ] , as well as the methodical classification in 23 volumes of the King’s Cabinet prints [ g 10 ] . Ladvenant having died in 1729, it was his successor the abbot of Chancey receives a new gift of primary importance, the Beringhen collection (1731). The Marquis de Beringhen had a collection of more than 80,000 prints, including many works by Callot and Rembrandt, English black manners, etc. [ b 5 ] . This collection, very rich for the period 1660\u20131730 thus completes that of Marolles and the cabinet then became the most important in Europe with 211,293 prints, with the harvesting of Mariette in 1736, or 15,536 prints of privilege, 85,317 prints of Marolles, 83,039 of Beringhen, 25,716 portraits and 1,685 old pieces [ g 11 ] , [ b 6 ] . An effort is also made to acquire geographic cards: in 1740 we buy the Marshal of Estr\u00e9e collection [ b 7 ] . It was also at this time that links with collectors and merchants were formed [ b 8 ] . Under the direction of Hugues-Adrien Joly, the collections are still increasing by a third party [ b 9 ] . While each collection had previously remained separately, Joly decides to merge them in order to create a single collection rowed into analytical series: he then writes “I just tumbled the whole print cabinet” [ 4 ] . This took him from 1750 to 1780. He then began writing tables by author and by subject but his work, very slow, is interrupted by the Revolution. At that time were acquired three important private collections: The Lallemand de Betz collection (entered in 1753 but dating back to that of Jean Rousseau, alderman of Paris in 1654) comprising 13,150 pieces, including fifty volumes of topographies, many drawings XVII It is century, 78 volumes of portraits, etc. [ b 10 ] . The collection of Charles-Marie Fevret de Fontette (entry in 1773), which had started writing a history of France by the image. This collection of 40,000 prints and drawings is at the origin of the series of the French history of France (today QB1 series, after fusion of the Fontette collection with other pieces) [ b 11 ] . The B\u00e9gon collection, which dates back to Michel B\u00e9gon, intendant of La Rochelle under Louis XIV, comprising nearly 25,000 pieces (1770) [ b 12 ] . The sale of the Mariette collection is more difficult. The heirs of Pierre-Jean Mariette separated in 1776, that is to say after more than a century of collection in this family of engravers and print publishers. The king offers 100,000 crowns to buy the collection in block but the heirs prefer to sell at auction, of which Joly lacks the first seven vacations. He finally bought a total of 13,318 pieces for 20,000 pounds – but a large part of the collection left for amateurs and especially abroad [ b 13 ] . The cabinet also seeks to convince the engravers to deposit their production, and sometimes to buy contemporary production, without having illusions on the capacity of the legal deposit to bring the parts. The acquisitions finally come from the exchange of the doubles of the libraries [ b 14 ] . It opens to external readers, artists, amateurs, scholars and even beyond. Diderot and Buffon come to document themselves for their works; ladies of high nobility borrow ancient documents there to be represented in the fashion of XVI It is century [ b 15 ] . The cabinet at XIX It is century [ modifier | Modifier and code ] To XIX It is And XX It is centuries, increases continue at a sustained pace [ 5 ] : speak Legal Deposit of the prints And graphic documents Reaffirmed by Napoleon I is . By the entrance of large private collections: Historical Collections of Hennin (1863) and Vinck (1906), artistic series of Moreau-N\u00e9laton (1923), or Atherton Curtis (1943)\u2026 By remarkable entries of contemporaries: Duchamp, Robert and Sonia Delaunay, Matisse, H\u00e9lion, Baselitz, Sam Francis, Barry Flanagan, T\u00e0pies\u2026 .. From 1851, photographers began to spontaneously deposit their production (the legal deposit of the photography is not established until 1925): Nadar workshop (1949), Rogi Andr\u00e9 (1970), Archives des S\u00e9eberger (1976, completed in 2008), Disd\u00e9ri (1990) workshop … Since 1946, the department has been installed on the Richelieu de la BNF site. The cabinet at XX It is century [ modifier | Modifier and code ] List of Department Directors [ modifier | Modifier and code ] Cabinet guards [ modifier | Modifier and code ] Conservative then conservatives in chief [ modifier | Modifier and code ] Department directors [ modifier | Modifier and code ] Other preservatives and notable agents [ modifier | Modifier and code ] Louis Courajod, attached (1867-1874) Pierre Vidal, attached (1876-?), Famous as a painter and illustrator Marcel Aubert, sub-librarian (1911-1919) Fran\u00e7oise Woimant, curator of contemporary prints (-1994) Jean-Claude Lemagny, curator of contemporary photos (1968-1996) Maxime Pr\u00e9aud, curator of the prints of XVII It is century (1970-2010) Jacqueline Sanson (1972-1986), later Director General of the National Library of France Barth\u00e9l\u00e9my Jobert (1988-1992), in charge of the inventory of English prints as a temporary researcher, later president of the University of Paris IV-Sorbonne Entry modes [ modifier | Modifier and code ] From the origins of the department, Marolles refused to create what he called “a chapel of art” where “the admiration of the works would have been settled from the point of view of beauty” [ b 16 ] . This is why there is a double distribution of prints according to their author but also of their subject. Privilege prints never form a separate series: they are integrated into series by artist or material. Organization of collections [ modifier | Modifier and code ] The distinction between these two main parts of the collection is taken into account in the redevelopment of the department by the architect Michel Roux-Spitz under the administration of Julien Cain: three stores of stores are provided for parts classified by subjects, two for The parts classified by authors [ 4 ] . The classification framework, representative of the design that we had of the print in 1750, is as follows: classification Artists’ worksA . Collections and museums. Documentation on photography. Hell B . Original drawings (all schools). Painters and Graveurs from southern Europe C . Painters and engravers from northern and eastern Europe and other continents D . France and painters of France. Far East works AND . Incunable of engraving. Engravers. Ancient and contemporary photographers. AA . Supplements linked, in alphabetical order of artists SNR . Unconfined supplements, in alphabetical order of artists Documentary worksF . Sculpture G . Antiques H . Architecture I . Mathematics, physics, transport, army J . Natural history, medicine K . Pedagogy, book arts, games and sports, pleasure arts L . Techniques, industrial and commercial life M . Encyclopedias of XVIII It is century, trades N . Portraits and biographical iconography O . Costumes and customs P . Auxiliaries of history (almanacs, coats of arms, coronations, tombs) Q . History R . Hierology S . Mythology T . Illustration, allegory, shows, caricature IN . Voyages IN . Topography X . Geography, hydrography, astronomy Each documentary series includes supplements: “matter” DocumentationAND . Works on fine arts. Catalogs. Cabinet Archives DiversWITH . Special collections. Artist papers Catalogs and work instruments [ modifier | Modifier and code ] The cataloging of prints is made difficult by some specificities: on the one hand, their interest as an art work (of which the author is the most important characteristic) is equal by that as a document (representing a subject to be indexed), on the other hand their number is gigantic when their treatment can only be the fact of specialists. It was therefore only after the First World War that the firm had enough specialized staff to start writing a systematic catalog. Inventory of the French Fund [ modifier | Modifier and code ] Paul-Andr\u00e9 Lemoisine and Jean Laran imagine a general catalog of the French fund by century then by artist, the prints being classified for each of them by subject [ 4 ] . These inventories are actually going far beyond a simple catalog and constitute reference works on engravers. From the origins, the engravings in prints are taken into account. From now on, the prints that the BN do not keep are cited and described in order to give the complete state of the works of each artist. Introductions are based on almost exhaustive components in archives and most of the prints are reproduced. Inventory of the French Fund XVI It is century [ modifier | Modifier and code ] Inventory of the French Fund XVII It is century [ modifier | Modifier and code ] Roger-Armand Refusal , Volume 1. Alix (Jean): Boudeau (Jean) , 1939 , VIII-556\u00a0 p.  ( read online ) Roger-Armand Refusal , Volume 2. Boulanger (Jean): Chauveau (Fran\u00e7ois) , 1951 , 560 p.  ( read online ) Roger-Armand Refusal , Volume 3. Chauvel: Duvivier , 1954 , 528 p.  ( read online ) Roger-Armand Refusal , Tome 4. Ecman: Giffart , 1961 , 600 p.  ( read online ) Roger-Armand Refusal , Volume 5. Gilibert: Jousse , 1968 , VIII-617\u00a0 p.  ( read online ) Roger-Armand Refusal , Volume 6. Labb\u00e9: La Ruelle , Paris, National Library, 1973 , 570 p.  (ISBN\u00a0 2-7177-0898-7 ) Roger-Armand Refusal the most Pr\u00e9aud , Volume 7. Lasne (J.): Leclerc (P.) , 1976 , 472 p.  (ISBN\u00a0 2-7177-1313-1 ) Most Pr\u00e9aud , Volume 8. S\u00e9bastien Leclerc (1) , Paris, National Library, 1980 , 341 p.  (ISBN\u00a0 2-7177-1524-X ) Most Pr\u00e9aud , Volume 9. S\u00e9bastien Leclerc (2) , Paris, National Library, 1980 , 289 p.  (ISBN\u00a0 2-7177-1525-8 ) Most Pr\u00e9aud , Volume 10. Leclercq: Lenfant , Paris, National Library, 1989 , 118 p.  (ISBN\u00a0 2-7177-1765-X ) Most Pr\u00e9aud , Volume 11. Antoine Lepautre, Jacques Lepautre and Jean Lepautre , Paris, National Library, 1993 , 369 p.  (ISBN\u00a0 2-7177-1887-7 ) Most Pr\u00e9aud , Volume 12. Jean Lepautre , 1999 , 335 p.  (ISBN\u00a0 2-7177-2067-7-7 ) Most Pr\u00e9aud , Volume 13. Pierre Lepautre , 2008 , 382 p.  (ISBN\u00a0 978-2-7177-2395-3 ) Most Pr\u00e9aud , Tome 14. Claude between , Paris, National Library, 1988 , 220 p.  (ISBN\u00a0 2-7177-1777-3 ) Inventory of the French Fund XVIII It is century [ modifier | Modifier and code ] Marcel Roux , Tome 1. Adam (Jean)\u00a0: Baquoy (Maurice) , 1931 , 504 p.  ( read online ) Marcel Roux , Tome 2. Baquoy (Pierre) – Bizac , 1933 , 502 p.  ( read online ) Marcel Roux , Volume 3. Bizemont-Prunel\u00e9 (count of): Cars (Laurent) , 1934 , 517 p.  ( read online ) Marcel Roux , Tome 4. Cathelin: Cochin P\u00e8re (Charles-Nicolas) , 1940 , 661 p.  ( read online ) Marcel Roux , Tome 5. Cochin Fils (Charles-Nicolas): H. Dambrun , 1946 , 546 p. Marcel Roux , Tome 6. Damontot – Denon , 1949 , 612 p.  ( read online ) Marcel Roux and Edmond Cash , Volume 7. Deny (Miss Jeanne): Duy-Delage , 1951 , 491 p.  ( read online ) Marcel Roux and Edmond Cash , Volume 8. Duflos (Claude): Furned , 1955 , 508 p.  ( read online ) Edmond Cash and Yves Bruand , Volume 9. Ferrand (Fran\u00e7ois): Gaucher (C.E.) , 1962 , 562 p.  ( read online ) Mich\u00e8le H\u00e9bert , Edmond Cash and Yves Bruand , Tome 10. Gaugain: Gravelot , 1968 , 650 p.  ( read online ) Mich\u00e8le H\u00e9bert and Yves Bruand , Volume 11. Greuze: Jahandier , 1970 , 635 p.  ( read online ) Mich\u00e8le H\u00e9bert , Tome 12. Janinet\u00a0: Launay , Paris, Mr. Le Garrec \/ then National Library, 1973 , 633 p.  (ISBN\u00a0 2-7177-0885-5 , read online ) Yves Sj\u00f6berg , Volume 13. Laurent: The Great , Paris, Mr. Le Garrec \/ then National Library, 1974 , 665 p.  (ISBN\u00a0 2-7177-1202-X , read online ) Yves Sj\u00f6berg , Volume 14. Legras (Les): Lequien , Paris, Mr. Le Garrec \/ then National Library, 1977 , 485 p.  (ISBN\u00a0 2-7177-1363-8 , read online ) Speedwell Royet And al. , Volume 15. Georges Louis Le Rouge: Anglo-Chinese gardens , 2004 , 286 p.  (ISBN\u00a0 2-914473-23-0 , read online ) Inventory of the French fund after 1800 [ modifier | Modifier and code ] Jean Laran , Tome 1. Abb\u00e9ma\u00a0: Beaumont , 1930 , 531 p.  ( read online ) Jean Laran , Volume 2. Beauquesne: Bocquet , 1937 , 541 p.  ( read online ) Jean Laran and John Adhemar , Tome 3. Bocquin – Byon , 1942 , 547 p.  ( read online ) Jean Adhemar , Tom 4. caban: cicri , 1949 , XIV-574\u00a0 p.  ( read online ) Jean Adhemar , Volume 5. CIDOINE: Daumier , 1949 , VIII-616\u00a0 p.  ( read online ) Jean Adhemar and Jacques Leth\u00e8ve , Tome 6. Daumont: dorange , 1953 , VIII-625\u00a0 p.  ( read online ) Jean Adhemar and Jacques Leth\u00e8ve , Volume 7. Dor\u00e9 – Folk , 1954 , 615 p.  ( read online ) Jean Adhemar and Jacques Leth\u00e8ve , TOME 8. Follet: Gavarni , 1954 , 615 p.  ( read online ) Jean Adhemar and Jacques Leth\u00e8ve , Take 9. Gavarret: Guillard , 1955 , 485 p.  ( read online ) Jean Adhemar , Jacques Leth\u00e8ve and Fran\u00e7oise Gardey , Tome 10. Guillaume\u00a0: Humbert , 1958 , 540 p.  ( read online ) Jean Adhemar , Jacques Leth\u00e8ve and Fran\u00e7oise Gardey , Tome 11. Humblot – Jyg , 1960 , 559 p.  ( read online ) Jean Adhemar , Jacques Leth\u00e8ve and Fran\u00e7oise Gardey , Tome 12. Ka\u00a0: Laurence , 1963 , 501 p.  ( read online ) Jean Adhemar , Jacques Leth\u00e8ve and Fran\u00e7oise Gardey , Volume 13. Laurencin: L\u00e9pagnez , 1965 , 527 p.  ( read online ) Jacques Leth\u00e8ve and Fran\u00e7oise Gardey , Tome 14. Lepan – Lys , 1967 , VIII-590\u00a0 p.  ( read online ) Madeleine Barbin and shut up Bouret , Volume 15. Mabille: Marville , Paris, National Library, 1985 , 367 p.  (ISBN\u00a0 2-7177-1706-4 ) Foreign funds [ modifier | Modifier and code ] Gis\u00e8le Lambert , The first Italian engravings (Quattrocento-Direct of the Cinquecento): inventory of the collection of the Department of Prints and Photography , BnF, 1999 , LII-449\u00a0 p.  (ISBN\u00a0 978-2-7177-2079-2 , read online ) Drawings [ modifier | Modifier and code ] Barbara Lavergn\u00e9e Brejon , French drawings of XVII It is century: inventory of the collection of the reserve of the Department of Prints and Photography Paris, BNF; 2014 , 376 p.  (ISBN\u00a0 978-2-7177-2618-3 , read online ) The reading room [ modifier | Modifier and code ] Exhibitions [ modifier | Modifier and code ] Publications [ modifier | Modifier and code ] The print news [ modifier | Modifier and code ] Review Print news does not depend directly on the National Library of France but is supported by it. It highlights the work of the conservatives of the department and notably points out the acquisitions in terms of contemporary print. Lacouri\u00e8re Price [ modifier | Modifier and code ] The department organizes the Lacourrier engraving award every two years, rewarding a engraver under the age of 45. It is the most important French price with the grav’x price. Like all specialized departments, the Department of Prints and Photography is attached to the Directorate of BNF Collections. It has been managed since 2007 by Sylvie Aubenas, general preservative of the libraries. The department includes four services, a catering workshop and coordination missions: Services directly deal with the collections, their description, their conservation and their communicationOld print and reserve Modern print, poster and imaging Photography Conservation et communication A workshop of 12 specialized restaurateurs makes it possible to keep the documents in the best conditions Agents are responsible for coordinating transversal files (digitization, cataloging, renovation project of the Richelieu site) as well as promoting services to the public and managing the documentation library on print and photography. Joseph Guibert, The Cabinet of the National Library Prints , Paris, M. Le Garrec, 1926, 265- [5] p. Simone swept away, The National Library of Origins in 1800 , Geneva: Droz, 1988, VIII-546 p. \u2191 a et b p. twelfth  \u2191 Catalog of print books and douce-sized figures with a counting of the parts contained therein, made in Paris in the year 1666 by M. de Marolles, Abb\u00e9 de Villeloin, Paris, 1666  \u2191 Their exact number poses a problem: Marolles affirms in its catalog to have 123,400 prints and other sources of the time speak of 120,000 pieces. But the catalogs, including the very first of 1684, indicate that around 85,000 pieces come from the collection of Marolles  \u2191 A B and C Jean Adh\u00e9mar, The inventory of the French Cabinet of the Print In Bulletin des Libraries de France , 1960, n O 6, p. 169-180 .  \u2191 ‘ Department of Prints\/ History of the Department \u00bb , on https:\/\/www.bnf.fr  (consulted the June 28, 2019 )  Joseph Guibert, The Cabinet of the National Library Prints , Paris, M. Le Garrec, 1926, 265- [5] p. Henri Bouchot, The Cabinet of the National Library Prints , Paris, E. Dentu, S.D. [1895], XXIV-392 p. Read online      (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/department-of-prints-and-photography-of-the-national-library-of-france-wikipedia\/#breadcrumbitem","name":"Department of prints and photography of the National Library of France – Wikipedia"}}]}]