The Golden Age of Engraving: A Specialist's Story about Fine Prints |
From inside the book
Results 1-5 of 36
Page xxxvii
... impression . Then I took it to Mr. Holloway , a very learned printseller . I told him that I had found it in a very unlikely place , that I had bought it at a very low price , and that I would sell it to him at any price which he would ...
... impression . Then I took it to Mr. Holloway , a very learned printseller . I told him that I had found it in a very unlikely place , that I had bought it at a very low price , and that I would sell it to him at any price which he would ...
Page xlv
... impressions from plates , like impressions from type , could be multiplied and diffused without limit . This im- portant invention of printing from engraved plates is claimed for Tommaso Finiguerra , a Florentine goldsmith . Finiguerra ...
... impressions from plates , like impressions from type , could be multiplied and diffused without limit . This im- portant invention of printing from engraved plates is claimed for Tommaso Finiguerra , a Florentine goldsmith . Finiguerra ...
Page xlix
... black in typography comes out white from engraved plates , and vice versa . And while the printing - press actually runs by steam , the printing of each impression from an engraved or etched plate is THE GOLDEN AGE OF ENGRAVING 3.
... black in typography comes out white from engraved plates , and vice versa . And while the printing - press actually runs by steam , the printing of each impression from an engraved or etched plate is THE GOLDEN AGE OF ENGRAVING 3.
Page l
A Specialist's Story about Fine Prints Frederick Keppel. of each impression from an engraved or etched plate is a slow and difficult process . No printer can get a good proof from a bad or inartistic plate ; but , on the other hand , a ...
A Specialist's Story about Fine Prints Frederick Keppel. of each impression from an engraved or etched plate is a slow and difficult process . No printer can get a good proof from a bad or inartistic plate ; but , on the other hand , a ...
Page 4
... impression from this plate its surface is covered with a thick oily ink so that all the lines are effectually filled . As this smears the entire plate , the printer next rubs off the superfluous ink , first with a cloth , and then with ...
... impression from this plate its surface is covered with a thick oily ink so that all the lines are effectually filled . As this smears the entire plate , the printer next rubs off the superfluous ink , first with a cloth , and then with ...
Contents
153 | |
171 | |
181 | |
199 | |
201 | |
201 | |
206 | |
212 | |
26 | |
34 | |
58 | |
65 | |
65 | |
73 | |
95 | |
102 | |
108 | |
112 | |
114 | |
124 | |
130 | |
153 | |
153 | |
153 | |
214 | |
218 | |
218 | |
218 | |
218 | |
223 | |
236 | |
243 | |
247 | |
253 | |
259 | |
266 | |
281 | |
287 | |
Other editions - View all
Common terms and phrases
11 inches admirable afterward Albrecht Dürer Alphonse Legros American artist auction beautiful Beraldi born Bracquemond British burin catalogue century Charles Jacque Charles Meryon charm collection color copper plate designs died dry-point early effect eminent England English etched plate etcher etching etching by Charles etching by Seymour etching by Whistler exhibition famous Félix Buhot finished France French Gallery genius Grolier Club Hamerton hand impressions J. F. Millet Jean-François Millet Joseph Pennell known lady Lalanne landscape letter line engraving lithographs London master masterpieces Meryon mezzotint Monsieur never Noseda original drawing original etching original print painter painter-etching painting by Sir Paris Paris Salon Philip Gilbert Hamerton picture portrait produced proofs published Queen Victoria Rajon rank Raphael Rembrandt reproductive Salon Samuel Cousins Sir Joshua Reynolds Sir Seymour Haden sketches style superb Thames things tion to-day writes York
Popular passages
Page 218 - TIGER, tiger, burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry? In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare seize the fire? And what shoulder and what art Could twist the sinews of thy heart?
Page 248 - ... twere, the mirror up to nature ; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure.
Page 57 - Here Reynolds is laid, and, to tell you my mind, He has not left a wiser or better behind ; His pencil was striking, resistless, and grand, His manners were gentle, complying, and bland : Still born to improve us in every part, His pencil our faces, his manners our heart. To coxcombs averse, yet most civilly steering, When they judged without skill, he was still hard of hearing: When they talked of their Raphaels, Corregios, and stuff, He shifted his trumpet,* and only took snuff.
Page 40 - Setting interest therefore aside, to which I never paid much attention, I must be indulged at present in following my affections. The only dedication I ever made was to my brother, because I loved him better than most other men. He is since dead. Permit me to inscribe this Poem to you.
Page 304 - Sculptura; or, The History and Art of Chalcography, and Engraving in Copper: with an ample Enumeration of the most renowned Masters and their Works. To which is annexed, A New Manner of Engraving, or Mezzotinto, Communicated by His Highness Prince Rupert to the Author of this Treatise.
Page 134 - Swift, that angling is always to be considered as "a stick and a string, with a fly at one end and a fool at the other.
Page 304 - Portraits; being a descriptive catalogue of these engravings from the Introduction of the Art to the early part of the present Century.
Page 46 - that the great principle of being happy in this world, " is, not to mind or be affected with small things.
Page 304 - THE GRAPHIC ARTS: A Treatise on the Varieties of Drawing, Painting, and Engraving in Comparison with each other and with Nature.
Page 225 - ... etcher. Every stroke he makes must tell strongly against him if it be bad, or prove him a master if it be good. In no branch of art does a touch go for so much. The necessity for a rigid selection is therefore constantly present in his mind. If one stroke in the right place tells more for him than ten in the wrong, it would seem to follow that that single stroke is a more learned stroke than the ten by which he would have arrived at his end." "The faculty of doing such work supposes a concentration...