The Golden Age of Engraving: A Specialist's Story about Fine PrintsBaker & Taylor Company, 1910 - 314 pagina's |
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Pagina xlv
... effect of the design , it was his custom to rub soot and oil into the incisions before permanently filling them with enamel , or niello . One of his plates thus filled was by chance laid face downward upon a sheet of paper , and when it ...
... effect of the design , it was his custom to rub soot and oil into the incisions before permanently filling them with enamel , or niello . One of his plates thus filled was by chance laid face downward upon a sheet of paper , and when it ...
Pagina xlix
... effect upon the plain surface of the paper with printer's - ink alone , nor can the reason persuade the sight that the scene before it is only a white plane lined and dotted with black . These two methods of printing , however , so far ...
... effect upon the plain surface of the paper with printer's - ink alone , nor can the reason persuade the sight that the scene before it is only a white plane lined and dotted with black . These two methods of printing , however , so far ...
Pagina l
... effect of the finest plate in the world . At the present day no one thinks of inquiring who was the engraver of a plate after Landseer , or Turner , or Meissonier ; often these modern prints are no better than composite pieces of ...
... effect of the finest plate in the world . At the present day no one thinks of inquiring who was the engraver of a plate after Landseer , or Turner , or Meissonier ; often these modern prints are no better than composite pieces of ...
Pagina 4
... effect is produced by incisions on a copper or steel plate , cut by the graver or burin , and the various effects of light and shade , distance and perspective , the textures of draperies and accessories , flesh - tints , and the ...
... effect is produced by incisions on a copper or steel plate , cut by the graver or burin , and the various effects of light and shade , distance and perspective , the textures of draperies and accessories , flesh - tints , and the ...
Pagina 7
... effect desired , the plate is cleaned from the acid and wax , and is then ready to be printed from in the same manner as a line engraving . From the difference of the two processes it will be seen that the characteristics of line engra ...
... effect desired , the plate is cleaned from the acid and wax , and is then ready to be printed from in the same manner as a line engraving . From the difference of the two processes it will be seen that the characteristics of line engra ...
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Overige edities - Alles bekijken
The Golden Age of Engraving: A Specialist's Story about Fine Prints Frederick Keppel Volledige weergave - 1910 |
The Golden Age of Engraving: A Specialist's Story about Fine Prints Frederick Keppel Volledige weergave - 1910 |
The Golden Age of Engraving: A Specialist's Story about Fine Prints Frederick Keppel Volledige weergave - 1910 |
Veelvoorkomende woorden en zinsdelen
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
Populaire passages
Pagina 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?
Pagina 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.
Pagina 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.
Pagina 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.
Pagina 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.
Pagina 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.
Pagina 304 - Portraits; being a descriptive catalogue of these engravings from the Introduction of the Art to the early part of the present Century.
Pagina 46 - that the great principle of being happy in this world, " is, not to mind or be affected with small things.
Pagina 304 - THE GRAPHIC ARTS: A Treatise on the Varieties of Drawing, Painting, and Engraving in Comparison with each other and with Nature.
Pagina 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...