Abstract

The copyright on engravings after an original painting - which was not clearly defined in the 1791 and 1793 French laws on artistic property - allows a proper understanding of the theoretical and practical questions of copyright laws, in France, during the XIXth century. This article shows that the main principles of copyright were set up through the conflicts and law-suits generated by it, along with the engraver's prerogatives as far as original works are concerned, up until the 1910 law which confirmed their rights.

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