The Golden Age of Engraving: A Specialist's Story about Fine Prints |
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Page xxiv
... late John S. Phillips , a wealthy old Philadelphian who had spent most of his life in collecting fine old engravings , and whose col- lection is now one of the chief treasures of the Pennsylvania Academy of Fine Arts . I showed him my ...
... late John S. Phillips , a wealthy old Philadelphian who had spent most of his life in collecting fine old engravings , and whose col- lection is now one of the chief treasures of the Pennsylvania Academy of Fine Arts . I showed him my ...
Page xxv
... . Among these were the late John Huneker , father of Mr. James G. Huneker , of New York , the distinguished writer on art and on music . I was also introduced to the greatest print - collector of his CHIEFLY PERSONAL XXV.
... . Among these were the late John Huneker , father of Mr. James G. Huneker , of New York , the distinguished writer on art and on music . I was also introduced to the greatest print - collector of his CHIEFLY PERSONAL XXV.
Page xxviii
... to that , the heart of a hero . I shall relate one of the most " manly " acts I ever knew of her : Her landlord was the late Mar- quis of Salisbury , who was afterward the Brit- ish xxviii THE GOLDEN AGE OF ENGRAVING.
... to that , the heart of a hero . I shall relate one of the most " manly " acts I ever knew of her : Her landlord was the late Mar- quis of Salisbury , who was afterward the Brit- ish xxviii THE GOLDEN AGE OF ENGRAVING.
Page xxxvii
... late Henry F. Sewall and the late Samuel P. Avery , both New Yorkers . Mr. Sewall's specialty was the older engravings , while Mr. Avery confined himself to the nineteenth - century etchings . Mr. Sewall's knowledge of old prints was ...
... late Henry F. Sewall and the late Samuel P. Avery , both New Yorkers . Mr. Sewall's specialty was the older engravings , while Mr. Avery confined himself to the nineteenth - century etchings . Mr. Sewall's knowledge of old prints was ...
Page 16
... late Charles Sum- ner says of Sharp : " He ascended to the heights of art , showing a power rarely equaled ; his works are constant in character and expression , with every possible excellence of execution : face , form , and drapery ...
... late Charles Sum- ner says of Sharp : " He ascended to the heights of art , showing a power rarely equaled ; his works are constant in character and expression , with every possible excellence of execution : face , form , and drapery ...
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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...