The bottom margin is mostly sandpaper, out of which she coaxed velvety blacks I associate primarily with mezzotint.
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The painting he made afterward, "The Apparition," was long believed lost, though known via a mezzotint he did of it.
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The same year, it bought his mezzotint "Reflections," a scene of boaters in Central Park with the buildings of Fifth Avenue in the background.
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Eby's mezzotint and drypoint print "No Man's Land — St. Mihiel Drive" (250) is more evocative, as its soft, deep gray washes over the sky, veiling troops below.
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Advertise on Hyperallergic with Nectar Ads "EVERYTHING SUCCUMBS TO ME." So reads the text — in Latin — on a tablet that the leering skeleton in an 18th-century mezzotint print points to with his arrow.
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Along with a copy of the U.S. Declaration of Independence and a mezzotint of George III, the last American monarch, Trump was shown pictures of the queen's father, George VI, and her uncle Edward VIII playing golf in Scotland.
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Engraved in mezzotint, anonymously. John, Lord Naas. [Earl of Mayo, K.P., Palmerstown.] Engraved in mezzotint by W. Dickinson, 1777.
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Mary Ann Yates as Medea, mezzotint by William Dickinson, 1771 William Dickinson (1746–1823) was an English mezzotint engraver.
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Volume VI Humphrey's output also included mezzotint portraits (he reissued a number of plates originally published by John Raphael Smith) as well as mezzotint drolls.
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The first known mezzotint, by Ludwig von Siegen, 1642. Worked from light to dark. The mezzotint printmaking method was invented by the German amateur artist Ludwig von Siegen (1609–). His earliest mezzotint print dates to 1642 and is a portrait of Countess Amalie Elisabeth of Hanau- Münzenberg.
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Gerhard Bockman (1686–1773) was a Dutch portrait painter and mezzotint engraver.
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William Faithorne the Younger (1656–c.1701) was an English mezzotint engraver.
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William Pether (c. 1738 – 19 July 1821) was an English mezzotint engraver. Self-portrait.
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The mezzotint plate is then smoothed and polished to make areas carry less ink and thus print a lighter shade. Alternatively, beginning with a smooth plate, areas are roughened to make them darker. Occasionally the two techniques of aquatint and mezzotint are combined.
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A portrait of Lawranson was painted and engraved in mezzotint by his son William Lawranson.
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Abraham Langford (1711–1774) was an English auctioneer and playwright. Abraham Langford, 18th century mezzotint.
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John Smith in 1696 John Smith (c. 1652 – c. 1742) was an English mezzotint engraver.
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Richard Houston (1721?–1775) was an Irish mezzotint engraver, whose career was mostly in London.
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Alles ist eitel, mezzotint by Haid, c. 1750 Johann Jacob Haid or Johann Jakob Haid (1704–1767) was a German engraver who worked in Augsburg.Johann Jakob Haid at wilnitsky.com Haid came from a German family of artists and engravers and was known for large mezzotint portraits.
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A mezzotint by James Faed (after John Graham Gilbert) is held by the Scottish National Portrait Gallery.
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Edward Fisher (1730–c.1785) was an Irish-born mezzotint engraver, mostly of portraits, working in London.
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Cuthbert Mayne in a mezzotint by Fournier Daniel Fournier (died 1766?) was an English engraver and draughtsman.
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Wellcome V0004268EL.jpg File:Sir Isaac Newton. Mezzotint by J. Faber, junior after J. Van Wellcome V0004271.jpg File:SirGeorgeFlemingBt2.
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A mezzotint engraving of Newcomb by J. Faber, after Hawkins, was prefixed to his Last Judgment (1723).
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Richard Josey Richard Josey (4 October 1840 – 6 February 1906) was a prominent mezzotint engraver in Victorian London.
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Some of his pupils of Brooks worked as engravers in mezzotint, among them Michael Ford and James MacArdell.
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Frances Villiers, Countess of Jersey. A mezzotint engraving by Watson, published in 1774 after the original portrait by Daniel Gardner. Thomas Watson (1750–1781) was a fine engraver in mezzotint and in stipple. His early prints were published in alliance with the book and printsellers Samuel Hooper and Walter Shropshire.
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Thomas Ashton, D.D. (1716–1775) was an English cleric. Thomas Ashton, 1756 mezzotint by James Macardell, after Joshua Reynolds.
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Charles Spooner (died 1767) was an Irish mezzotint engraver, who worked in London towards the end of his life.
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He worked in many techniques: etching, drypoint, mezzotint, sand- ground mezzotint, burin engraving, lithography and woodcut. He cut a large wood engraving of a man ploughing, later published by the Art for Schools Association. A privately produced catalogue of his engraved work contained more than three hundred items. Amongst his earlier works were Tinkers, St. Jerome, A Woman Washing Her Feet, An Old Book-stall with a Man Lighting His Pipe from a Flare, and The Head of a Peasant Woman on sand-ground mezzotint.
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Sherwin was one of the first workers in mezzotint, a technique he learned from Prince Rupert. He dedicated to the Prince a pair of large portraits of Charles II and his queen engraved by the method; the former of these is dated 1669, the earliest found on an English mezzotint. Among his other mezzotint plates are portraits of the Duke of Albemarle, Elizabeth Monck, Duchess of Albemarle, Adrian Beverland, and a number of royal personages. Sherwin seems to have worked mainly from his own drawings.
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Pelham was one of several London artists who learned the then new technique of the mezzotint engraving. Of his use of the medium one writer has said: "Pelham handled the rocker heavily, and so gave to his prints a darker appearance than usual".Whitman, Alfred. The Masters of Mezzotint, 1898, p. 26.
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File:Edmund Waller by Peter Vanderbank.jpg File:Thomas Symonds. Mezzotint by G. White after J. Vanderbank, 1 Wellcome V0005709.jpg File:1stLordTalbot.
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13 His works included a grammar of English (1712). Michel Maittaire, mezzotint by John Faber the Younger after Bartholomew Dandridge.
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The Mezzotint: History and Technique. New York: H. N. Abrams, 1990. Buckner, Cindy Medley, et. al. Reynold Weidenaar: A Retrospective.
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Reynolds was encouraged by Gross to take up mezzotint, and was included in The Mezzotint Rediscovered exhibition of P. & D. Colnaghi & Co. in 1974, and wrote essays about mezzotint. She used daily use objects such as kettles, irons and tin openers in her printmaking. She was featured in the 1982 exhibition 80 Prints by Modern Masters at Angela Flowers Gallery and contributed to the publication of A Tribute to Birgit Skiöld in the following year. Reynolds won the Barcham Green Award at the 1985–86 Royal Society of Painter-Etchers and Engravers.
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A mezzotint of Drury by Thomas Hodgetts, after a portrait by Margaret Sarah Carpenter is in the National Portrait Gallery (London).
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The Shadow of Death, 1878 engraving by Frederick Stacpoole after Holman Hunt Most of Stacpoole's plates were executed in a mixed mezzotint style (i.e. mezzotint with some line engraving and stipple engraving). His work was only of reproductions, including a large number of prints after Briton Rivière (chiefly published by Messrs. Agnew), Thomas Faed (chiefly published by Messrs.
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Young boy, possibly the brother of the artist, Mezzotint The painter Maria van Oosterwijck, 1671, by Wallerant Vaillant A couple painted by Wallerant Vaillant. (Gemäldegalerie, Berlin) Wallerant Vaillant (30 May 1623 – 28 August 1677) was a painter of the Dutch Golden Age and one of the first artists to use the mezzotint technique, which he probably helped to develop.
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Whitman acquired a reputation as an authority on British mezzotint engraving. His earlier books, ‘The Masters of Mezzotint’ (1898) and ‘The Print Collector's Handbook’ (1901; new and enlarged edit. 1912), were of a popular character. He made also catalogues of eminent engravers' works, based on notes made in the British Museum, private collections and sale-rooms.
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He also executed some etchings and mezzotint engravings of heads of boors and peasants after various Dutch masters, and a mezzotint engraving of 'A Girl with a Basket of Cherries, and Two Boys,' after Rubens. He subsequently settled in London, and unsuccessfully attempted to establish a drawing-school, after the example of the Caracci, in Maiden Lane, Covent Garden.
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Portrait in mezzotint of Jan Punt by John Greenwood Jan Punt (1711 - 1779), was an 18th-century painter from the Northern Netherlands.
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John Sartain (October 24, 1808 – October 25, 1897) was an English-born American artist who pioneered mezzotint engraving in the United States.
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Edward Dayes (1763 in London – 1804 in London) was an English watercolour painter and engraver in mezzotint. Edward Dayes, self-portrait from 1801.
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Catherine of Braganza, mezzotint, 1672, after Peter Lely. Abraham Blooteling (or Bloteling) (1634–1690)Amsterdam city archive was a Dutch designer and engraver.
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"The Mezzotint" is a ghost story by British writer M. R. James, included in his first collection Ghost Stories of an Antiquary (1904).
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Michael Ford (died October 1758?), was an Irish mezzotint engraver. A native of Dublin, Ford had been a pupil of engraver John Brooks. When Brooks left Ireland around 1747, Ford set up shop as his successor in a store on Cork Hill. There, he engraved a number of portraits in mezzotint, which on account of their scarcity are highly valued by collectors.
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Heroic Stormy Landscape, mezzotint and etching printed à la poupée in two colours, after Jan van Huysum, 1724 Elisha Kirkall (c.1682–1742) was a prolific English engraver, who made many experiments in printmaking techniques. He was noted for engravings on type metal that could be set up with letterpress for book illustrations, and was also known as a mezzotint artist.
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The Scottish National Portrait Gallery possesses a portrait (mezzotint on paper) of Sir John (accession number SPL 203.1); the author and date are unknown.
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John Simon (1675?–1751) was an Anglo-French engraver, known for his mezzotint portraits. Engraving of Mary Montagu, Duchess of Montagu, after Charles d'Agar.
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John Frederick Lampe (mezzotint by James MacArdell) John Frederick Lampe (born Johann Friedrich Lampe; probably 1703 – 25 July 1751) was a musician and composer.
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Richard Brookshaw (1748 – in or after 1779)Dates according to the Oxford DNB. was an English mezzotint engraver. Marie Antoinette, engraving from the 1770s.
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Faithorne's son, William Faithorne the younger (1656–86), was a promising mezzotint engraver, but became idle and dissipated, and involved his father in financial difficulties.
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Portrait of Nicolaas Verkolje (Jacob Houbraken, ca. 1752) Nicolaas Verkolje (11 April 1673, Delft - 21 January 1746, Amsterdam), was a Dutch painter and mezzotint maker.
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George Burder, 1812 mezzotint by Henry Hoppner Meyer, after Henry William Pickersgill. George Burder (May 25, 1752 O.S.May 29, 1832) was an English Nonconformist divine.
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20 Although predominantly working in mezzotint, Turner also produced stipple engravings, aquatints, and etchings. The mezzotints themselves were worked over an etched background.Whitman 1907, p.
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Tinney practised both line engraving and mezzotint. His mezzotint plates included portraits of Lavinia Fenton, after John Ellys; George III, after Joseph Highmore; Chief Baron Parker; and John Wesley. He also engraved subjects after Boucher, Lancret, Rosalba, Correggio, and others. He engraved in line a set of ten views of Hampton Court and Kensington Palace, after Anthony Highmore, and some of Fontainebleau and Versailles, after .
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The son of William Say, a Norfolk land-steward, he was born at Lakenham, near Norwich. Left an orphan when five years old, he was brought up by his maternal aunt. At about the age of twenty he came to London, and obtained instruction from James Ward, who was then practising mezzotint engraving. Mezzotint by Say of Prince William Frederick, Duke of Gloucester and Edinburgh, 1826.
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Tall Trees at Night (2001), mezzotint, ed. of 60; artist's proofs 10, 19 " x 13"Kipniss stopped making lithographs in 1990 and began to create mezzotints. He had his first solo mezzotint show in New York in 1992. He also showed mezzotints in 1995 at his first solo print show in England, and that year they comprised his first show of prints in Germany.
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A portrait by him of Mary Anne Yates as Electra was engraved in mezzotint by Philip Dawe, and a portrait of Thomas Pownall by Richard Earlom.
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His most notable works, including mezzotint and acrylic paintings, are of human figures with anthropomorphic animal masks. Their costumes reveal rather than conceal their true identities.
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Portrait of a Damaged Family is the fourth and final full-length album by Miracle Legion, and the only recorded on The Mezzotint Label, released in 1996.
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Weidenaar, Reynold H. “The Forgotten Art of Mezzotint.” American Artist. September 1948. Weidenaar, Reynold H. “Printmaker into Watercolorist.” American Artist 28, no. 9 (November 1964), p. 36+.
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Nymphs by a Fountain, an atypical mythological work Lely played a significant role in introducing the mezzotint to Britain, as he realized its possibilities for publicising his portraits. He encouraged Dutch mezzotinters to come to Britain to copy his work, laying the foundations for the English mezzotint tradition. Lely lived from about 1651 to 1680 at No. 10-11 Great Piazza, Covent Garden. He was knighted in 1679.
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The head by Hunter, the figure by Doughty; in robes. [Nuneham Courteney, Oxfordshire.] Simon, Earl Harcourt, Lord Lieutenant. [Belfast Art Gallery.] Engraved in mezzotint by E. Fisher, 1775.
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William, Lord Newbattel, afterwards 5th Marquess of Lothian. Engraved in mezzotint by E. Fisher, 1769, Robertus Hunter Dublinii pinxt.1762. Sir Edward O'Brien, 2nd Bart. [Earl of Inchiquin.
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James Ward. Madame Chevalier in the Character of Virginia (after Ch. Henard). Coloured mezzotint. 1799 Louise Chevalier (1774 - died after 1801), was a French actor and opera singer.
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Paul the apostle, mezzotint by Nicolaas Verkolje after a painting by Linschoten. Adriaen Cornelisz. van Linschoten (1590 in Delft - 1677 in The Hague), was a Dutch Golden Age painter.
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Thomas Lewis Atkinson, Portrait of Giuseppe Garibaldi, 1860. Mezzotint after a painting by Alessandro Ossani. Thomas Lewis Atkinson (4 April 1817 in Salisbury - 1898) was an English reproductive engraver.
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Biographical details of Jan van der Vaart in the Netherlands Institute for Art History Many of Wissing's portraits of prominent sitters and his self-portrait were disseminated in mezzotint.
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John Young (1755–1825), mezzotint engraver and keeper of the British Institution, was born in 1755, and studied under John Raphael Smith. He became a very able engraver, working exclusively in mezzotint, and executed about eighty portraits of contemporary personages, from pictures by Hoppner, Lawrence, Zoffany, etc., as well as some subject pieces after Morland, Hoppner, Paye, and others. His finest plate is the prize fight between Broughton and Stevenson, after Mortimer.
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Early mezzotint by Vaillerant, Siegen's assistant or tutor. Young man reading, with statue of Cupid. 27,5 x 21,3 cm In Amsterdam Siegen must have been aware of Rembrandt's increasingly tonal etchings, achieved by conventional methods, filling in the dark areas by repeated lines. In Italy at the same time Giovanni Benedetto Castiglione was also exploring the possibilities of tonality in printmaking, leading him to invent monotyping at almost the same moment as Siegen invented mezzotint.
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266 In addition to his portrait prints, Verkolje also produced prints of mythological scenes and genre scenes, some after Jacob Ochtervelt and Hendrick Terbrugghen.Jan Verkolje at the Rijksmuseum A well- known mezzotint work of Verkolje is the Venus and Adonis. It was made after a painting by Verkolje the whereabouts of which is now unknown. In the work Verkolje demonstrates his mastery of the mezzotint technique for which he was much admired in his time.
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Love Sheltered and The Red Cross Knight were both engraved in mezzotint, as were portraits of the Marquess of Normanby, Lord Penrhyn, Nathan Drake, Sir William Weller Pepys, Sir James Campbell, and Emily St ClareHenry Thomson (1773-1843), Painter and illustrator at npg.org.uk and a depiction of Titania, the last engraved by William Say and published by Richard Lambe in 1811.Titania mezzotint at britishmuseum.org Thomson also illustrated Sharpe's Poets and other books.
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Mitchell engraved in mezzotint Tapageur, a fashionable Member of the Canine Society, after Sir Edwin Landseer (1852) and The Parish Beauty (1853) and The Pastor's Pet, a pair after Alfred Rankley (1854). In the mixed style he engraved The Happy Mothers and The Startled Twins, a pair after Richard Ansdell, R.A. (1850), and Christ walking on the Sea, after Robert Scott Lauder (1854). Several of his etched plates were completed in mezzotint by other engravers.
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There are two pictures of Charles Mayne Young. One is another watercolour on ivory, painted in 1824. The other is a mezzotint published in 1826 but is not on display.
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G. Macartney, Lissanoure, Co. Antrim.] Samuel Madden. Engraved in mezzotint by R. Purcell, 1755, and in stipple, bust only, by S. Harding for "European Magazine," 1802. John Mears, Presbyterian Minister.
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Sir George Clausen (18 April 1852 – 22 November 1944) was a British artist working in oil and watercolour, etching, mezzotint, dry point and occasionally lithographs. He was knighted in 1927.
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Thomas Oldham Barlow (4 August 1824 - 24 December 1889) was an English mezzotint engraver. His prints helped to popularise the works of painters like John Phillip and Sir John Everett Millais.
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Mezzotint by Dunkarton & Ward after W. R. Bigg, The Soldier's Widow, dated 1800. Note the two cricket bats on the left. 1800 in sports describes the year's events in world sport.
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Reynolds was born on 4 July 1773. His father was born in the West Indies, the son of a planter, but, being sent in his youth to England for education, settled there permanently, and married Reynolds' mother, Sarah Hunt. Reynolds studied in the schools of the Royal Academy, and under the mezzotint engravers Charles Howard Hodges Whitman, p.1; an early mezzotint is inscribed "Engraved by S.W. Reynolds, late pupil to C.H. Hodges." and John Raphael Smith.
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1724 mezzotint of Sir John Coke, after unknown artist. A leading English mezzotint engraver, he was the first to make use of etched lines to strengthen the work. White's plates number about sixty, the most of them he published himself, and include portraits of William Dobson, bishop George Hooper, Tycho Wing, and Old Parr. White, like his father, drew portraits in pencil on vellum; he also practised in crayons, and latterly took to painting in oils.
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This was engraved as a mezzotint by John Smith and published in 1699. Another portrait of Louisa Maria with her brother, depicting him as an angel, is in the Royal Collection and is again attributed to Belle.Prince James Francis Edward Stuart with his sister, Princess Louisa Maria Theresa at royalcollection.org.uk (accessed 9 February 2008) A portrait with a cavalier King Charles spaniel was engraved as a mezzotint by Bernard Lens the Younger and published c. 1700.
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The Great Executioner is a mezzotint by the soldier and amateur artist Prince Rupert of the Rhine (1619-1682), finished in 1658. The subject of the picture is the execution of John the Baptist, after Jusepe de Ribera's painting. Rupert had become interested in mezzotint design during his time in Europe during the Interregnum following the English civil war, and there is an extensive debate over Rupert's role in the invention of the technique itself.Spencer, p.251.
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A portrait of Gulston is prefixed to Nichols's 'Literary Illustrations,' vol. v. There are mezzotint engravings of Gulston and of his wife by James Watson and Richard Earlom after paintings by Hamilton.
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In 1773 he received a premium from the Society of Arts, and about three years after this he died. He engraved in mezzotint several portraits, and a few plates of historical subjects.
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Mezzotint artist rendition of General Howe, by Charles Corbutt, ca. 1777. Issue of 1926. . John Fortescue's History of the British Army says that Howe's casualties numbered 214 British and 99 Hessians.Boatner, p.
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Ruskin then encouraged him to specialise in engraving, which he studied under John Henry Le Keux the line engraver; he also studied mezzotint under Thomas Goff Lupton. Allen's duties for Ruskin were various.
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Parsons was a member of the Incorporated Society of Artists, and served as director in 1775 and the following years, and as their treasurer in 1776. A portrait of James Brindley the engineer, by Parsons, was engraved in mezzotint by R. Dunkarton in 1770, and published by Parsons at his house in Great Ormond Street, London. The same portrait was also engraved by Cook. Another portrait of Cunne Shote, a Cherokee chief, by Parsons, was engraved in mezzotint by J. McArdell.
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Engraved in mezzotint by James McArdell. Henry, 12th Earl and 1st Marquess of Clanricarde, in robes as Knight of St. Patrick. [Countess of Cork, Charles Street, Berkeley Square.] Engraved in stipple by W. Sedgwick.
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A small print by E. Bocquet was published by J. Scott, Strand, London, in 1806. George, Earl Temple, Lord Lieutenant, afterwards Marquess of Buckingham. [Deanery House, St. Patrick's.] Engraved in mezzotint by William Sadler.
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Peter Lely, engraving by Beckett and John Smith after a self-portrait, c. 1684. Isaac Beckett (1653 – 1719) was an English mezzotint engraver, one of the first practitioners of the art in the country.
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Atelier 17 artists worked with established and experimental techniques including multi-color printing and textured patterns. Among the techniques used were aquatint, color offset printing, etching, the Grible Method, liftground, line engraving, and mezzotint.
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Some of the noted portraits that in the past were attributed to Frederick are now considered to be by him. A number of his portraits were engraved in mezzotint by engravers including John Smith.
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There is no evidence that he really engraved them, but the inscriptions do indicate the work of a non-Englishman. They are interesting as being among the earliest specimens of mezzotint engraving done in England.
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Engraved in mezzotint by J. Stolker and inscribed, "Avia"; also by C. H. Hodges. Etched by J. de Frey and Rajon. Copied in Indian ink by J. Stolker with the apocryphal inscription, "Francoise van Wassenhoven".
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Sometimes leaves are spread across the trees, adding more movement and increasing the technical challenge.Grace, Introduction, in Intaglios, 3–4. Piersol, 14–15. Window w/vase & forest (2000)Window w/vase & forest (2000), mezzotint, ed.
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Mezzotint portrait of Sir Walter Mildmay, founder of Emmanuel College, Cambridge, by John Faber Senior. Mezzotint portrait of William Smyth, Bishop of Lincoln, and founder of Brasenose College, Oxford, by John Faber Senior. Faber was noted for the small portraits which he drew from the life on vellum with a pen, one being of Simon Episcopius.m He engraved many portraits from the life, among them being those of Francis Atterbury, Hans Caspar von Bothmer, John Hough, and Henry Sacheverell, besides numerous portraits of dissenting clergy.
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Daphne Reynolds ( Dent; 12 January 1918 – 12 December 2002) was an English printmaker in mezzotint and painter. She began painting full-time in 1950, with her earliest works produced from watercolours and later oil. One of her painting was selected by Harold Wilson, the Prime Minister, to be hung as a decoration in his study in 10 Downing Street. Reynolds became known for her studying of the arid landscapes of Arizona and New Mexico in 1968 but switched to mezzotint printmaking in middle-age.
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During this period Rupert became closely involved in the development of mezzotint, a "negative" or intaglio printmaking process which eventually superseded the older woodcut process. Rupert appears to have told a range of associates that he had conceived of the mezzotint process through having watched a soldier scrape the rust from the barrel of his musket during a military campaign. John Evelyn credited Rupert as the inventor of the technique in 1662, and Rupert's story was further popularised by Horace Walpole during the 18th century.Salaman, p.60.
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The metal bird/human sculpture is real and was given to Escher by his father-in-law. This sculpture appears again in Escher's later prints Another World Mezzotint (Other World Gallery) (1946) and Another World (1947).
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He used the mezzotint method to engrave three or four metal plates (one each per printing ink) to make prints with a wide range of colours. His methods helped form the foundation for modern colour printing.
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Elizabeth Aldworth in Masonic regalia, from a mezzotint of 1811 There have been a few reported cases of a woman joining a "masculine only" masonic lodge. These cases are exceptions and are debated by masonic historians.
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The Art of Etching and Mezzotint. spring 2005 p.16. Coronato is very successful intaglio printmaker who has produced numerous images. He was dubbed the "Leonardo da Vinci of Cowboy Art" by the New York PostEllwood,Mark.
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Mezzotint achieves tonality by roughening the plate with thousands of little dots made by a metal tool with small teeth. In a letter of 6 March 1641 to the Landgravine, Siegen announced that he had begun a portrait of her, and hinted that he would appreciate some money. News of his conversion had just reached the court, and the response seems to have been restrained. In August 1642, he finally finished the first known mezzotint engraving, a portrait of the Landgravine Amalia Elisabeth, Regent of Hesse-Kassel, the widow of his former employer.
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John Smith after Godfrey Kneller, usually thought to be a portrait of his daughter, Catherine Voss, by his mistress.Portrait of Miss Voss as St Agnes 1690s Mezzotint is a printmaking process of the intaglio family, technically a drypoint method. It was the first tonal method to be used, enabling half- tones to be produced without using line- or dot-based techniques like hatching, cross-hatching or stipple. Mezzotint achieves tonality by roughening a metal plate with thousands of little dots made by a metal tool with small teeth, called a "rocker".
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Mezzotint "Three Maries". Say became a popular engraver, working entirely in mezzotint. Between 1801 and 1834 he executed 335 plates, a large proportion of which were portraits of contemporary celebrities, from pictures by William Beechey, John Hoppner, Thomas Lawrence, James Northcote, Joshua Reynolds, and others. Say's subject- plates include Correggio's Holy Family with St. Catherine, Murillo's Spanish peasant boys, Raphael's Madonna di San Sisto, and William Hilton's Raising of Lazarus, He engraved one of Reynolds's two groups of members of the Dilettanti Society, and compositions by Henry Thomson, Henry Fradelle, Alfred Edward Chalon, and others.
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"Sunday Morning by Dox Thrash", The Metropolitan Museum of Art, Retrieved 28 July 2018. At the Fine Print Workshop of Philadelphia, Thrash, along with Michael J. Gallagher and Hubert Mesibov, began experimenting and co-inventing the process of carborundum mezzotint, a printmaking technique. Carborundum printmaking uses a carbon-based abrasive to burnish copper plates creating an image that can produce a print in tones ranging from pale gray to deep black. The method is similar to the more difficult and complicated mezzotint process developed in the 17th century.
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Priscilla Kemble in character as Miss Peggy, in The Country Girl by David Garrick, engraving by Joseph Collyer after Daniel Dodd Mainly producing portraits in crayons on a small scale, Dodd painted sometimes in oils. His portraits included Margaret Caroline Rudd, and Nathan Potts of the Robin Hood Society (engraved in mezzotint by Butler Clowes). Some portraits by Dodd were etchings, one being a portrait of Richard Leveridge after Thomas Frye. "Buckhorse" the pugilist was a favourite subject; besides painting his portrait, he engraved it in mezzotint himself.
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The artist stated that he only painted for a livelihood, but printmaking was his real passion. Unterberger's printmaking is not particularly well-known, although some of his prints were included in the British Museum's 1994 exhibition and catalogue 'Printmaking in the Age of Goethe'. He did not engage in printmaking until he returned to Vienna from Rome in 1773, when he applied himself exclusively to the mezzotint. His inventions included an excavating machine for digging canals, a foot-pedal for the harp, and a machine for preparing mezzotint plates.
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Mezzotint print by Edward Fisher Reynolds made this painting mainly in 1760–1761, around the same time he was working on a portrait of Laurence Sterne. Edward Edwards called it Reynolds's "first attempt in historical composition". The painting had a mixed reception when it was first published, with some arguing it showed Reynolds' painting skills, while others disagreed. Edward Fisher created a mezzotint for the painting in 1762 before he exhibited it in May 1762 at the Society of Artists in 1762 as Mr. Garrick, between two muses of tragedy and comedy.
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Early mezzotint by Wallerant Vaillant, Siegen's assistant or tutor. Young man reading, with statue of Cupid. Probably made using light to dark technique. The first mezzotints by Ludwig von Siegen were made using the light to dark method.
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Map, The United States of America with the British possessions of Canada, 1794 Robert Laurie (c. 1755–1836) was an Anglo-Scottish mezzotint engraver and publisher. He signed his name as Lowery, Lowry, Lowrie, Lawrey, Lawrie, or Laurie.
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Henry Hope in 1788, mezzotint by Charles Howard Hodges after a now-lost painting by Sir Joshua Reynolds. Henry Hope (1735–1811) was an Amsterdam merchant banker born in Boston, in Britain's Massachusetts Bay Colony in North America.
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Andrew Snape (1675–1742) was an English cleric, academic and headmaster, provost of King's College, Cambridge from 1719. Andrew Snape, mezzotint by John Faber the Elder. A smaller version was also published, as a portrait of Orator Henley.
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Portrait of a Damaged Family was released under The Mezzotint Label in 1996 on CD only. In 2016, the album was re-released on vinyl, CD, and digital formats. This reissue featured a revised track listing and artwork.
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John de Balliol, mezzotint, ca. 1731 John de Balliol (before 1208 – 25 October 1268) was a leading figure of Scottish and Anglo-Norman life, belonging to the House of Balliol. Balliol College, in Oxford, is named after him.
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In the early 1930s the tiny group claimed four members who had attained membership in the National Academy of Design. G. H. Rothe, the Mezzotint painter, lived for a time in Carmel and built two studios there in 1979.
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Another piece of glass was added to the back and this could also be coloured by hand. Both pieces of glass were bound together creating a detailed, albeit fragile, image. The process was derived from the 18th century mezzotint process.
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Portrait of soprano Fanny Ayton. Mezzotint by George H. Phillips, after Richard Westall Portrait of Fanny Ayton, engraved by Benjamin Holl Fanny Ayton (1806–1891) was an English soprano known for her operatic performances in London in the late 1820s.
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Artist's self-portrait with a cigaret, 1898 Sunshine Falling on a Door, mezzotint in black, Vess Collection Peter Ilsted (14 February 1861 – 16 April 1933) was a leading Danish artist and printmaker. He was most associated with domestic interior scenes.
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This ambitious plate – 82 cm across. – was the first individual print to be made after one of the artist's paintings. In that year he also began work on the Liber Studiorum, working in mezzotint over outlines etched by J.M.W. Turner.
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Portrait of Amelie Elisabeth von Hessen, the first known mezzotint, by Ludwig von Siegen, 1642 Ludwig von Siegen (c. mars 1609 Cologne – c. 1680 Wolfenbüttel, Germany) was a German soldier and amateur engraver, who invented the printmaking technique of mezzotint, a printing-process reliant on mechanical pressure used to print more complex engravings than previously possible. He was a well-educated aristocrat, and a Lieutenant-Colonel who commanded the personal guard of William VI, Landgrave of Hesse-Kassel (or Hesse-Cassel), and acted as a personal aide to the ruler, with the title kammerjunker or Chamberlain.
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It is, however, possible to create the image by only roughening the plate selectively, so working from light to dark. Mezzotint is known for the luxurious quality of its tones: first, because an evenly, finely roughened surface holds a lot of ink, allowing deep solid colors to be printed; secondly because the process of smoothing the texture with burin, burnisher and scraper allows fine gradations in tone to be developed. The mezzotint printmaking method was invented by Ludwig von Siegen (1609–1680). The process was used widely in England from the mid-eighteenth century, to reproduce oil paintings and in particular portraits.
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His earliest etching, the 'Head of Windermere,' dates from 1864. After some early experiments in etching and engraving Finnie adopted mezzotint as his favourite process in 1886. Though he exhibited pictures at the Royal Academy from 1861 onwards, and also at the British Institution and in Suffolk Street, he was best known in London by his original mezzotint engravings of landscape, exhibited at the Royal Academy and the Royal Society of Painters, Etchers, and Engravers, of which he became an associate on 24 October 1887, and a fellow on 6 April 1895. He sent forty-seven contributions in all to the society's gallery.
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Profile of Claude Mercier in the Dictionary of Pastellists Before 1800. Two portraits, of Madeleine Marie Agathe Renée de la Bigotière de Perchambault and of Olivier- Joseph Le Gonidec, are in the collection of the National Museum of Women in the Arts; both are pastels, and are dated 1757. A mezzotint after her father, Miss Playing with Cup and Ball, is owned by the National Portrait Gallery, London, which also owns a mezzotint portrait of her, after another of her father's works, by James Macardell, published in 1756. Mercier is sometimes confused with the artist Claude Mercier, also active as a pastellist.
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Elizabeth Montagu, mezzotint engraving, by John Raphael Smith after a portrait by Sir Joshua Reynolds, published 10 April 1776, 20 x 14 inches. In 1776 the Reynolds original was in possession of her cousin, the Lord Primate of Ireland, Richard Robinson, 1st Baron Rokeby.Now recorded as part of National Trust collection, item NT 592596, mezzotint, Treasurer's House, York, but not on show. Elizabeth Montagu (née Robinson; 2 October 1718 – 25 August 1800) was a British social reformer, patron of the arts, salonnière, literary critic and writer, who helped to organize and lead the Blue Stockings Society.
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Martin published mezzotint engravings in 1826 and 1832. The original painting is now held in a private collection; two smaller contemporaneous "sketches" are held by the Yale Center for British Art in New Haven, Connecticut and the Wadsworth Atheneum in Hartford, Connecticut.
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Stephen College (also Colledge) (c.1635–1681) was an English joiner, activist Protestant, and supporter of the perjury underlying the fabricated Popish Plot. He was tried and executed for high treason, on somewhat dubious evidence, in 1681. Stephen College, 19th century mezzotint.
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Sir Michael Newton, 4th Baronet. Mezzotint, after a portrait by an unknown artist, published in 1774. Sir Michael Newton, 4th Baronet, (ca. 1695 – 6 April 1743) was an English landowner and politician who sat in the House of Commons from 1722 to 1743.
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Richard Earlom A Blacksmith's Shop (1771), after a painting by Joseph Wright. 'The Academicians of the Royal Academy (1773), after mezzotint by Johan Joseph Zoffany Richard Earlom (baptised 14 May 17439 October 1822) was an English mezzotinter. for the full dates of birth and death.
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Richard Cosway painted an oil portrait of Shipley, and there is also a portrait, drawn and engraved by William Hincks, in the National Portrait Gallery. There is a mezzotint by John Faber Junior of a painting by Shipley of a man blowing a lighted torch.
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Lewis transformed numerous natural history paintings by Philip Reinagle into aquatints. His superlative skills as engraver led to frequent commissions from Royalty, and to his contribution to J. M. W. Turner's Liber Studiorum, a collection of seventy-one etchings with mezzotint, greatly influencing landscape painting.
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Agaate Veeber's first public exhibition was in 1926 at Tallinn's Harjumäe Park Pavilion. By the mid-1920s, she had largely abandoned painting and concentrated on graphic art: drawing, and printmaking in mezzotint, drypoint, aquatint, woodcutting, and monotyping.vaal.ee Asi, Harri. Endel Kõksi ja Agaate Veeberi graafikast.
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The first known mezzotint was done in Amsterdam in 1642 by Utrecht-born German artist Ludwig von Siegen. He lived in Amsterdam from 1641 to about 1644, when he was supposedly influenced by Rembrandt.Hind, Arthur M. (1963). A History of Engraving and Etching, p.
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A gallery owner and friend suggested that, if she wanted to earn a living from her artwork, it might be more efficient to create prints than paintings. As she delved into different printmaking techniques, Rothe became intrigued by mezzotint, which, while requiring a high level of skill and patience working by hand directly on the copper, permits the nuance of every line and detail to be seen. Combining the knowledge from her studies in anatomy, art history, goldsmithing, and drawing, she arrived at an original process that allowed her to achieve detailed transparencies with mezzotint. Another innovation was a method of applying and hand-wiping all colors on the same plate.
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He evidently enjoyed a bargain, and his careful catalogue of his collection notes many higher prices paid at auction for prints he had bought for little.Griffiths, 139 British mezzotint collecting was a great craze from about 1760 to the Great Crash of 1929, also spreading to America. The main area of collecting was British portraits; popular oil paintings from the Royal Academy Summer Exhibition were routinely, and profitably, reproduced in mezzotint throughout this period, and other mezzotinters reproduced older portraits of historical figures, or if necessary made them up. The favourite period to collect was roughly from 1750 to 1820, the great period of the British portrait.
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A pencil preparatory sketch is held by the National Library of Australia as part of the Rex Nan Kivell Collection, and Yale University Art Gallery has an oval oil sketch. The painting was reproduced as a mezzotint by Johann Jacobé, published by John Boydell in 1780.
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Mezzotint by Brooks of Hugh Boulter, after Francis Bindon. Brooks' first known work was executed in line-engraving at Dublin in 1730. The earliest engraved portrait of Peg Woffington is that by Brooks, dated June 1740. Between 1741 and 1746 Brooks produced at Dublin mezzotinto portraits and engravings.
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The piece was created in 1921 and was based on an oil painting by Joshua Reynolds. It is a mezzotint print, and thought to portray the struggles of the British working class after World War I, as young girls would often sell strawberries in order to support their family.
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His artistic activity is reflected in different forms of arts: he draws, paints, but first of all he creates prints. He employs both traditional techniques using metal plates (mezzotint, etching) but for quite a long time he has been using digital techniques and moving picture with his own music.
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The Peasant's Integrity, by William Barnard, Pushkin Museum, 1802 William Barnard (1774–1849) was English mezzotint engraver. Barnard primarily lived and worked in London. He made a series of engravings of Lord Nelson. He also made other types of engraving, for example for a grocer, that were frankly promotional.
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He died in London, a bachelor, and his nephew Arnold continued his restoration business.Horace Walpole, 'John Vander Vaart' in: Anecdotes of painting in England, 1717-1797, p. 306 Portrait of a Violin He was probably the teacher of the famous English mezzotint engraver John Smith (1652-1742).Richard Jeffree.
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Portrait of two sisters and their brother playing with a dog Verkolje was a versatile artist who worked as a painter, draughtsman and engraver. His subject matter was mainly portraits and genre scenes. He was also a gifted mezzotint artist, who according Houbraken, discovered the technique on his own.
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The painting followed a period of relative lack of success for Millais, and its similarity to A Huguenot is widely interpreted as an attempt to repeat his earlier success. It was engraved in mezzotint by T.L. Atkinson in 1864. Millais also painted two watercolour copies of the composition.
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1729–1765) exists in the National Portrait Gallery.Samuel Richardson or possibly Zachary Hamlyn, by James Macardell, after Joseph Highmore, mezzotint, 1752, NPG D39726 A relief sculpted portrait bust exists on his mural monument in Clovelly Church. (See full text on Wikisource of s:Last Will and Testament of Zachary Hamlyn).
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Major's work often appeared in group exhibitions. He made gravestone photographs from the beginning of the 1970s. In the mid-1970s, he destroyed a significant part of his work. In the 1960s, he experimented with mezzotint, line engraving, aquatint, acids on steel plates and imprints into vernis mou.
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The engraver and map publisher Peter Schenk was born in 1660 in Elberfeld. He moved to Amsterdam in 1675 and became a student of Gerard Valck specializing in mezzotint. Valck was married to Maria Bloteling, the sister of the Amsterdam engraver Abraham Bloteling. In 1687 Schenk married Gerard's sister Agatha Valck.
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Marchi took up mezzotint engraving, and from 1766 to 1775 exhibited engravings, as well as an occasional picture with the Society of Artists, of which he was a member. His plates included portraits of Miss Oliver (1767), Miss Cholmondeley (1768), Mrs. Bouverie and Mrs. Crewe (1770), Oliver Goldsmith (1770), Mrs.
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"The Macaroni. A real Character at the late Masquerade", mezzotint by Philip Dawe, 1773 "What is this my Son Tom?", 1774 A macaroni (or formerly maccaroni)OED; Compare fop. in mid-18th-century England was a fashionable fellow who dressed and even spoke in an outlandishly affected and epicene manner.
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Robert Woodlark. Coloured mezzotint Robert Woodlark (also spelled Wodelarke) was the Provost of King's College, Cambridge, and the founder of St. Catharine's College, Cambridge. He was also a professor of Sacred theology at the University. Woodlark was appointed Provost of King's in 1452, eventually being succeeded in 1479, by Walter Field.
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Self-portrait by Charles Turner Charles Turner (31 August 1774,Royal Academy Woodstock, Oxfordshire – 1 August 1857) was an English mezzotint engraver and draughtsman who specialized in portraiture. He collaborated with J. M. W. Turner (to whom he was not related) on the early plates of the same's Liber Studiorum.
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September 1948 – His article on the mezzotint technique is published in American Artist. October 1948 – Awarded Louis Comfort Tiffany Foundation Scholarship. April 1949 – Elected Associate member (designated as A.N.A.) of National Academy of Design, New York. 1954 - Begins painting watercolors. 1956 - Joins faculty at Kendall School of Design (continuing through 1975).
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15 Cheyne Walk, Chelsea, London, where Ryall once lived Henry Thomas Ryall (August 1811 - 14 September 1867) was an English line, stipple and mixed- method engraver and later used mixed mezzotint. Ryall was appointed the royal engraver by Queen Victoria. Forty of his works are in the National Portrait Gallery in London.
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Their subsequent children were Harriet, Charles, Cecilia, and Alfred. The family lived in Cow Lane, Clerkenwell, London and then Little Queen Street, Holborn, London. Edward and Isabella produced a puppet show in 1775 and 1780. Isabella created a frontispiece with a mezzotint portrait of Edward, with images reflecting "Laughter", "Gravity", and "Misery".
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He was born in Normandy of a Huguenot family about 1675, and studied line engraving in Paris. Coming as a refugee to England early in the reign of Queen Anne, he took up mezzotint, which was then in vogue, with great success. Simon worked until about 1742, and died on 22 September 1751.
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Wesley on his deathbed: "The best of all is, God is with us". Mezzotint by John Sartain. Wesley's health declined sharply towards the end of his life and he ceased preaching. On 28 June 1790, less than a year before his death, he wrote: > This day I enter into my eighty-eighth year.
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Born in The Hague, Dutch Republic, Faber initially worked in Amsterdam as a miniaturist. He moved to England in the late 1690s. In 1707 Faber was settled in The Strand, near the Savoy Hospital, where he kept a print-shop, and practised as a mezzotint engraver. He died at Bristol in May 1721.
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He executed for publication a series of outline illustrations to the works of Virgil, of which two numbers were published, and also a series of illustrations to Ossian, of which two were engraved in mezzotint, but never published. He made similar drawings to illustrate Horace and the Bacchæ and Ion of Euripides.
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Frye's mezzotint figures (left) are thought to have inspired those of Wright (right). Frye's chalk drawing (left) was obviously the inspiration for this observer (right). The powerful central light source creates a chiaroscuro effect. The light illuminating the scene has been described as "so brilliant it could only be the light of revelation".
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Engraving of Dudley Digges by Charles Turner Ch. Turner after Robert Fagan. Sarah Capell-Coningsby, Countess of Essex. 1816. Mezzotint. Turner was born at Woodstock in Oxfordshire. His father, also named Charles, was an excise officer, and his mother, Jane was a former paid companion to the Duchess of Marlborough at Blenheim Palace.
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The multitalented Silo produced not only paintings but also prints and drawings, which also exclusively depicted maritime scenes. Over 20 etchings by Silo are known. He also experimented with the mezzotint technique. In his later years, he worked as an instrument builder, making musical instruments, binoculars, magnifying glasses, and telescopes, among others.
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He was born in Seagrave, Leicestershire to Charles and Elizabeth Marshall. He initially focused on portrait painting, until at the age of 26 he began to concentrate on horses. He exhibited thirteen pictures, chiefly portraits of racehorses and their owners, at the Royal Academy, 1801–12 and 1818–19. His portraits of sporting characters included those of J. G. Shaddick, 1806, and Daniel Lambert, 1807. Two pictures of fighting cocks, exhibited in 1812, were engraved in mezzotint by Charles Turner in the same year with the titles of The Cock in Feather and The Trimm'd Cock. Other engraved pictures are Hap-hazard and Muly Moloch, racehorses belonging to the Earl of Darlington, engraved as a pair by W. and G. Cooke, 1805, from pictures at Raby Castle; The Earl of Darlington and his Foxhounds, by T. Dean, 1805, and the companion subject, Francis Dukinfield Astley and his Harriers, by R. Woodman, 1809; Sir Teddy, mezzotint by Charles Turner, 1808; Sancho, a pointer belonging to Sir John Shelley, etched by Charles Turner in 1808; and Diamond, a racehorse, engraved in mezzotint by W. Barnard in 1811.
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The print was advertised in "Faulkner's Journal," 4 November 1752: "A half-length etched print of the facetious Tom Echlin, from an original painting extremely like." In 1753 Hunter painted a portrait of Sir Charles Burton, Lord Mayor, which was afterwards engraved in mezzotint by J. McArdell; and ten years later, in 1763, the Dublin Society awarded him a premium of ten guineas for a full-length portrait of Lord Taaffe, which was engraved in mezzotint the same year by John Dixon. He contributed six works, including a "Susanna and the Elders," to the exhibition of the Society of Artists in George's Lane in 1765, and was then living in Bolton Street. In 1766 he was in Stephen Street, and from 1769 at 16 Stafford Street.
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They could then be hung in the small blank spaces of the elaborately decorated paneling of residences.Alpheus Hyatt Mayor, Prints & People: A Social History of Printed Pictures, Metropolitan Museum of Art (New York, N.Y.), 1 January 1971, p. 589 A group of soldiers, in crayon manner technique by Gilles Demarteau after Charles André van Loo In England the technique was used for "furniture prints" with a similar purpose, and became very popular, though regarded with disdain by producers of the portrait mezzotints that dominated the English portrait print market. Stipple competed with mezzotint as a tonal method of printmaking, and while it lacked the rich depth of tone of mezzotint, it had the great advantage that far more impressions could be taken from a plate.
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His patron was the family of George II, and he painted the queen, the three royal princesses, and George III as a boy. Many of his portraits, including Sir Robert Walpole, the speaker Arthur Onslow, Dr. John Theophilus Desaguliers, James Gibbs (the architect), were engraved in mezzotint by John Faber (1695–1756), and others.
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Square or V-point gravers are typically square or elongated diamond-shaped and used for cutting straight lines. V-point can be anywhere from 60 to 130 degrees, depending on purpose and effect. These gravers have very small cutting points. Other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects.
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Tooke died at 12 Russell Square, London, on 20 September 1863, and was buried in Kensal Green Cemetery. His portrait was painted by J. White for the board-room of the governors and directors of the poor of the parishes of St. Andrew, Holborn, and St. George's, Bloomsbury, and engraved in mezzotint by Charles Turner.
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Thomas died at Winchester Palace, on 1 May 1781, and was buried in Winchester Cathedral. There are portraits of the bishop at the palaces of Salisbury and Lambeth, and a fine mezzotint engraving (three-quarter length in robes of the Garter) by R. Sayer from a picture by Benjamin Wilson, published on 24 January 1771.
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96 insights into capabilities of mezzotint in rendering artificial light, evidenced by his series of Fireworks. These prints, commemorating the victories of the Williamite War in Ireland, were "the essential component of representational amplification in politics" of the period.Worrall, p. 153 Bernard Lens II was the father of better known miniaturist Bernard Lens III.
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The 'Account of Richard Leveridge' in The European Magazine (cited above, p. 244), attributes the portrait to Nathaniel Hone the Younger, but corrects itself on p. 364. and the other a mezzotint by Andreas van der Mijn after the portrait by Frans van der Mijn.See portrait Accession NPG D5069 at National Portrait Gallery website.
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Thomas Dyke Acland (right) with his mother Lydia Elizabeth Hoare (centre) and Arthur Henry Dyke Acland (left). Mezzotint by Samuel Cousins, 1826. Acland was the eldest son of Sir Thomas Dyke Acland, 10th Baronet and his wife Lydia Elizabeth Hoare. Among his siblings was prominent physician, Sir Henry Wentworth Acland, and politician John Acland.
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One of the seven Raphael Cartoons in Kirkall's 1722 mezzotint edition Born in Sheffield, Kirkall was son of a locksmith. Around 1702 he came to London, and found employment in the book trade. He also studied drawing at Great Queen Street Academy. Kirkall married early in life, to Elizabeth; a second wife was called Deborah.
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John Savage after Laroon. Laroon became known for small portraits and conversation pieces. He also painted small pictures, on humorous or free subjects, in the style of Egbert van Heemskerk, some of which were engraved in mezzotint by Isaac Beckett and John Smith. He also made some etchings and mezzotints on similar subjects himself.
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She was born to the Rev. Samuel Reynolds and his wife Theophilia in Plympton, Devon. Among her siblings was the acclaimed artist Sir Joshua Reynolds, who used her as a model for works which were widely copied in mezzotint. The two would later quarrel over Joshua's lack of piety and over her husband's precarious financial situation and eventual bankruptcy.
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Sarah, Countess of Essex. 1816. Mezzotint by Charles Turner after Robert Fagan. Edward Courtenay, 1st Earl of Devon (d.1556), copy portrait by Sarah, Countess of Essex, published in Memoirs of the Court of Queen Elizabeth (1825) Copy c. 1800 of portrait of Edward Courtenay, 1st Earl of Devon (d.1556) by Steven Van Der Meulen (c1543-1564).
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Gulland produced oil and water color paintings, book covers for American authors, sketches, and mostly mezzotint engravings. The subjects of her paintings included portraits, figures and flowers. Most of Gulland’s pieces were inspired, and even modeled, by 18th century Rococo portraits. A portrait that best illustrates her work is titled The Strawberry Girl after Joshua Reynolds.
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Their track "Hey Sandy" became the show's theme song, and the band themselves appeared in at least one episode (Season 1, "Hard Day's Pete"). In 1996, after the legal issues associated with their run with Morgan Creek were resolved, the band put out their final release to date Portrait of a Damaged Family on Mulcahy's own Mezzotint Records label.
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A mezzotint of Hackman by Robert Laurie, after Robert Dighton, was published in 1779.James Hackman (1752-1779), Murderer at npg.org.uk, the web site of the National Portrait Gallery (accessed 17 March 2008) Another engraving of Hackman (artist unknown) was used as an illustration in The Case and Memoirs of the Late Rev. Mr James Hackman (1779).
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Sometimes other intaglio printmaking techniques were used: engraving, mezzotint and aquatint, all of which used more specialized actions on the plate. Artists then had to learn the mysteries of "biting" the plate with acid;Metropolitan Museum of Art, "Etching", technical explanation with video clips this was not needed with pure drypoint, which was one of its attractions.
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William III, by Bernard Lens II Bernard Lens II (1659–1725) was an English engraver, pioneer of mezzotint technique, and publisher. Bernard Lens II was the son of Bernard Lens I, "an obscure painter"Salaman, The Old Engravers of England, p. 76 of Dutch origin. Bernard Lens I practiced enamel technique and also authored religious treatises.
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Father and son collaborated on joint projects, for example during the 1710 tour of Native American chiefs to England. On the last day of their stay in London Bernard Lens III produced miniature portraits of the "Four Kings";Vaughan, p. 123 Bernard Lens II copied these portraits in mezzotint, including a widely copied leaflet presenting all four portraits.Vaughan, pp.
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Walker's work consists of about one hundred portraits of eminent contemporaries, after various oil painters, chiefly in mezzotint, all published by himself. Additionally, Walker created some interesting subject-pieces. His most famous work is the engraving of Robert Burns based on Alexander Nasmyth's famous portrait. This engraving was used many times in printed versions of Burns' poems.
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Sir John Moore, Lord Mayor of London, mezzotint by James Macardell after portrait by Sir Peter Lely. Sir John Moore (11 June 1620–2 June 1702) was the Member of Parliament for the City of London from 15 May 1685 to 9 January 1687, and Lord Mayor of London, 1681–82. He also invested in the slave trade.
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John Hancock (British mezzotint, 1775) was a perennial opponent of Bowdoin in matters political and personal. Bowdoin as named as a delegate to the First Continental Congress in 1774 but did not attend, citing the poor health of his wife.Morse, p. 22 A bout of poor health, probably caused by tuberculosis, at the time also affected him.
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Elisha Kirkall produced the mezzotint engravings. Each plate was dedicated to a patron and showed an engraved coat-of-arms or monogram. Besides van Huysum, other artists were William Houstoun, Massey, G. Sartorys, and R. Sartorius. The work was published in five parts of ten plates each between 1728 and 1737, and was sold by subscription.
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Mezzotint plate depicting Georg Dionysius Ehret Georg Dionysius Ehret (30 January 1708 – 9 September 1770) was a botanist and entomologist known for his botanical illustrations.See Ray Desmond, English and Irish Botanists and Horticulturists, 1994, s.v. "Ehret, Georg Dionysius". Ehret was born in Germany to Ferdinand Christian Ehret, a gardener and competent draughtsman, and Anna Maria Ehret.
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You Are No Chicken was engraved in mezzotint by J B Pratt in 1880. Its commercial success cemented a lifelong association with Leggatt, who became the main publisher of Frank Paton's work. In April 1881 Frank Paton married Mary Sophia Edwards (1852–1929), with the artist Basil Holmes (c.1825 - 1902) bearing witness to the union.
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Malone, p. 198 Hamlin had no formal schooling in the engraving trade and made his own tools for the work in mezzotint, aquatint and stipple.Dunlap, p. 305 He did, however, have some training as an engraver under the supervision of Samuel Canfield, a goldsmith and silversmith in Middletown, Connecticut (the town where his father was born in 1746). .
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Her portrait of Lady Anne Stewart is in the collection of the National Galleries of Scotland. The National Portrait Gallery in London has a mezzotint after her portrait of Alexander Hume, Lord Polwarth. Paintings of Lady Elizabeth Penelope Crichton and Countess Margaret, wife of the 6th Earl of Dumfries are in Dumfries House, Cumnock, East Ayrshire.
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Jan Verkolje started engraving in 1670. The mezzotint work of Jan Verkolje shows the influence of the smoother tone developed by Abraham Blooteling. Various of his prints were made after portraits by Lely and Wissing and were printed in England even though Verkolje likely never visited England.Arthur M. Hind, A History of Engraving and Etching, Courier Corporation, 2011, p.
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Thomas Goff Lupton (3 September 1791 – 18 May 1873) was an English mezzotint engraver and artist, who engraved many works by Turner and other notable British painters of the 19th century. He also produced some pastels, exhibited at the Royal Academy. He played an important part in advancing the technical aspect of engraving by introducing soft steel plates.
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Bullard, Foreword, in Paintings, on "meditative silence" in Kipniss's paintings and prints, x. Kipniss often uses the subject matter of a painting in a lithograph or mezzotint, sometimes with variations. His paintings date from the early 1950s. His main body of prints are lithographs and mezzotints, the former dating from 1968 into 1990, the latter since 1990.
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Lord Uxbridge at Waterloo, oil on board, 1815. Jones was the only son of John Jones, a mezzotint engraver. He became a student at the Royal Academy in 1801 at the early age of 15, exhibiting his first work depicting a biblical scene in 1803. He was a frequent exhibitor at the Royal Academy over the next eight years.
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Borgo Press, San Bernardino. 1982 ISSN 0271-7808 In The Great Railway Bazaar, Paul Theroux refers to "The Mezzotint" as "the most frightening story I know". In his list "The 13 Most Terrifying Horror Stories", T. E. D. Klein placed James's "Casting the Runes" at number one.Klein, T. E. D. (July–August 1983), "The 13 Most Terrifying Horror Stories".
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At around this time Henry Gascar made a mezzotint portrait of Jenny. The elder Jane's younger sister, Eleanor Needham, was mistress for several years to the Duke of Monmouth and mother by him of four children, who bore the name of Crofts. One of the daughters, Henrietta (d. 1730), married in 1697 Charles Paulet, 2nd Duke of Bolton.
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He was born in London. Early in life he began to engrave in mezzotint, mostly caricatures and portraits after Robert Edge Pine, and in 1767 he was awarded a premium by the Society of Arts. In 1773 he commenced publishing his own works, and in 1778 went into partnership with Thomas Watson, who engraved in both stipple and mezzotint, and who died in 1781. Dickinson appears to have been still carrying on the business of a printseller in 1791 in London, but he later moved to Paris, where he continued to engrave, making prints for the new regime and then for Napoleon; in 1814 Thomas Lawrence and Benjamin West visited him in Paris, the latter trying to persuade him to come back to London to engrave his paintings. .
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James Caldwall engraved The Gipsies, The Ladies' Disaster, The Bold Attempt, The Unwelcome Customer, The Guards of the Night defeated, A Macaroni taking his Morning Ride in Hyde Park, The Englishman in Paris, High Life below Stairs, The Cotillion Dancers, exhibited in 1772. Among numerous others were: Sweets of Liberty and The City Chanters, in mezzotint by Samuel Okey; A Rescue, or the Tars Triumphant, and Grown Gentlemen taught to dance, in mezzotint by Butler Clowes; The Coaxing Wife and An Holland Smock to be run for, by Thomas Morris; January and May, by Charles Grignion; The Frenchman in London, by C. White; A Taylor riding to Brentford, by T. Stayner; Minerva protecting Innocence, by F. B. Lorieux; and A Snare laid by Love, by Jean-Baptiste Pillement.
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Samuel William Reynolds self-portrait Sir Frederick Pollock, 1st Baronet (1783-1870) Samuel William Reynolds (4 July 1773 – 13 August 1835)Royal Academy of Arts Collections was a mezzotint engraver, landscape painter and landscape gardener. Reynolds was a popular engraver in both Britain and France and there are over 400 examples of his work in the National Portrait Gallery, London.
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Portrait of Mary Ann Yates in The Orphan of China, circa 1765, by Tilly Kettle. Mary Ann Yates as Medea, mezzotint by William Dickinson, 1771 Mary Ann Yates (1728–1787) was an English tragic actress. The daughter of William Graham, a ship's steward and his wife, Mary, she married Richard Yates (c. 1706-1796), a well-known comedian of the time.
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He distributed copies to the various princes gathered there, without attracting further commissions. Apart from portraits he did a St Bruno and in 1657 copied a Holy Family with St John the Baptist by Annibale Carracci.Anthony Griffiths (ed),"Landmarks in Print Collecting",1996, British Museum Press, His total mezzotint production was these seven plates, although he also produced paintings and medals.
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Chaney filmed new wraparound segments as Satan in Hell to link the chosen episodes, which were "The Photograph", "The Girl in the Glacier" and "Condemned in Crystal". Several of the show's stories were derivative in nature. "The Black Hand", for example, was modelled on The Hands of Orlac, while "The Photograph" is an updated version of the M R James story "The Mezzotint".
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Jordan in the Character of Hypolita, mezzotint by John Jones of London, 1791, after a painting by John Hoppner The couple had ten illegitimate children—five sons and five daughters—nine of whom were named after William's siblings; each was given the surname "FitzClarence".Ziegler, p. 296.Weir, pp. 303–304. Their affair lasted for twenty years before ending in 1811. Mrs.
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In 1854, he sent to the Academy First Class: The Meeting (National Gallery of Canada, Ottawa), and Second Class: The Parting (National Gallery of Australia, Canberra). Both were engraved in mezzotint by William Henry Simmons in 1857, and evidenced a great advance in Solomon's work. They show an originality of conception and design which is not apparent in his earlier work.
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Portraits of Strafford include one by Sir Joshua Reynolds which was engraved as a mezzotint by James Macardell. The copy of this in the National Portrait Gallery is erroneously described as of 'William Wentworth, 4th Earl of Strafford (1722–1791)'.William Wentworth, 4th Earl of Strafford (1722–1791) at npg.org.uk (accessed 1 March 2008) Strafford's countess was also painted by Sir Joshua Reynolds.
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Though various dates for his emigration have been suggested, the record of Peter Pelham's activities at Boston is well established. His portrait of the Rev. Cotton Mather, now at the American Antiquarian Society in Worcester, was painted as copy for the very familiar mezzotint engraving, reproduced frequently. "Proposals" for printing this engraving were published in the Boston News-Letter on February 27, 1728.
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Rupert's mezzotint works were popularised by the print collector John Evelyn after the Restoration, and became much admired across Europe.Spencer, p.252. The Great Executioner is generally considered to be one of Rupert's finest works; produced in 1658, it is still regarded by critics as containing 'brilliance and energy',Hind, p.263. 'superb', 'one of the greatest mezzotints',Griffiths, p.85.
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Sartain sought her father's input on her work throughout her career and benefited from his support and connections. She carried on the mezzotint engraving technique that he taught her. Sartain lived with her parents into adulthood, supporting and caring for them in their later years. In 1886, her parents moved into her living quarters at the Philadelphia School of Design for Women.
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Artist's conception of David Wooster (1776 mezzotint by Thomas Hart) Tryon was alerted to the presence of the Americans in Bethel around 1 am on April 27, cutting short thoughts of remaining for another day in Danbury.Bailey (1896), p. 72 Rousing the troops, he ordered the houses of Patriots to be burned; in all, more than twenty structures were destroyed.Bailey (1896), pp.
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Prior was born in 1809. He made a reputation in 1846, with the print Heidelberg Castle and Town, engraved from a drawing by J. M. W. Turner, and under Turner's supervision; it was published by subscription. A plate in mezzotint, More frightened than hurt, after James Bateman (1814–1849), was an isolated experiment. He exhibited twice, at the Royal Academy.
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He became rector of St. Peter's Church, Canterbury, and of Edworth, Bedfordshire; subdean of the Chapel Royal; sub-almoner to Queen Anne; and prebendary of Worcester (1680). He died on 20 March 1712–13, and was buried in the cemetery of All Saints', Hertford. There is a mezzotint engraving of him by J. Simon from a painting by Michael Dahl.
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He also drew the illustrations for 'The Art of Defence', a fencing manual by William Elder published in 1699 and the procession at the coronation of William III and Mary in 1689. He painted portraits of Queen Mary (engraved in mezzotint by Robert Williams), Caius Gabriel Cibber the sculptor, and others. Some drawings by him entered the collection of the British Museum.
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He worked in England, and it has been suggested that he borrowed from the work of Robert Robinson (c. 1651 – 1706), who was a popular English mezzotint engraver, painter, and stage designer.Ganz, James A., Still-life Mezzotints by Robert Robinson Haid also produced botanical work after (1678–1754) and with Johann Elias Ridinger, and worked on Johann Wilhelm Weinmann's "Phytanthoza iconographia".
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2009 − The series Classic Tales of Horror included a reading of "The Mezzotint" delivered by Robin Bailey. The episode was transmitted on BBC Radio 7 on 9 October 2009 and repeated on 20 May the following year. 2011 − Radio 3's Twenty Minutes, an "eclectic arts magazine programme", featured a version of "A Warning to the Curious" on 13 June.
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Daughters of Sir Thomas Frankland, Bart., mezzotint published 1797 The Frankland Baronetcy, of Thirkelby (or Thirkleby) in the County of York, is a title in the Baronetage of England, created on 24 December 1660 for William Frankland. He later represented Thirsk in Parliament. His son, the second Baronet, also represented Thirsk as well as Hedon in the House of Commons.
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British mezzotint collecting was a great craze from about 1760 to the Great Crash of 1929, also spreading to America. The main area of collecting was British portraits; hit oil paintings from the Royal Academy Summer Exhibition were routinely, and profitably, reproduced in mezzotint throughout this period, and other mezzotinters reproduced older portraits of historical figures, or if necessary, made them up. The favourite period to collect was roughly from 1750 to 1820, the great period of the British portrait. There were two basic styles of collection: some concentrated on making a complete collection of material within a certain scope, while others aimed at perfect condition and quality (which declines in mezzotints after a relatively small number of impressions are taken from a plate), and in collecting the many "proof states" which artists and printers had obligingly provided for them from early on.
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Artists using this technique include John Martin, Ludwig von Siegen, John Smith, Wallerant Vaillant, Carol Wax An intaglio variant of engraving in which the image is formed from subtle gradations of light and shade. Mezzotint—from the Italian mezzo ("half") and tinta ("tone")—is a "dark manner" form of printmaking, which requires artists to work from dark to light. To create a mezzotint, the surface of a copper printing plate is roughened evenly all over with the aid of a tool known as a rocker; the image is then formed by smoothing the surface with a tool known as a burnisher. When inked, the roughened areas of the plate will hold more ink and print more darkly, while smoother areas of the plate hold less or no ink, and will print more lightly or not at all.
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Miller was reputedly born London, from a Scottish background. He was a pupil of John Faber the younger, and the earliest date on his own plates is 1737. After working for some years in London, Miller went to Dublin and settled there. He was invited to do so by John Brooks and they initially worked together, trying to break a London monopoly on mezzotint engraving.
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Bockman was known as an artist in Amsterdam; he worked in England from 1711. Engraving of Charles Talbot, 1st Baron Talbot. He painted several portraits of William Augustus, Duke of Cumberland, and a life-size half-length of Edward Russell, 1st Earl of Orford. He copied after Godfrey Kneller, and engraved portraits in mezzotint after Anthony van Dyck, Jacob van Loo, Michael Dahl, James Worsdale, and others.
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Mezzotint by Dunkarton & Ward after W. R. Bigg, The Soldier's Widow, dated 1800. Note the two cricket bats on the left. 1800 was the 14th season of cricket in England since the foundation of Marylebone Cricket Club (MCC). It is one of the more difficult seasons to analyse because of several matches involving prominent town clubs like Rochester, Woolwich, Homerton, Richmond, Storrington, Montpelier and Thames Ditton.
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The previous month (December 1946), Escher created a mezzotint called Another World (Other World Gallery). The image in that print is the same as this one except that the arches continue on as an infinite corridor. The bird/human sculpture is a real sculpture which was given to Escher by his father-in-law. This sculpture first appears in Escher's 1934 lithograph Still Life with Spherical Mirror.
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In printing, the tiny pits in the plate retain the ink when the face of the plate is wiped clean. This technique can achieve a high level of quality and richness in the print. Mezzotint is often combined with other intaglio techniques, usually etching and engraving. The process was especially widely used in England from the eighteenth century, to reproduce portraits and other paintings.
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Smith was born in London, England where he first studied art with his father, John Raphael Smith, a mezzotint engraver. He later studied art at the Royal Academy. Young's Mill on Brandywine Creek Smith emigrated to New York City from London about 1807. He depicted the United States in the decades before photography, and influenced a generation of American artists through his drawing academies and drawing manuals.
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Charles Davidson Bell self-portrait Lt-Gen. Sir John Bell KCB – Mezzotint – Painted by John Lucas, engraved by Henry Cousins thumb Landing of van Riebeeck at the Cape of Good Hope, 1652 Cape Wagon Crossing a River Charles Davidson Bell FRSE (22 October 1813 – 7 April 1882) was the Surveyor-General in the Cape Colony, an artist, heraldist, and designer of Cape medals and stamps.
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The portrait as it appeared in G.F. Storm's mezzotint. It was first brought to light by Clement Usill Kingston in 1847. Kingston was a schoolmaster and amateur painter living in the town of Ashbourne, Derbyshire, after which the portrait came to be named. He wrote to Abraham Wivell, an authority on Shakespeare portraits, explaining the circumstances in which he claimed to have found it.
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The museum also owns copies of her 2000 mezzotint Hide: to withhold or withdraw from sight, her 2001 work Unravel, and her 2007 work Even in the Long Descent I-V Her work may also be found in the collections of the New York Public Library, the Johannesburg Art Museum, and the Isiko National Art Museum. Dixie has taught at Rhodes University in Grahamstown during her career.
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He came while young to London, where he is supposed to have been a pupil of James Macardell. He became a leading mezzotint engraver. Watson published some of his works himself at his house in Little Queen Anne Street, Portland Chapel; but the majority were done for Sayer, Boydell, and other printsellers. He exhibited engravings with the Incorporated Society of Artists between 1762 and 1775.
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His portrait was painted by George Romney and has been engraved by J. Walker in mezzotint. Nathaniel William Wraxall says that Hartley, "though destitute of all personal recommendation of manner, possessed some talent with unsullied probity, added to indefatigable perseverance and labour." He adds that his speeches were intolerably long and dull, and that "his rising always operated like a dinner bell" (Memoirs, iii. 490).
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Hassells is known by a few portraits which have been engraved, including those of C. F. Fels (1690) and J. Witt (1701), a Frankfurt merchant, both in mezzotint by J. Smith, and an anonymous portrait in line by P. Vauderbank. He also painted miniatures and in watercolours. Hassells is wrongly described by Walpole as William Hassell. George Lambert is stated to have been his pupil.
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His earliest dated mezzotint is titled Sleeping Cupid and was published in 1677. He based many of his engravings and mezzotints after designs by other artists like Peter Lely, Gérard de Lairesse and Philip Tideman. He published most of his works himself. In Amsterdam, he had a close partnership with his son Leonardus Valck and Peter Schenk the Elder, who married Gerard's sister in 1687.
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His printmaking favor copper plates worked in acid, mezzotint and dry point . These vary from a photographic quality, from his experience as a photographer to those which are very solid, like his sculpture. He has produced prints on glass, an innovation which has allowed him to work with relief. His painting is characterized by careful manipulation of techniques such as watercolor, gouache and oils.
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"Female Portrait", after Jan Kupecký (1667-1740), mezzotint by Bernhard Vogel Bernhard Vogel (19 December 1683 - 13 October 1737) was a German engraver whose main interests were genre scenes and portraits. Vogel was born in Nürnberg. He studied under Weigel and Heisse in Augsburg. In 1745 a number of his engravings after Jan Kupecký were published by the German painter and engraver Valentin Daniel Preissler.
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Baxter's process for producing colour prints combined relief and intaglio printing methods. A 'key' plate was prepared, usually made of steel and using any combination of engraving, stipple, etching and aquatint. Baxter also appears to have used mezzotint and lithography to create his key plate on occasion. The key plate provided the main lines of the image and much of the tone, light and shade.
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John Woodward, mezzotint by William Humphrey Humphrey engraved portraits in mezzotint, some after Robert Edge Pine. That of John Sturt the engraver was after William Faithorne the younger; of Colonel Richard King, after Godfrey Kneller; Mr Mannock, brother of Sir William Mannock, after Samuel Cooper; of Madame Du Barry, from a drawing by Benjamin Wilson; and others. He also etched a few small portraits, and engraved in stipple Cupid and Psyche and Beauty and Time, from his own drawings, and The Nativity of Christ, after John Singleton Copley. The British Museum has around 380 prints published by Humphreys including a large number of political satires relating to the 1784 Westminster Election, with important early works that helped establish the printmaking careers of both Thomas Rowlandson and James Gillray; these are described in the Catalogue of Political and Personal Satires Preserved in the Department of Prints and Drawings in the British Museum.
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His elder son of the same name, Samuel William Reynolds Jr. (1794–1872), was also a noted mezzotint engraver and landscape painter. Of his daughters, Elizabeth, an able miniaturist, married engraver William Walker (1791–1877), and Frances exhibited miniatures at the Royal Academy (1828–1830). A small portrait of Reynolds, etched by Edward Bell, was published by A. E. Evans in 1855. Another portrait was painted by his friend Ary Scheffer.
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James Bromley (1800–1838), was an English mezzotint-engraver. Bromley was the third son of William Bromley, the line-engraver. Little is known respecting his life. Among his best plates may be enumerated portraits of the Duchess of Kent, after George Hayter; John, Earl Russell, after Hayter; and the Earl of Carlisle, when Lord Morpeth, after Thomas Heathfield Carrick; 'Falstaff,' after Henry Liverseege; and 'La Zingarella,' after Octavius Oakley.
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Born about 1740, Humphrey began life as an engraver and published from the Shell Warehouse, St Martin's lane between 1764 and 1774. In 1765 he obtained a premium from the Society of Arts for a mezzotint engraving of a self-portrait of Rembrandt. Later in life Humphrey concentrated on printselling. He made journeys to Holland and elsewhere on the continent and had a penchant for collecting English portraits.
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Mezzotint portrait. Wellcome library. Dr James Arthur Wilson FRCP (1795 – 29 December 1882) was a British physician. He was born in Lincoln's Inn Fields, London, the son of James Wilson, the surgeon and teacher of anatomy at the Hunterian School of Medicine in Great Windmill Street, London. He was educated at Westminster School from 1808, and entered Christ Church, Oxford on 9 May 1812, from where he graduated B.A. in 1815.
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While at St. Thomas, Captain Montgomery received news that independence had been declared. An American flag was created by ensign Thomas Mendenhall and flown to replace the British one. That is, according to Elizabeth Montgomery, the captain's daughter, and Thomas C. Mendenhall, by family tradition. Her book includes a mezzotint engraving by John Sartain that shows Nancy flying an American flag with a circle of ten stars surrounding three central stars.
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The offer was heavily promoted during Nickelodeon's SNICK (Saturday Night Nickelodeon) anthology series. After the show was cancelled in 1996, Miracle Legion produced a final album released by Mulcahy's own label, Mezzotint Records. In 1999, the label released Music from The Adventures of Pete & Pete, containing all twelve of the Polaris tracks and serving as the group's only album. Following the disbandment of both bands, Mulcahy focused on a solo career.
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Earlom was born and died in London. His natural faculty for art appears to have been first called into exercise by his admiration for the lord mayor's state coach, which had just been decorated by Giovanni Battista Cipriani. He tried to copy the paintings, and was sent to study under Cipriani. He displayed great skill as a draughtsman, and at the same time acquired without assistance the art of mezzotint.
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Devéria's experience in the art of the vignette and Mezzotint influenced his numerous lithographs, most of which were issued by his father-in-law, Charles- Etienne Motte (1785-1836). Most of his work consisted of "pseudo-historical, pious, sentimental or erotic scenes". (Wright) Since he rarely depicted tragic or grave themes, he appears less Romantic than many other artists of the time. His paintings were mainly done using watercolours.
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Samuel came to notice when he twice won the prestigious award from the Society of Artists for the best historical drawing. He had entered the Royal Academy's schools in 1770. Later he was given money for creating an improvement in the techniques for applying mezzotint grounds, although strangely there are no surviving examples of Samuel's art that use this technique. His work consisted of conversation pieces, whole length paintings and portraits.
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Cannon Foundry of Julitabroeck, Södermanland, Oil on canvas, 192 x 254.5 cm (Rijksmuseum, Amsterdam) Nordic Landscape with a Castle on a Hill () Oil on canvas, 134 x 160 cm (Musée des Beaux-Arts, Strasbourg) Month of August (Virgo): The Harvest, brush and grey and brown wash. Allaert van Everdingen (,Van in isolation: . bapt. 18 June 16218 November 1675 (buried)), was a Dutch Golden Age painter and printmaker in etching and mezzotint.
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The National Portrait Gallery, London has an oil portrait of the young Richard Leveridge, c. 1710–20, by an unknown artist, which is on display at the Handel House Museum, London.See portrait Accession NPG 6596 at National Portrait Gallery website. It also has copies of two other likenesses, one a mezzotint by William Pether after the oil portrait by Thomas Frye,See portrait Accession NPG D3577 at National Portrait Gallery website.
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Born in Dublin, Burke first trained in the Dublin Society's Schools under Robert West, moving in 1770 to London where he studied mezzotint under John Dixon. He adopted the chalk method popularised by Bartolozzi, continuing to use both styles. Most of Burke's mezzotints were engraved after Angelica Kauffman for William Wynne Ryland, who taught him the stipple engraving technique. Burke preferred to work for publishers and seldom issued prints himself.
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O'Donoghue/Ross' graphic work is mainly produced on multiple copper plates for each image, using etching, engraving, aquatint, mezzotint, drypoint and occasionally monoprints.Wortz, Melinda (September 1978) "Tom O'Donohue", Art News, pg 107 "He is reminiscent of de Chirico in his bold clarity of manner. But these coloured prints are more intimate, and disconcertingly confident, than de Chirico’s echoing streets."Pyle, Hillary, "Renaissance delight in art", Cork Examiner, September 3, 1987.
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He married the daughter of a small farmer in Berkshire; they had five sons and four daughters. His wife died a fortnight after giving birth to their son Alfred, who also became an artist. Clint took up miniature painting. He had a studio in Leadenhall Street, and he became acquainted with the publisher John Bell, whose nephew, the mezzotint engraver Edward Bell, taught Clint the art of engraving.
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Lupton was born in Clerkenwell, London, the son of William and Mary Lupton. His father, a working goldsmith, apprenticed him to George Clint by whom he was instructed in mezzotint engraving. Later he became assistant to Samuel William Reynolds, and, when Samuel Cousins was articled to the latter in 1814, Lupton gave him his first lesson. Between 1811 and 1820 he exhibited a few pastel portraits at the Royal Academy.
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Sample of his work: A mezzotint by William Overend Geller of a painting by Illidge Illidge was born in Birmingham on 26 September 1799, belonging to a family resident near Nantwich, Cheshire. Illidge's father moved to Manchester, and, dying young, left a young family ill-provided for. Illidge was educated in Manchester, and taught drawing. He was subsequently the pupil in succession of Mather Brown and William Bradley.
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William Howe (1777 mezzotint) came to dislike Clinton during the 1776 campaign. Clinton's expedition to the Carolinas was expected to meet a fleet sent from Europe with more troops for operations in February 1776. Delayed by logistics and weather, this force, which included General Charles Cornwallis as Clinton's second in command and Admiral Sir Peter Parker did not arrive off the North Carolina coast until May.Billias, pp. 76–77.
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In 1834, having taken up oil painting, he visited The Hague and Paris to study and copy in the galleries there. He walked from Holland to Paris, making many sketches on the way. In Paris he painted much and also tried his hand successfully at wood engraving. He engraved in mezzotint Rembrandt's ‘Spanish Officer,’ also a picture by himself entitled 'The Dutch Governess,’ and a portrait of A. J. Kempe.
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As well as portraits, the works he showed at the Academy included a Madonna and mythological subjects. His pair of portraits showing Elizabeth Haffey, and her brother, John Burges Haffey, as children, were engraved in mezzotint by Robert Laurie, and his picture Female Lucubration, was reproduced in the same technique by Philip Dawe. He died in 1784, leaving a wife and children; the miniature painter Anne Mee was his eldest daughter.
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His father mixed with a group of artists and the young Jehner got himself apprenticed to an elderly draughtsman. His master retired and set Jehner up with basic equipment. Despite his disability he obtained work with the mezzotint engraver William Pether. Jehner realised that there was a large but competitive business for prints and if he was to gain more business he decided to learn how to paint in oils.
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The first stage version of "Casting the Runes" was performed at the Carriageworks Theatre in Leeds, England, on 9–10 June 2006 by the Pandemonium Theatre Company.M. R. James Events Reviews at www.users.globalnet.co.uk In 2006–2007, Nunkie Theatre Company toured A Pleasing Terror round the UK and Ireland. This one-man show was an atmospheric retelling of two of James's tales, "Canon Alberic's Scrap-Book" and "The Mezzotint".
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Mezzotint of Whitefield after James Moore, after 1751 English, Scottish, and American clergy attacked Whitefield, often in response to his attacks on them and Anglicanism, as documented in this section. Early in his career, Whitefield criticized the Church of England. In response, clergy called Whitefield one of "the young quacks in divinity" who are "breaking the peace and unity" of the church. From 1738 to 1741, Whitefield issued seven Journals.
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Considerable academic debate surrounds the issue, but the modern consensus is that mezzotint was instead invented in 1642 by Ludwig von Siegen, a German lieutenant-colonel who was also an amateur artist. Siegen may or may not have met Rupert: Siegen had worked as chamberlain, and probably part- tutor, to Rupert's young cousin William VI, Landgrave of Hesse-Kassel, with whom Rupert discussed the technique in letters from 1654. Rupert did, however, become a noted artist in mezzotint in his own right. He produced a few stylish prints in the technique, mostly interpretations of existing paintings, and introduced the form to England after the Restoration, though it was Wallerant Vaillant, Rupert's artistic assistant or tutor, who first popularised the process and exploited it commercially. Rupert's most famous and largest art work, The Great Executioner, produced in 1658, is still regarded by critics such as Arthur Hind and Antony Griffiths as full of "brilliance and energy",Hind, p.263.
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The Covenant Chain continued until 1753, when the Mohawk, claiming to have been cheated out of lands rightfully theirs in New York, declared that the chain was broken. Howard Zinn, in his "A People's History of the United States" discusses the taking of the Mohawk land: This mezzotint of William Johnson was published in London in 1756, just one year after his attempt to renew the Covenant Chain.Johnson Papers, vol. 2, v–xii, 160.
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He was born at Amsterdam. From the style of his etchings it is likely that he was a pupil of the Visschers. Following the French incursions into the Netherlands in 1672, he went to England, where he met with some success, but only stayed for two or three years. Blooteling produced a large number of etchings, some line engravings, and also worked in mezzotint, a technique he is known to have adopted by 1671.
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He was the son of parents who lived at East Acton, Middlesex. When ten years old he was sent to a grammar school at Heighington, County Durham, and remained there for more than five years. He was brought up as an engraver, and produced mezzotint portraits, including John Thomas, bishop of Rochester, and Miss Penelope Boothby, after Sir Joshua Reynolds; Mrs. Jordan as the Comic Muse, after John Hoppner; and a Magdalen after Ubaldo Gandolfi.
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Wieseman describes the etching as a "technical tour de force, incorporating an enormous diversity of printmaking styles and techniques": > The group of figures at the left side of the print, for example, is deftly > indicated with a minimum of lightly bitten lines; in contrast, the evocative > richness of the blacks and the depth of tone in the right half of the print > represents Rembrandt's experimental competition with the newly discovered > mezzotint technique.
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Worrall, p. 154 The art of Bernard Lens II, largely confined to developing mezzotint technique is an example of a general trend of hist age, when "issues of tonality, if not colour, were developing away from the etching's dependence on line". According to Malcolm Charles Salaman, "most attractive" of his portraits was that of Lady Mary Tudor. Salaman noted Lens for his "practically unique"Salaman, The Graphic Arts of Great Britain, p.
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The home of Daniel Ellis at 13 Inverleith Row, Edinburgh The grave of Daniel Ellis, St John's, Edinburgh Dr Daniel Ellis MD FRSE (1771–1841) was an English physician, aerologist, botanist and author. He spent most of his career in Scotland and was an important contributor to Edinburgh’s Encyclopædia Britannica (6th edition). He was president of the Royal Medical Society in 1806. He appears to have also been a skilful mezzotint artist.
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After examining the work, Wivell enthusiastically endorsed it. 19th-century print based on the Ashbourne portrait, when the sitter was presumed to be William Shakespeare It was subsequently reproduced in mezzotint by G.F. Storm. In this form it was widely reproduced during the 19th century, having entered the canon of Shakespeare portraits. In 1910 M.H. Spielmann devoted two articles to a critical analysis of the portrait, with regard to provenance, attribution and identification.
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Tom Taylor wrote an extremely positive review in Punch. It was produced as a reproductive print by the dealer D. White and engraved in mezzotint by Thomas Oldham Barlow in 1856. This became Millais's first major popular success in this medium, and the artist went on to produce a number of other paintings on similar subjects to serve a growing middle class market for engravings.Jason Rosenfeld and Alison Smith, Millais, Tate Publishing, 2007, pp.
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Mezzotint of Anne Killigrew, based on a self portrait she had painted. Anne Killigrew excelled in multiple media, which was noted by contemporary poet, mentor, and family friend, John Dryden in his dedicatory ode to Killigrew. He addresses her as "the Accomplisht Young LADY Mrs Anne Killigrew, Excellent in the two Sister-Arts of Poësie, and Painting." Scholars believe that Kelligrew painted a total of 15 paintings; however, only four are known to exist today.
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A drawing from it by J. Jackson, R.A., was bequeathed to the trustees of the National Portrait Gallery in 1888 by the painter's nephew, G. Harlow White. Another drawing by himself was engraved by B. Holl for theLibrary of the Fine Arts. He introduced his own portrait into the background of The Trial of Queen Katharine. A portrait of the Prince of Wales (later George IV) by Harlow was engraved in mezzotint by W. Ward.
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He retained, however, till January 1804 his property in a house built by Richard Holdship on the works, which he had purchased from the mortgagees in 1769. On leaving the Worcester works in 1774, Hancock is next supposed to have gone to the Staffordshire Potteries. It is said that on losing his savings in a bank failure he concentrated on engraving in mezzotint. In the latter part of his life he was living in Bristol.
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Nunik Sauret (born 1951) is a Mexican printmaker. Born in Mexico City, Sauret studied at the Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda" in her native city. In 1976 she became a member of the Taller de Grabado del Molino de Santo Domingo. She has created drawings and paintings, but is known mostly for her work as a printmaker; techniques which she has used include etching, drypoint, aquatint, mezzotint, and engraving.
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Sparta, 1814 mezzotint after William Haygarth Greece, a Poem, the work for which Haygarth is known, was mostly written in Athens. He worked on it at Lambridge House, his parental home near Bath, Somerset, in 1813; and it was published in 1814. One of its themes is the valuing of artistic achievement over power. Haygarth's strong philhellene reaction to Corinth has been characterised as making it a "Tintern Abbey" for the Ottoman Empire.
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No record survives of any serious disagreement or conflict between the two during the period of Blake's apprenticeship, but Peter Ackroyd's biography notes that Blake later added Basire's name to a list of artistic adversaries – and then crossed it out.43, Blake, Peter Ackroyd, Sinclair-Stevenson, 1995. This aside, Basire's style of line-engraving was of a kind held at the time to be old- fashioned compared to the flashier stipple or mezzotint styles.Blake, William.
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Reynold Henry Weidenaar (1915-1985) was an artist from Grand Rapids, Michigan, recognized nationally as well as locally for his technical virtuosity as a draftsman and printmaker. He embraced the subject matter and realism of American Regionalist art, though his depictions of the American Scene reflect a uniquely personal, often satirical perspective. Weidenaar is especially known for his mezzotint prints, particularly those of architectural subjects, such as the construction of the Mackinac Bridge.
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Newcastle upon Tyne. pp. 347–50. The painting was purchased by the mayor. A portrait of Reverend Robert Morrison (1782–1834), the first Christian Protestant missionary in China, was presented to the Literary and Philosophical Society of Newcastle upon Tyne in 1833. Sales of mezzotint prints of Parker's work became increasing important to his finances, and in 1833, Danger was his first painting to be purchased by Ackermann's of London for reproduction and publishing.
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She created an early abstract sculpture. José Luis Cuevas called her the first artist in Mexico to discover abstract art. At the end of the 1930s, she joined the Sociedad Mexicana de Grabadores and worked under Carlos Alvarado Lang. Her best work here was in mezzotint which stands out with its play on light and shadow. She created the aquatints for a 1947 book by Roberto Lago called “Títeres Populares Mexicanos” (Folk Mexican Puppets) .
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Fisher published his mezzotint in November 1762, having the inscription "Reddere personae scit convenientia cuique", meaning "he knows how to give to each what is appropriate". In 1764, Reynolds requested copies of this print to give to his admirers. The print was copied and pirated, producing at least fourteen different mezzotints. One of these prints, which was sold in France in 1765, had the inscription L'Homme entre le Vice et la Vertu.
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As had happened in 2007, the five adaptations were followed by an original drama, this time entitled The Haunting of M.R. James. The series aired daily from 17 to 21 December and was directed by David Hunter. Also on 21 December, a series apparently entitled Classic Stories: Tales for Christmas was uploaded to BBC Sounds. The episodes included a reading of "The Mezzotint" performed by Sam Dale and produced by Justine Willett.
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Elizabeth Gulland was born in 1857 in Edinburgh, Scotland. She attended Edinburgh Ladies’ College and Edinburgh Atelier, before moving to the Herkomer School of Painting in Bushey, Hertfordshire to study under Hubert von Herkomer, a well-known portrait painter. Gulland was a freelance artist whose primary work was as a genre painter and mezzotint engraver. She continued to live in Bushey and was an active artist from 1887 until her death at age 77 in 1934.
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The main techniques used, in order of their introduction, are woodcut, engraving, etching, mezzotint and aquatint, although there are others. Different techniques are often combined in a single print. With rare exceptions printed on textiles, such as silk, or on vellum, old master prints are printed on paper. This article is concerned with the artistic, historical and social aspects of the subject; the article on printmaking summarizes the techniques used in making old master prints, from a modern perspective.
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She studied with Anton Raphael Mengs, Henry Fuseli, and Joseph Wright of Derby. Two women artists, Angelica Kauffman and Mary Moser, were among the original members of the Royal Academy of Arts in London in 1768. Kauffmann helped Maria Hadfield to participate in academy exhibitions. In 1781 she exhibited for the first time, showing the following three works: Rinaldo, Creusa appearing to Aeneas (engraved in mezzotint by V. Green), and Like patience on a monument smiling at grief.
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Similar to the room running off the Dining Room on the ground floor and part of the same remodelling undertaken by the 1st Viscount Preston. The mezzotint female portraits are late eighteenth century after the style of Reynolds and form part of a collection given to the National Trust by Kathleen Cooper-Abbs owner and donor of Mount Grace Priory. The miniature walnut-veneered bureau is likely to be either an apprentice's masterpiece or a furniture's salesman's showpiece.
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See also Revealing the Light: Mezzotint Engravings at Georgetown University, from the Georgetown University Library. The Albany Congress was called to help repair the chain. Colonial delegates failed to work together to improve the diplomatic relationship with the Iroquois, a serious shortcoming on the eve of the French and Indian War. As a result, the British government took the responsibility of Native American diplomacy out of the hands of the colonies and established the British Indian Department in 1755.
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He has sometimes been credited with the invention of the "rocker" as a tool for the preparation of mezzotint plates, and with introducing the technique into England. In 1685 he published the collection of gems of Leonardo Agostini, etched by himself. He sometimes signed his plates with his name at length, and sometimes with a monogram, composed of the letters 'A' and 'B'. Bloteling was a bachelor and a friend of Gerard de Lairesse, who also lived on Prinsengracht.
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Mezzotint by Samuel William Reynolds. Apart from his disciplined upbringing, a rectory fire which occurred on 9 February 1709, when Wesley was five years old, left an indelible impression. Some time after 11:00 pm, the rectory roof caught on fire. Sparks falling on the children's beds and cries of "fire" from the street roused the Wesleys who managed to shepherd all their children out of the house except for John who was left stranded on an upper floor.
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In April 2019, workers cleaning out a basement in Brooklyn discovered century-old records of the Bowery Savings Bank. Archivists moved rapidly to secure at least some of these records. While the historical value was not immediately known, a historian told The New York Times they could “be priceless”. In the 1920s Henry Miller wrote a short text about the architecture of this bank, in a short text he called mezzotint and whose title was A Bowery Phoenix.
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Retrieved 18 February 2019 On Leigh's death in 1959 it went into the ownership of the art dealers Thomas Agnew & Sons, who in turn sold it to Jean Paul Getty in 1959. Portrait of Anne, Countess of Chesterfield was again exhibited at the Royal Academy in 1887, and at the Royal House of Guelph in 1891. A mezzotint print copy was produced by the engraver James Scott in 1870, and is now in the National Portrait Gallery, London.
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These were then in a rebound book at Devonshire House in London; they are now in the British Museum. The prints used etching for Claude's pen lines, and mezzotint for the ink washes, giving a good impression of the originals.Wilcox; British Museum page on the prints All used brown ink on white paper, so disregarding the blue of half the original pages. The prints were a huge success, reprinted and the plates reworked to give increasingly detailed reproductions.
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Both the engraving and a mezzotint version became popular and sold well, but made Sharples little money. He painted one other large work, The Smithy, and was awarded a prize by the Amalgamated Society of Engineers for creating an emblematic design. His "perseverance and industry", and determination to improve himself, were given as an example by Samuel Smiles in his 1859 book Self-Help,Title Self Help; with Illustrations of Conduct and Perseverance, Samuel Smiles, p.
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Bombardment of Fort Sumter, 1861. George Edward Perine (1837-1885), engraver. George Edward Perine (July 9, 1837 - February 3, 1885) was a noted artist, engraver, and publisher. In 1852, he began engraving for Thomas Doney in New York and in 1856-1858 for W.W. Rice, a line and bank-note engraver. He engraved in mezzotint a large plate, entitled “The Signing of the Compact in the Cabin of the Mayflower,” before he was nineteen years old.
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Emily Sartain (March 17, 1841 – June 17, 1927) was an American painter and engraver. She was the first woman in Europe and the United States to practice the art of mezzotint engraving, and the only woman to win a gold medal at the 1876 World Fair in Philadelphia. Sartain became a nationally recognized art educator and was the director of the Philadelphia School of Design for Women from 1866 to 1920.Hoffmann, Mott, Sharon, Amanda (2008).
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Paetus and Arria, after Benjamin West, 1773 Robert Dunkarton (1744–1811) was a British mezzotinter. He was born in London, and was a pupil of Pether, and painted a few portraits, some of which, as also some portraits in crayons, were exhibited at the Royal Academy and at Spring Gardens until 1779. But his greatest success was gained as a mezzotint engraver. His plates are dated from 1770 to 1811, after which year there is no record of him.
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Manigault's pose is unknown, but is believed to have been taken from an English mezzotint, as was common at the time. Only once more in his career did Theus work on such a scale, producing a pair of portraits, of Barnard Elliott, Jr. and his wife, around 1766. Elements of the portrait of Mrs. Elliott – including details of her costume, jewelry, and pose – have since been shown to have been taken from a number of contemporary English mezzotints.
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Of these celebrity subjects, only the Delft naturalist Antonie van Leeuwenhoek was portrayed by Verkolje in a painting (Rijksmuseum, Amsterdam) as well as in a print. His other portraits of famous persons were mezzotint engravings after the work of other artists, such as Peter Lely, Willem Wissing and Godfrey Kneller. Most of Verkolje's known portrait drawings were made as preparation for his paintings. These drawings focused either on particular facial features and expressions or on the whole composition.
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Voltaire wrote in 1772 to Madame du Deffand: "Since you have seen Monsieur Huber, he will do your portrait; he will do it in pastel, in oils, or in mezzotint. With scissors he will make a cutout sketch of you as a complete caricature. This is the way he ridiculed me from one end of Europe to the other." In Geneva, he popularised the art of the silhouette, and worked without even making an initial sketch.
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Smith was born at Daventry, Northamptonshire, about 1652. He was articled to a painter named Tillet in London, and studied mezzotint engraving under Isaac Beckett and Jan van der Vaart. Smith became the favourite engraver of Sir Godfrey Kneller, whose paintings he extensively reproduced, and in whose house he is said to have lived for some time. At the end of his career, Smith retired to Northamptonshire, where he died on 17 January 1742 at age 90.
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Over time, Kipniss sought "narrower ranges of middle tones" while still bringing out the richness and resonance of darks characteristic of mezzotints.Kipniss, Artist's Life, on narrower range, 234. Grace, Introduction, in Intaglios, for Kipniss's mezzotint technique, 1–2. He has worked with master printer Anthony Kirk from 1990 to the present, first when Kirk was associated with the Connecticut Center for Printmaking in Norwalk, Connecticut, and then at Kirk's own studio in North Salem, New York.
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John Smith, after John Closterman Sir Richard Gipps (1659 – 21 December 1708) of Great Whelnetham, Suffolk, was Master of the Revels at Gray's Inn and a historian of the county of Suffolk. His portrait painted by John Closterman, was engraved in mezzotint by John Smith. Care should be taken to distinguish him from Sir Richard Gipps of Horningsheth, a contemporary, neighbour, and distant relative, who was knighted by Charles II at Saxham, Suffolk, on 20 October 1676.
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St. Leger had learned that his guns were largely ineffective against the fort's walls from long range, so he began entrenching operations to establish positions closer to the fort. Gansevoort reported that the siege trenches had reached within striking distance of one of the fort's bastions.Nickerson (1967), p. 272 A 1776 mezzotint of Benedict Arnold Uncomfortable with the number of troops available to him, Arnold opted for a deception to sow trouble in the British camp.
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A number of performers read from "stories in prose and verse", including Scottish ballads and James's "Wailing Well". 1968 – Three years later, Story Time presented five M. R. James stories read by Howieson Culff. The 30-minute episodes were produced by David Davis and broadcast weekly on BBC Radio 4 FM between 20 August and 17 September. Episodes were "The Mezzotint", "The Rose Garden", "The Haunted Dolls' House", "The Uncommon Prayer-Book" and "A Neighbour's Landmark".
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Anthony van Dyck produced only a large series of portrait prints of contemporary notables, the Iconographia for which he only etched a few of the heads himself, but in a brilliant style, that had great influence on 19th century etching.Mayor, 433–435. Ludwig von Siegen was a German soldier and courtier, who invented the technique of mezzotint, which in the hands of better artists than he was to become an important, mostly reproductive, technique in the 18th century.Griffiths (1980), 83–88.
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Born in London on 4 July 1807, he was son of William Lucas, from a King's Lynn family, originally in the Royal Navy, then a writer and journalist; his mother was a Miss Callcott. He was apprenticed to Samuel William Reynolds, the mezzotint engraver, where Samuel Cousins was his fellow-pupil. At the end of his apprenticeship he set up as a portrait-painter. Lucas was a member of the Clipstone Street academy, where he worked with William Etty and other artists.
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Mezzotint engraving of Sir William Johnson Sir William Johnson, 1st Baronet (voiced by Julian Casey) (1715–1774) was an Anglo-Irish official of the British Empire and a member of the Templar Order. During the Seven Years' War, Johnson commanded Iroquois and colonial militia forces. Johnson also assisted in keeping Native Americans committed to the interests of the British. As a member of the Templars, Johnson was in charge of managing the land and property acquired by the Order's Colonial Rite.
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Artists included Jean-François Janinet and Philibert-Louis Debucourt, whose La Promenade Publique is often thought the masterpiece of the style.Griffiths, 119 Another branch of this French movement mostly used mezzotint for tone and came to specialize in illustrating medical textbooks. This was at first led by Jacob Christoph Le Blon (1667–1741), who very nearly anticipated modern CMYK colour separation and then carried on by his pupil Jacques Fabien Gautier d'Agoty and later members of the d'Agoty family until around 1800.
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On his return to Paris, Gascar was elected a member of the Académie Royale there on 26 October 1680. He subsequently went to Rome, where he enjoyed a high reputation, and died there on 1 January 1701, aged 66. About 1698 he had painted a portrait of Joseph Ferdinand, the young son of Maximilian II, which was engraved at Munich by Zimmermann. A number of mezzotint engravings done from portraits by Gascar, but bearing no engraver's name, have been attributed to Gascar himself.
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Ingres painted five versions of their amour, including those of 1814 and of 1840, and identified himself with the Renaissance artist. Callcott's Raffaelle and the Fornarina inspired a mezzotint of the same name by John Sartain. Among the drawings of Dante Gabriel Rossetti, founder of the Pre-Raphaelite Brotherhood, is Quartier Latin, the Modern Raphael and his Fornarina. Picasso included a series of sexually explicit images of Raphael and La Fornarina in his 347 Suite, as a tribute to Ingres.
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While at St. Thomas, Captain Montgomery received news that independence had been declared. An American flag was created by ensign Thomas Mendenhall and flown to replace the British one. This was "the first American stars ever seen in a foreign port"; that is, according to Elizabeth Montgomery, the captain's daughter, and Thomas C. Mendenhall, by family tradition. Her book includes a mezzotint engraving by John Sartain that shows Nancy flying an American flag with a circle of ten stars surrounding three central stars.
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Deserting his wife soon afterwards he repaired to France and became mixed up in John Law's financial affairs and the Mississippi Company boom; then he led a wandering existence visiting Portugal, the Netherlands, and Italy. Theodor von Neuhoff (mezzotint by Schad ca. 1740). Note use of Moor's head. At Genoa, Neuhoff made the acquaintance of some Corsican rebels and exiles, and persuaded them that he could free their country from Genoese tyranny if they made him king of the island.
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He was always perfect in his parts, indefatigable in industry, and wholly free from affectation. Wroughton was a close friend of Bannister; they were spoken of as Pylades and Orestes. A portrait of Wroughton by Samuel De Wilde, as Sir John Restless in All in the Wrong, was in the Mathews collection in the Garrick Club. A mezzotint portrait by Robert Laurie after Robert Dighton was published in 1779, and there are several portraits in character in John Bell's British Theatre.
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Boydell was born in Hawarden, Flintshire, the fourth child of a farmer, Samuel Boydell (1727-1783), and his wife Ann, née Turner (1725-1764). In 1766, at the age of 14, he moved to London to begin his seven-year apprenticeship to Samuel's brother, John Boydell. While an apprentice, he learned painting from Benjamin West and mezzotint engraving from Richard Earlom.Fagan. After completing his apprenticeship, he continued to work closely with John Boydell, making some engravings himself and drawing scenes for others.
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Say was one of the engravers employed by J. M. W. Turner on his Liber Studiorum, for which he executed eleven of the published and two of the unpublished plates. He also engraved two of the plates in Turner's River Scenery of England. These, with a view of Lincoln Cathedral after Frederick Mackenzie, were his main work in landscape. In 1820 Say scraped a small portrait of Queen Caroline after Arthur William Devis, the first attempt made in mezzotint on steel.
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He exhibited the Royal Academy every year from 1785 until 1790, but not again until 1797, when he was living at Strand-on-the-Green, near Kew in London, and sent a portrait of the Prince of Wales. Several of Beach's portraits were engraved in mezzotint by William Dickinson, Valentine Green, Richard Houston, and John Jones. Beach died at Dorchester, Dorset, on 17 December 1806. The National Portrait Gallery has a portrait by Beach of William Woodfall, the earliest parliamentary reporter.
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Emily Sartain was born in Philadelphia, Pennsylvania on March 17, 1841. She was the fifth of eight children of Philadelphia master printer and publisher of Sartain's Magazine John Sartain and Susannah Longmate Swaine Sartain. In 1858, Sartain graduated from the Philadelphia Normal School and then taught school until the summer of 1862. John Sartain taught his daughter art, including the mezzotint engraving technique that he revived, which was a favored process in England that created high-quality prints of paintings.
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Mr. Williams, the curator of a university art museum (implied to be Oxford) receives a mezzotint from an art dealer. The very disturbing engraving changes each time Mr. Williams and the colleagues he enlists look at it. In the end, it is suggested that the nighttime engraving depicts a vengeful poacher named Gawdy, returning from the grave to kidnap and murder the infant heir of a Mr. Arthur Francis. Gawdy had been hanged for shooting a gamekeeper while poaching on Francis' land.
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He was a versatile painter and painted in a wide range of genres including flower still lifes, religious paintings, history paintings, landscapes, portraits and trompe-l'oeil still lives. According to Walpole he painted a trompe l'oeil of a violin on a door at Chatsworth House.Violin Suspended from a Knob Chatsworth House website He is primarily known for his portraits and landscapes. A number of van der Vaard's portraits were engraved in mezzotint by Bernard Lens for the print publisher Edward Cooper.
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Watercolour study, Sea and sky at Seaford Sir Francis Job "Frank" Short PPRE (19 June 1857 - 22 April 1945) was a British printmaker and teacher of printmaking. He revived the practices of mezzotint and pure aquatint, while expanding the expressive power of line in drypoint, etching and engraving. Short also wrote about printmaking to educate a wider public and was President of the Royal Society of Painter Etcher & Engavers (now styled the Royal Society of Painter-Printmakers) from 1910 to 1938.
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Ebb Tide, Putney Bridge, mezzotint, 1885 Francis (Frank) Job Short was born on 19 June 1857, in Wollaston, a suburb of Stourbridge, Worcestershire. He was first educated to be a civil engineer. Short was engaged on various works in the Midlands until 1881, when he came to London as assistant to Baldwin Latham in connection with the Parliamentary Inquiry into the pollution of the river Thames. In 1883 he was elected an associate member of the Institution of Civil Engineers.
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Joseph Edmondson wearing his herald's tabard and Collar of SS, mezzotint by John Jones, from a painting by Thomas Beach heraldic achievement drawn by Edmondson (with later tinting, here the arms of Dunning), in Baronagium Genealogicum Joseph Edmondson (died 1786), was an English herald and genealogist whose principal work is the Baronagium Genealogicum ("or the Pedigrees of the English Peers, Deduced from the Earliest Times: Originally Compiled by Sir William Segar, and Continued to the Present Time"), 5 volumes, published in London, 1764.
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Providential Deliverance of John Wesley when a Child from Fire at Epworth Rectory' 'mezzotint print by S.W. Reynolds after H.P. Parker., 1840 From the mid-1830s Parker was using studio addresses in London for Royal Academy purposes and it is possible that he was already anticipating a move from Newcastle.i.e. Newcastle Street, Strand, London (1834), and Rathbone Place (Fitzrovia), London (1838) – Graves, The Royal Academy of Arts: A Complete Dictionary of Contributors. p. 56. An opportunity arose through his involvement in Wesleyan Methodism.
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Marcellus Laroon (engraver), Sean Shesgreen (editor), The Criers and Hawkers of London: engravings and drawings (1990), p. 174; Google Books. Establishing himself in The Strand as a book and print seller about 1680, Tempest issued some sets of plates of birds and beasts etched by Francis Place and John Griffier from drawings by Francis Barlow; and some mezzotint portraits by Place and others, mainly of royal personages. A translation of Cesare Ripa's Iconologia (1709) was illustrated by Isaac Fuller the younger.
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The process of stipple engraving is described in T.H. Fielding's Art of Engraving (1841). To begin with an etching "ground" is laid on the plate, which is a waxy coating that makes the plate resistant to acid. The outline is drawn out in small dots with an etching needle, and the darker areas of the image shaded with a pattern of close dots. As in mezzotint use was made of roulettes, and a mattoir to produce large numbers of dots relatively quickly.
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In 1789 he was appointed mezzotint engraver to the Prince of Wales. In 1813 Young succeeded Valentine Green in the keepership of the British Institution, an arduous post which he filled with unfailing tact and efficiency until his death. He was honorary secretary of the Artists' Benevolent Fund from 1810 to 1813, and then transferred his services in the same capacity to the rival body, the Artists' General Benevolent Institution. He died at his house in Upper Charlotte Street, Fitzroy Square, London, on 7 March 1825.
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He gifted the painting to his solicitor and friend John Pern Tinney. Tinney loved the painting and offered Constable another 100 Guineas to paint a companion picture, Constable declined. In the years to follow Tinney would have to put up with numerous requests from Constable to borrow back his prized possession for rework and exhibitions.National Gallery: Stratford Mill After Tinney’s death David Lucas produced a mezzotint, which was published in 1840 under the name ‘The Young Waltonians’ in reference to the Izaak Walton book, The Compleat Angler.
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His daughter and heiress married the second Marquis of Salisbury, who took the name of Gascoyne before that of Cecil, and became possessed of the Bamber property, worth, it is said, £12000 a year (Munk's Roll). Their son was Robert Gascoyne-Cecil, 3rd Marquess of Salisbury, three times prime minister. A mezzotint portrait of Crisp Gascoyne by James McArdell, from a painting by William Keable, was published in the London Magazine for July 1753. There is a smaller and anonymous print, probably of the same date.
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Mason and the Academy In 1785, he was William Pitt the Younger's choice to succeed William Whitehead as Poet Laureate but refused the honour. Two of his works of scenes at the York racecourse, "A Country Racecourse with horses preparing to start" and "A Country Racecourse with horses running". were reproduced as mezzotint illustrations in 1786 by Francis Jukes in collaboration with Robert Pollard.British Museum"A Country Racecourse" set In 1797, Mason hurt his shin on a Friday while stepping out of his carriage.
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Hollyer was the youngest son of Samuel Hollyer (1797–1883), a line engraver, fine art publisher, collector of watercolours, and Deputy Sealer at the Court of Chancery until 1853, when the post was abolished.Biography of Frederick Hollyer at Luminous-Lint His brothers Christopher Charles Hollyer (1836–1874), and Samuel Hollyer Jr. (1826–1919) also worked as engravers.Notes on engraving of the Hollyer Brothers, National Portrait Gallery Frederick Hollyer's first published works were mezzotint engravings of two paintings by Edwin Landseer published by J. McQueen in 1869.
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Dubois called upon African-Americans to be proud of their heritage instead of being ashamed of their dark skin. This racial image issue was another characteristic of the African-American experience at this time. Thrash addressed the issue by creating portraits of African-American subjects and ideal heads using his carborundum mezzotint method that defined typically black facial features in a more realistic manner. At a time when white artists illustrated blacks barbarically in cartoons and newspapers, tasteful portrayals of black subjects were highly influential.
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Gatja Helgart Rothe (also known as G.H. Rothe; (née Helgart Riedel) (March 15, 1935 – August 3, 2007), was a German-American artist known for her printmaking, especially mezzotint. She was also a draftswoman and painter. After living and working in Europe, she briefly traveled through South America before moving to New York City in the 1970s and later, California. Her commercial success was primarily based on mezzotints and paintings commissioned and handled by galleries, dealers, and private collectors in the United States, Europe and Japan.
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Winstanley executed portraits of the Stanleys, of John Blackburne of Orford Hall, of Samuel Peploe, and Jonathan Patten of Manchester. Several of his portraits were etched or engraved; that of the Earl of Derby was retouched by Gerard Van der Gucht; and the portrait of Edward Waddington, painted in 1730, was engraved in mezzotint by John Faber Junior. Some of his landscape and other subjects were at Knowsley, and Winstanley also made etchings of Sir James Thornhill's paintings in the dome of St Paul's Cathedral.
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Sir Edwin Sandys, 1776 mezzotint by Valentine Green. Sir Edwin Sandys ( ; 9 December 1561 – October 1629) was an English politician who sat in the House of Commons at various times between 1589 and 1626. He was also one of the founders of the proprietary Virginia Company of London, which in 1606 established the first permanent English settlement in what is now the United States in the colony of Virginia, based at Jamestown. The parish of Sandys, in Bermuda (the Virginia Company's second colony) is named after him.
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In conjunction with Samuel Scott, Lambert painted a series of Indian views for the old East India House in Leadenhall Street. He also etched two prints after Salvator Rosa. Lambert was associated in 1735 with George Vertue, Hogarth, and John Pine (engraver, 1660–1756) in obtaining a bill from parliament securing artists a copyright on their works. Lambert's portraits were painted by Thomas Hudson, John Vanderbank (engraved in mezzotint by John Faber the younger in 1727, and in line by H. Robinson and others), and Hogarth.
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The major work by Rogers was a series of facsimiles of original drawings from the masters, "engraved in tint" (mezzotint or aquatint, probably with etching). The book was issued in 1778, with the title A Collection of Prints in Imitation of Drawings … to which are annexed Lives of their Authors, with Explanatory and Critical Notes, 2 vols. imperial folio. The 112 plates were engraved mainly by Francesco Bartolozzi, William Wynne Ryland, James Basire, and Simon Watts, from drawings some of which were in Rogers's own collection.
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Through the distribution and sale of mezzotint prints of subjects such as William and Grace Darling Going to the Rescue of the SS Forfarshire, Parker became one of the north-east's best-known nineteenth-century artists. In Newcastle upon Tyne he was central to the setting-up of a Northern Academy for the Arts. Later, in Sheffield, he taught drawing at the Wesleyan Proprietary Grammar School, and in his later years he lived in Hammersmith, London. He had a large family and was married three times.
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The effect of his prints in this method after Reynolds and Millais was mechanical and out of harmony with the picturesque technique of these painters, but the phenomenal popularity which Cousins gained for his works at least kept alive and in favor a form of mezzotint engraving during a critical phase of its history. Abraham Raimbach, the line engraver, dated the decline of his own art in England from the appearance in 1837 of Cousins's print (in the mixed style) after Landseer's Bolton Abbey. Such plates as Miss Peel, after Lawrence (published in 1833); A Midsummer Nights Dream, after Landseer (1857); The Order of Release and The First Minuet, after Millais (1856 and 1868); The Strawberry Girl and Lavinia, Countess Spencer, after Reynolds; and Miss Rich, after Hogarth (1873-1877), represent various stages of Cousins's mixed method. It reached its final development in the plates after Millais's Cherry Ripe and Pomona, published in 1881 and 1882, when the invention of facing copper-plates with a film of steel to make them yield larger editions led to the revival of pure mezzotint on copper, which rendered obsolete the steel plate and the mixed style which it fostered.
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In 1761, at about the age of fifty, he wrote and published A Treatise of the Theory and Practice of Perspective, wherein the Principles of that most Useful Art are Laid Down by Dr. Brook Taylor, are fully and clearly Explained by Means of Moveable Schemes properly Adapted for the Purpose, &c.; This was a simplified version of the theory of perspective earlier published by Brook Taylor. Fournier etched a survey of the Leeward Islands. He also engraved in mezzotint a portrait of Cuthbert Mayne, a priest executed for heresy in 1579.
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John Martin: Pandemonium, inspired by John Milton's Paradise Lost (Louvre Museum). The children's imagination was also influenced by three prints of engravings in mezzotint by John Martin around 1820. Charlotte and Branwell made copies of the prints Belshazzar's Feast, Déluge, and Joshua Commanding the Sun to Stand Still upon Gibeon (1816), which hung on the walls of the parsonage. Martin's fantastic architecture is reflected in the Glass Town and Angrian writings, where he appears himself among Branwell's charactersPatrick Branwell Brontë, Victor A. Neufeldt, The Works of Patrick Branwell Brontë, Routledge, 1999, p. 63.
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This time, Sheppard was placed in the Middle Stone Room, in the centre of Newgate next to the "Castle", where he could be observed at all times. He was also loaded with 300 pounds of iron weights. He was so celebrated that the gaolers charged high society visitors four shillings to see him, and the King's painter James Thornhill painted his portrait.The original has not survived, but this sketch attributed to Thornhill, and this mezzotint engraving by George White based on it, are held by the National Portrait Gallery.
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Detail of Amor and Psyche, after Simon Vouet, engraving inked à la poupée, with additional hand-colouring (the flesh colour, pink in the robe and Amor's yellow hair), Teyler workshop, 1688–98.The whole print. There is also a light black or grey wash, seen on Psyche's hair. As with a monochrome print in an intaglio technique (such as engraving, etching, mezzotint and aquatint), the ink was spread on the plate (normally copper) and then wiped off the surface, leaving ink only in the lines or other areas below the main level of the plate.
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The rosin is acid resistant and typically adhered to the plate by controlled heating; where the grains are will print white, with black areas around. The tonal variation is controlled by the level of mordant exposure over large areas, and thus the image is shaped by large sections at a time. The rosin is then washed off the plate before printing.Griffiths, 89–90 Another tonal technique, mezzotint, begins with a plate surface that is evenly indented and roughened so that it will print as an even and fairly dark tone of ink.
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Areas smoothed completely flat will not hold ink at all; such areas will print "white," that is, the color of the paper without ink. This is called working from "dark to light", or the "subtractive" method. Jacob Christoph Le Blon used the dark to light method and invented the three and four-color mezzotint printing technique by using a separate metal plate for each color. Le Blon's color printing method applied the [RYB color model] approach whereby red, yellow and blue were used to create a larger gamut of color nuances.
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He painted several subjects for Boydell's Shakespeare Gallery, designed illustrations to Bell's edition of the poets, and practised to some small extent as an etcher and mezzotint-engraver. It is, however, as a painter, in both oil and water- color, of landscapes and rustic subjects that Wheatley is best remembered. He was elected an associate of the Royal Academy in 1790, and an academician in the following year. In 1787 he married one of his most popular models, the young Clara Maria Leigh (1768–1838), who was also an artist.
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William Smith (1707–1764), the eldest of the brothers, born at Guildford, was placed by the Duke of Richmond with a portrait-painter in London, and for a time practised portraiture, first in London and then for eight or nine years at Gloucester. On his return to London he painted fruit and flowers with success until his health gave way, when he retired to Shopwyke, near Chichester. There he died on 4 October 1764. A group portrait of the three Smith brothers was painted and engraved in mezzotint by William Pether (c.
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299 with image The queen's hair is "Titian gold", the background is dark blue, with the inscription, "Maria Regina Scotorum".Laurence Hutton, From The Books (New York, 1892), pp. 72-3 The image of the queen resembles another portrait called "Mary, Queen of Scots" at Lyme Park made in the 18th century.'Mary, Queen of Scots (1542–1587)'British (English) School, National Trust, Lyme ParkMary, Queen of Scots (1542–1587), National Trust Collections The Lyme image was probably taken from a mezzotint engraving by John Simon made around the year 1715.
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Her artistic style was influenced by such artists as Paul Klee, Yōzō Hamaguchi, Johnny Friedlaender, Yoshio Mori, and Japanese print artists. After the war, Minami moved to Tokyo to create children's books, and it was there that she met her future husband, the mezzotint artist Yōzō Hamaguchi. Minami and Hamaguchi moved to Paris in late 1953 where Minami began studying under Johnny Friedlaender, a pioneer in aquatint etching. Soon after beginning her study of aquatint etching under Friedlaender, Minami sold one of her early works to the city of Paris.
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Gravers come in a variety of shapes and sizes that yield different line types. The burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. Other tools such as mezzotint rockers, roulettes (a tool with a fine-toothed wheel) and burnishers (a tool used for making an object smooth or shiny by rubbing) are used for texturing effects. To make a print, the engraved plate is inked all over, then the ink is wiped off the surface, leaving only ink in the engraved lines.
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Lens, the son of mezzotint engraver Bernard Lens II, was born in London in 1682 and in 1698 became an apprentice to an artist known as Sturt, quite likely his father's partner John Sturt (1658–1730).Wieseman, p. 226 Sturt was a member of the Company of Goldsmiths, but the membership was merely a license to work within the City of London, not an indicator of his actual trade. In 1704 Lens joined the newly established Rose and Crown Club, an art society frequented by William Hogarth and George Vertue.
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Elizabeth Lyon (née Stanhope), Countess of Strathmore and Kinghorne (May 1663 – 24 April 1723), was an English noblewoman and the wife of Scottish peer John Lyon, 4th Earl of Strathmore and Kinghorne. Born to Lady Elizabeth Butler and Philip Stanhope, 2nd Earl of Chesterfield, her paternity was in doubt. It is possible that her actual father was James, Duke of York, who would in 1685 ascend the throne as King James II of England. She was the subject of three portraits in mezzotint published by Alexander Browne after Sir Peter Lely.
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On August 26, 2014, Polaris announced their first tour, Waiting for October, with nine shows in cities such as New York City, Chicago, and Philadelphia. In October 2014, the band released their first new material since the Nickelodeon show in the form of a digital and cassette single, thus ending their status as a "one-off project". The cassingle, consisting of "Great Big Happy Green Moonface" (also its title) and "Baby Tae Kwon Do" was made available through the Mezzotint website. It was produced by new member Ohlenbusch.
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Richard Howe, from a mezzotint engraving by R. Dunkarton, after the painting by John Singleton Copley The Howe brothers had been granted authority as peace commissioners by Parliament, with limited powers to pursue a peaceful resolution to the conflict. King George III was not optimistic about the possibility of a peace, "yet I think it right to be attempted, whilst every act of vigour is unremittingly carried on".Ketchum (1973), p. 94 Their powers were limited to granting of "general and special pardons" and to "confer with any of his Majesty's subjects".
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A painted trompe l'oeil with a portrait of Mrs Faber (after Thomas Hudson) Faber was born in The Hague, the son of the artist John Faber Senior, and learned mezzotint and drawing from his father after the family's move to London. He then enrolled at the St. Martin's Lane Academy. In later life Faber resided at the Golden Head in Bloomsbury Square, London, where he died of "gout" on 2 May 1756. From the inscription on a masonic portrait of Frederick, Prince of Wales, it appears that Faber was a Freemason himself.
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1903 portrait of John Finnie by Constance Copeman John Finnie (1829–22 February 1907) was a Scottish landscape painter and engraver. He was best known in London for his original mezzotint engravings of landscape, and exhibited at the Royal Academy and the Royal Society of Painters, Etchers, and Engravers. When he moved to Towyn in northern Wales he painted numerous landscape paintings of places in the Capel Curig area, such as Snowdon. He was headmaster of the Liverpool Mechanics Institute and School of Art from 1855 until 1896.
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Charles James Martin (September 1886 – August 9, 1955) was an American modernist artist and arts instructor. He worked in a variety of media including etching, lithography, water color, monotype, linocut, woodcut, oil, photography, mezzotint and silversmithing. Born in Mansfield, England in 1886, Martin emigrated to the US as a boy and lived out the remainder of his life as an American. He studied art under Arthur Wesley Dow at Dow's Ipswich Summer School of Art as well as at Columbia University Teachers College, where he became an instructor himself in 1914.
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Landscape with River and Town on the high ground, from the Fine Arts Museums of San Francisco Landscape with Harvesters, from the Metropolitan Museum of Art Jan van Almeloveen (1656 – 1684Jan van Almeloveen // ECARTICO"Almeloveen, Jan van". The Grove Dictionary of Art. Oxford University Press.) was a Dutch painter, engraver, and draughtsman of the 17th century, principally known for some neatly executed etchings of landscapes. He was born in Mijdrecht, according to an inscription on his 1678 mezzotint portrait of his father, Johannes ab Almeloveen, a preacher in that city.
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Art writer Nicolas Rothwell described the work as drawing a parallel "between Aboriginal initiation rituals and the ceremonies inside a Masonic lodge." Mellor's earlier works examined the relationships between cultures, including in his mezzotint prints in which he juxtaposed "images of native and introduced flora and fauna—for example, a kangaroo with a bull—to symbolise two different peoples and cultures". These issues were also addressed in his painting for the exhibition Native Titled Now, shown in South Australia in 1996. Mellor's interest in cultural interactions extends beyond the making of his art.
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Hugh Boulter, mezzotint by John Brooks after Francis Bindon. After leaving the university in 1700 Boulter served as a chaplain to several prominent individuals, including Sir Charles Hedges, the Secretary of State for the North, and Thomas Tenison, the Archbishop of Canterbury, before being awarded his D.D. in 1708. After spending seven years working as a rector, Boulter was appointed as the archdeacon of Surrey in 1715. In 1719 Boulter was announced as the successor to George Smalridge as both the Dean of Christ Church and as the Bishop of Bristol.
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He was interred in the family burial- ground in St. Michan's churchyard. Lucas’s son Henry and other relatives were in attendance at his funeral, as were his friends Lord Charlemont, Flood and Adderley. The mourners also included officers and many hundred brethren of the guilds and the Lord Mayor with representatives of the Corporation and the Vice-Provost and scholars of Trinity College.via DNB:Freeman's Journal, 9 November There are several engraved portraits of Lucas, but the best is a mezzotint from a half-length by Sir Joshua Reynolds in the National Gallery of Ireland.
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John Chetwynd, mezzotint by John Smith. John Chetwynd (1643 – 9 December 1702), of Rudge, near Sandon, Staffordshire was an English Member of Parliament. He was the eldest son of John Chetwynd of Rudge. He was Member of Parliament for Stafford from 1689 to 1695, and again in 1701 and 1702. In the intervening period he sat for Tamworth in 1698–1700.H. M. Stephens, ‘Chetwynd, William Richard, third Viscount Chetwynd (1685?–1770)’, rev. Philip Carter, Oxford Dictionary of National Biography, (Oxford University Press, 2004) , accessed 16 Nov 2008.
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Henry Robert Morland George Morland His father was the genre painter George Henry Morland, and Henry Robert followed an art career as well, becoming a painter of portraits and domestic subjects, in both oil and crayon. He exhibited some 118 works from 1760 to 1791 at the Society of Artists, the Free Society, and the Royal Academy. Morland also engraved in mezzotint, restored paintings, and sold artists supplies, including crayons that he made himself. Morland was for a time very successful and even painted a portrait of George III, the king sitting in person.
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St Ives Harbour (circa 1905-1910), Lee's woodcut, printed in colours Lee was a versatile artist in a wide range of media, oils, wood engraving and the woodcut, as well as etching, drypoint, aquatint, mezzotint and lithography. His work was popular during his lifetime, but he has lapsed into obscurity since his death. Lee was a founder member of the Society of Wood Engravers in 1920, and exhibited with them from 1920 to 1923. Along with Edward Gordon Craig and Lucien Pissarro he was one of the elder statesmen of wood engraving.
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An 18th century mezzotint of Littleton, after Van Dyck In 1641, when the previous keeper, John Finch, fled into exile, Littleton was appointed Lord Keeper of the Great Seal. He was raised to the Peerage as Baron Lyttelton. As the Lord Keeper Littleton had begun to display a certain amount of indifference to the royal cause. In January 1642, he refused to put the Great Seal to the proclamation for the arrest of five members and he also incurred the displeasure of Charles by voting for the Militia ordinance.
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Hogarth's paintings and prints have provided the subject matter for several other works. For example, Gavin Gordon's 1935 ballet The Rake's Progress, to choreography by Ninette de Valois, was based directly on Hogarth's series of paintings of that title. Igor Stravinsky's 1951 opera The Rake's Progress, with libretto by W. H. Auden, was less literally inspired by the same series. Hogarth's engravings also inspired the BBC radio play The Midnight House by Jonathan Hall, based on the M. R. James ghost story "The Mezzotint" and first broadcast on BBC Radio 4 in 2006.
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Music from the Adventures of Pete & Pete is a studio album by the band Polaris, a one-off project involving members of the late 1980s and early 1990s band Miracle Legion. It features twelve songs composed by the band between 1992 and 1995 for the cult Nickelodeon television series, The Adventures of Pete & Pete. The album remains the only full-length release by Polaris. A deluxe edition was released on September 2020 via Mezzotint Records on vinyl and CD, containing unreleased demos, a lyric sheet and other additional material.
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The bulk of his work consisted of portraits, among those exhibited being portraits of Charles Kemble, the Countess of Erne, Lieutenant-colonel and Lady Caroline Stuart-Wortley, Lord and Lady Mulgrave, Count Woronzow, and others. He also painted and exhibited landscapes, fishing, domestic, and fancy subjects. Among these were Dorothea—from Don Quixote, exhibited in 1802, and engraved in mezzotint by William Say; The Lovers and The Pensive Girl,' from Thomson's Seasons; Margate, fishing boats going out; and A view of the common fields at Hayes, Middlesex. He also exhibited occasionally at the British Institution.
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Introduced to the mezzotint engraver, John Bonnar, James became interested in a more rapid process for preparing the plate for the engraver - possibly the engineering streak in him his father noticed. He also developed an intense interest in mezzotinting and soon began his career in that art and as an engraver in general. As a mezzotinter, for over fifty years, he was possibly only excelled in his day by Samuel Cousins (1801–1887). Several of Faed's mezzotints were commissioned by the Royal Association for the Promotion of Fine Arts in Scotland.
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Following his father's death, his mother returned to the Duchess's service,. with the result that Turner had access to the gallery at the palace.Old Prints and Engravings He moved to London in about 1789, where he worked for John Boydell, a major print publisher, and enrolled in the Royal Academy Schools. He made his first mezzotint in 1795, working from a portrait of John Kirby, the keeper of Newgate, painted by his friend John James Masquerier, and immediately afterwards produced a stipple engraving after a portrait of Joshua Reynolds.
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Later in 1762 (or early 1763) a popular mezzotint was made after it (possibly as part of the agreement between Chamberlin and Ludwell), by the Irish-born engraver Edward Fisher (1730–1785). Franklin's son William ordered 100 copies to sell in America, 18 of which Franklin distributed himself, mostly to friends in New England such as Mather Byles, Ezra Stiles, and his niece's husband, Jonathan Williams. This was Franklin's favorite print during the time, partially because of the accurate likeness. The original painting is owned by the Philadelphia Museum of Art.
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42 Arnold had previously held a high opinion of Hazen, writing that he was "a sensible, judicious officer, and well acquainted with this country".Everest, p. 40 Mezzotint of Benedict Arnold by Thomas Hart, 1776 During the American retreat from Quebec in May and June 1776, Hazen and Arnold were embroiled in a dispute that led to charges and counter-charges, courts martial and other hearings, lasting into 1779. At issue were supplies that Arnold had ordered seized from merchants in Montreal and sent to Chambly for eventual shipment south as part of the retreat.
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269 A fine painting of him by Joseph Highmore (1692-1780) was destroyed in the fire at Clovelly Court in 1789,Worthy, 1892 but an engraving of it (but possibly of his friend the author Samuel Richardson) by James MacArdell (c.1729–1765) exists in the National Portrait Gallery.Samuel Richardson or possibly Zachary Hamlyn, by James Macardell, after Joseph Highmore, mezzotint, 1752, NPG D39726 A relief sculpted portrait bust exists on his mural monument in Clovelly Church. (See full text on Wikisource of s:Last Will and Testament of Zachary Hamlyn).
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He made prints in various styles, first exhibiting his work with the Society of Artists in 1762, but his most notable productions were those in the style of, or directly copied from, the etchings of Rembrandt. To imitate Rembrandt's effects of chiaoscuro, he used mezzotint, a technique not employed by the Dutch artist. He also obtained the badly worn original plate of Rembrandt's "Hundred Guilder Print" and reworked it. When a limited number of impressions had been made, the plate was cut into four pieces, and impressions taken from the individual sections.
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Newgate, Committed for Trial, first attested the breaking down of the painter's health in 1878. In this year he was elected A.R.A., and exhibited The Gifts of the Fairies, The Daughter of the House, Absconded, and a portrait of Samuel Cousins the mezzotint engraver. Holl was overwhelmed with commissions, which he would not decline. The consequences of this strain upon a constitution which was never strong were more or less, though unequally, manifest in Ordered to the Front, a soldier's departure (1880); Home Again, its sequel, in 1883 (after which he was made Royal Academician).
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Arms of Fortescue: Azure, a bend engrailed argent, plain cotised or William Fortescue (1722–1806), 1st Baron Clermont (1770, normal remainder); 1st Baron Clermont (1776, special remainder); 1st Viscount Clermont (1776, special remainder); 1st Earl of Clermont (1777, normal remainder), all in the Peerage of Ireland. Mezzotint engraving of portrait by Thomas Hudson (1701–1779).Original painting owned in 1864 by Thomas Fortescue, 1st Baron Clermont (1815–1887) (Clermont, Lord (Thomas Fortescue), History of the Family of Fortescue in all its Branches, (first published 1869) 2nd edition London, 1880 , image opposite p. 211. ) Normal remainder titles extinct 1806, special remainder titles extinct 1829.
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The son of a captain in the merchant navy, Walker became a pupil of Valentine Green. Although an eminent mezzotint engraver in England, Walker emigrated to Russia in 1784, remaining there for nearly twenty years. He was invited to St. Petersburg by Empress Catherine II, who appointed him Engraver to Her Imperial Majesty, on a salary of 1,000 roubles a year. His role was to execute mezzotints after the Old Master paintings in the Imperial Collection, which were published in two folders entitled A Collection of Prints, from the Most Celebrated Pictures in the Gallery of her Imperial Majesty Catherine the Second.
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His landscape paintings were much admired at the time: one, with a 'Nymph Bathing her Feet,' was engraved in mezzotint by John Smith. He painted a ceiling for Mr. Richard Kent at Corsham, Wiltshire. On the death of his mother he came to England, in the reign of Charles II, and was patronized by Sir Edward Spragge, and more particularly by Sir William Williams, for whom he painted a great number of landscapes, which were destroyed when that gentleman's mansion was burned down. His pictures were in considerable estimation, and he was occasionally employed by Sir Peter Lely to paint his backgrounds.
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Mezzotint engraving of Sir Robert Vaughan by Charles Turner; 1833 Sir Robert Williames Vaughan, 2nd Baronet (29 March 1768 – 1843) was a Welsh landowner and Tory politician who sat in the House of Commons for 40 years from 1792 to 1836. Vaughan was the eldest son of Sir Robert Howell Vaughan, 1st Baronet, of Hengwrt, Merionethshire and educated at Jesus College, Oxford (1787). He succeeded his father on 13 October 1792, inheriting the 12,000 acre Nannau estate and the Hengwrt estate. He married Anna Maria, the daughter of Sir Roger Mostyn, 5th Baronet, of Mostyn, Flintshire and Gloddaeth, Caernarvonshire on 23 September 1802.
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Robert Edge Pine began the first representation of Congress Voting Independence (Historical Society of Pennsylvania Collection, Atwater Kent Museum, Philadelphia) in 1784, but it was unfinished at his death. Savage completed the painting in 1801, and mass-produced the image as a mezzotint. Its portraits of Anthony Wayne, Benjamin Rush, and Thomas Jefferson are highly esteemed. Savage is principally known, however, for a large portrait group, The Washington Family (begun 1789, completed 1796), portraying President George Washington, First Lady Martha Washington, two of her grandchildren, George Washington Parke Custis and Eleanor Parke Custis, and an enslaved servant, probably Christopher Sheels.
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On 12 July 1723 Vanderbank married the actress Ann Hardaker (b 1703) at St Mary's Church, IslingtonOriginal data: England, Marriages, 1538–1973. Salt Lake City, Utah: FamilySearch, 2013., the daughter of William Hardaker and Sibella (née Mountjoy)Marriage register, 10 May 1702 at St Mary, Whitechapel,Middlesex, England, London Metropolitan Archives; London, England; Reference Number: P93/MRY1/006 of Holborn, London. She was deemed by Vertue to be ‘a Vain empty wooman’ though, judging by the portrait miniature by Christian Friedrich Zincke and Faber's mezzotint from her portrait by her husband, she was certainly strikingly attractive.
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In 1765, Earlom was employed by Alderman Boydell, a publisher and promoter of the fine arts, to make a series of drawings from the pictures at Houghton Hall; and these he engraved in mezzotint. His best works are perhaps the fruit and flower pieces after the Dutch artists Van Os and Jan van Huysum. Among his historical and figure subjects are Agrippina, after Benjamin West; Love in Bondage, after Guido Reni; the Royal Academy, the Embassy of Hyderbeck to meet Lord Cornwallis, Colonel Mordant's Cock Fight and a Tiger Hunt, all after Johan Zoffany, and Lord Heathfield, after Sir Joshua Reynolds.
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Queen Mary II of England wearing fontanges and a frelange, 1688 (mezzotint made 1690s) A fontange, or frelange, is a high headdress popular during the turn of the late 17th and early 18th centuries in Europe. Technically, fontanges are only part of the assembly, referring to the ribbon bows which support the frelange.Mezzotint of Mary II of England in the Victoria & Albert Museum collection The frelange was supported by a wire framework called a commode. A surviving example of a frelange headdress with fontanges and commode in situ is that worn by the 1690s fashion doll Lady Clapham.
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Thirty- three portraits by Hathaway are known to exist, dating almost exclusively to the years between 1790 and 1795; all are of relatives and friends, among them the educator and politician George Partridge. He also painted landscapes, portrait miniatures, and overmantels. One genre painting, the Welch Curate of about 1800, is documented; it was adapted from an English mezzotint. Furthermore, he is known to have created at least one wood carving, a figure of an eagle used to crown a temporary arch constructed to inaugurate a new bridge over the Bluefish River, and he carved the frames to some of his paintings.
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Similarly, Baroque free standing sculptures feature life-size scales, realistic skin tones and the simulation of gold-threaded garments through a technique called estofado, the application of paint over gold leaf. Church of San Francisco Acatepec with Baroque Talavera tiling The most important later influence to Mexican and other painters in Latin America was the work of Flemish artist Peter Paul Rubens, known through copies made from engravings and mezzotint techniques. His paintings were copied and reworked and became the standard for both religious and secular art. Later Baroque paintings moved from the confines of altarpieces to colossal freestanding canvases on church interiors.
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Reynolds (1975), p. 15. As 9 is the age during the Georgian era when many apprenticeships began, this means that Williams may have briefly studied under Hogarth. He eventually became an engraver as well and some of his work was subsequently published by the master of mezzotint engraving John Raphael Smith. Williams became friends with the brothers William Ward and James Ward, both engravers who had apprenticed under Smith, and he had at least two children born out of wedlock with their 18-year-old sister Mary Ward (1764-1832), before finally marrying her in 1788, some six years after the fact.
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Dictionary of National Biography, 1891 More recently, Ellis Waterhouse suggested that Hawker had been one of Lely's chief assistants. A full-length portrait of Charles II, believed to be by Hawker, is in the National Portrait Gallery in London. The attribution was made on the basis of comparisons with Hawker's full-length depiction of the king's son, Henry FitzRoy, 1st Duke of Grafton, at Euston Hall. The painting of Grafton was reproduced in a mezzotint by Isaac Beckett and his portrait of Titus Oates was engraved by Cornelius Nicolas Schurtz The date of his death has often been given as c.
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It is certain that the widow Copley was married to Peter Pelham on May 22, 1748, and that at about that time she transferred her tobacco business to his house in Lindall Street (a quieter, more respectable part of town), at which the evening school also continued its sessions. In such a household young Copley may have learned to use the paintbrush and the engraver's tools. Whitmore says plausibly: "Copley at the age of fifteen was able to engrave in mezzotint; his stepfather Pelham, with whom he lived three years, was an excellent engraver and skillful also with the brush."Whitmore, p. 29.
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Self-portrait Jan Verkolje or Johannes VerkoljeAlso called Jan I or Jan the Elder to distinguish him from his son Jan II (Amsterdam, baptized on 9 February 1650 – Delft, buried on 8 May 1693) was a Dutch painter, draughtsman and engraver. He is mainly known for his portraits and genre pieces of elegant couples in interiors and, to a lesser extent, for his religious and mythological compositions. He was a gifted mezzotint artist.Jan Verkolje (I) at the Netherlands Institute for Art History Trained in Amsterdam Verkolje spent his active professional career in Delft where he had access to powerful patrons.
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Lupton was mainly responsible for the introduction of steel for mezzotint engraving. Hoping to find a more durable substitute for copper, he made experiments on nickel plates, the Chinese alloy called tutenag (an alloy of copper, zinc, and nickel), and steel, and, deciding upon the latter, used it for a successful portrait of Munden the actor, after Clint. In 1822 he received the "Isis medal" of the Society of Arts for his application of soft steel for engraving - from one plate alone he was still able to get good copy even after 1,500 impressions; all his subsequent works were therefore produced on steel.
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Intaglio is a printing technique in which the image is incised into a surface. Normally, copper or zinc plates are used, and the incisions are created by etching or engraving the image, but one may also use mezzotint. In printing, the surface is covered in ink, and then rubbed vigorously with tarlatan cloth or newspaper to remove the ink from the surface, leaving it in the incisions. A damp piece of paper is placed on top, and the plate and paper are run through a printing press that, through pressure, transfers the ink to the paper.
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His most important etching was "Christ and the Disciples at Emmaus", after Titian. He also etched a plate of a jovial man smoking, dated 1656, portraits of Richard Kirkby, John Ogilby, and William Dobson; the last-named etching was long attributed to John Evelyn. There is in the British Museum a small mezzotint engraving by English. According to Vertue, he claimed English died about 1718 (later discovered to have been 1705), and left his property, which included a portrait of Cleyn and his wife and some samples of the Mortlake tapestry, to Mr Crawley of Hempsted, Hertfordshire.
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Turner's biographer, Alfred Whitman, dismisses a tradition in the artist's family that he was apprenticed to George Jones, who was in fact younger than Turner, but suggests that he may have come under the influence of George Jones' father John Jones, who was a notable exponent both of mezzotint and stipple, without making any mention of any formal apprenticeship.Whitman 1907, p.4 In 1798 he was employed by the publisher Edward Orme to produce the first plates for his "transparencies", a new type of varnished and coloured print designed to be illuminated from behind.Whitman 1907, p.
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He became a student in the Cork Academy, drawing from the collection of casts which Lord Listowel had obtained for that institution. The master, Chalmers, was also a scene painter, and taught Forde distemper painting, so that he was able to be employed at the theatre. He had an intention of becoming a mezzotint engraver, and taught himself the art with materials roughly made by his own hands, but soon relinquished any further practice, becoming an art teacher, and subsequently master in the Cork Mechanics' Institute. Among his fellow-students and intimate friends was Daniel Maclise.
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The set were engraved by David Lucas(1802–1881) and became very popular and well known.The mezzotint, also known as The Rescue on the 7th September, 1838, on the Farne Islands of the Nine Survivors of the Wreck of the Steam Packet Forfarshire, was published on the first anniversary of the tragedy by Francis Moon, London. In 1853 it was reprinted by Thomas Boys, London. A letter from Parker to Lucas in Newcastle City Libraries, dated 26 April 1839, shows Parker’s concern to ensure that the engraving captured the ‘somewhat Bonaparte character’ of Grace Darling's face.
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Colvin reported that it was the largest collection ever brought together, with "a large proportion of the rarest and a not inconsiderable proportion of the finest" mezzotints.Griffiths, 140–141 and described by the Oxford Dictionary of National Biography as "the finest private mezzotint collection ever formed" Cheylesmore assisted John Chaloner Smith in compiling his catalogue British Mezzotinto Portraits ... with Biographical Notes (London, 1878–84, 4 pts.), which "remains the definitive catalogue of the subject" up to 1820.Griffiths, 138 He was a member of the committee of the Burlington Fine Arts Club, where he exhibited some of his prints in 1902.
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In 1929, Ward was inspired to create a wordless novel of his own after he came across German artist Otto Nückel's Destiny (1926). The first American wordless novel, was published by Smith & Cape that October, the week before the Wall Street Crash of 1929; over the next four years, it sold more than 20,000 copies. He made five more such works: Madman's Drum (1930), Wild Pilgrimage (1932), Prelude to a Million Years (1933), Song Without Words (1936), and Vertigo (1937). In addition to woodcuts, Ward also worked in watercolor, oil, brush and ink, lithography and mezzotint.
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Also in 2007, BBC Audio released Ghost Stories Volume One (including "A View from a Hill", "Rats", "A School Story", "The Ash Tree", and "The Story of a Disappearance and an Appearance") read by Derek Jacobi. Ghost Stories Volume Two followed in 2009 (including "A Warning to the Curious'" "The Stalls of Barchester Cathedral"', "The Mezzotint", and "A Neighbour's Landmark"'). As of 2010 the audiobooks site LibriVox offers a set of audio readings (available as free downloads) under the collective heading Ghost Stories of an Antiquary. A full-cast audio dramatization of "Casting the Runes" was distributed by Audible in 2019.
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Turner sold The Blue Rigi in 1842 through dealer Thomas Griffith to whaling mogul Elhanan Bicknell. After Bicknell's death, the painting was sold at Christie's in April 1863 for 296 guineas to the art dealer Agnew's, and resold a month later to John Edward Taylor (son of the founder of the Manchester Guardian). The Blue Rigi was engraved as a mezzotint by Sir Frank Short in 1910. After Taylor's death, the painting was sold in July 1912 for 2,700 guineas, again auctioned at Christie's and acquired by Agnew's. Agnew's acquired about two thirds of the Taylor's Turners in the 12-day sale, including The Red Rigi for 2,100 guineas.
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He obtained a place in a German school for Marcus but Ludwig remained in Holland with his step-mother's family to avoid the dangers of the recently begun Thirty Years War in Germany.The Mezzotint, History and Technique by Carol Wax Sechten was in Hesse-Kassel, and his father Johann von Siegen became an advisor to the Landgrave, Maurice, who in 1620 appointed him chancellor of the Collegium Mauritaneum, a school for young aristocrats which Siegen attended from 1621 to 1626. Then he studied law at the Hohe Schule in Herborn. His father moved to Holland to again in 1627, when the new Landgrave William V dissolved the Collegium Mauritaneum.
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The entire design of the album's sleeve was coordinated by George Hardie, with whom the band would continue to collaborate for future sleeves. Hardie himself also created the front cover illustration, rendering the famous original black-and-white photograph in ink using a Rapidograph technical pen and a mezzotint technique. Hardie recalled that he originally offered the band a design based on an old club sign in San Franciscoa multi-sequential image of a zeppelin airship up in the clouds. Page declined but it was retained as the logo for the back cover of Led Zeppelin's first two albums and a number of early press advertisements.
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The Brothers Smith of Chichester (from a mezzotint by W. Pether after W. Pether) John Smith (1717–1764), younger brother of George, was his pupil, and painted landscapes of a similar character; the two frequently worked on the same canvas. John exhibited with the Incorporated Society of Artists in 1760 and with the Free Society from 1761–64. In 1760, and again in 1761, he was awarded the second premium of the Society of Arts, and in 1762, when his brother George was not a candidate, the first; his 'premium' landscape of 1760 was engraved by Woollett. He died at Chichester on 29 July 1764.
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Portrait of Lord Denman Halls exhibited in 1798 'Fingal assaulting the Spirit of Loda,' in 1799 'Zephyr and Aurora,' and in 1800 'Creon finding Hæmon and Antigone in the Cave.' Subsequently he chiefly devoted himself to portrait- painting, but he occasionally attempted ambitious subjects, like 'Lot's Wife' (1802), 'Hero and Leander' (1808), and 'Danae' (1811). A large picture (exhibited at the British Institution in 1813) of 'Christ raising the Daughter of Jairus,' won a premium, of two hundred guineas; it went to the church of St. Peter at Colchester. His 'A Witch—"but in a sieve I'll thither sail" from Macbeth' was engraved in mezzotint by Charles Turner in 1807.
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Lucas Johnson (October 24, 1940 – August 31, 2002) was an American artist and major force in the Texas art scene from the late 1960s to the early 2000s. Largely self-taught, he mastered numerous techniques, including egg tempera, pen and ink drawing, silverpoint, oil and acrylic painting, and the printmaking disciplines of aquatint, etching, lithography, serigraphy, drypoint and mezzotint. He was inspired by politics, music, fishing and the culture of Mexico, where he lived for a decade. His unique vision found expression in a wide range of subjects, from haunting, shamanic beings and quirky aquatic life to enigmatic, volcanic landscapes and still lifes of the orchid species he collected and cultivated.
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Owen Swiny by Peter van Bleeck, 1737 (National Portrait Gallery) Kitty Clive in her role as Philida, 1735, by Peter van Bleeck Petrus Johannes (Pieter) van Bleeck (baptized 25 June 1697 in The Hague – 20 July 1764 in London) was a Dutch portrait painter and mezzotint engraver active in London, where he moved in 1723. Van Bleeck is especially known for theatrical subjects such as Owen Swiny, Kitty Clive and Margaret Woffington, but he also worked on other subjects such as James Foster. His paintings were frequently engraved, particularly by John Faber Junior. Peter engraved a portrait of Ellen "Nell" Gwynne by Sir Peter Lely.
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Tate Adams established the artist print department at the Royal Melbourne Institute of Technology in 1960 and taught there for 22 years until 1982. He was responsible for introducing professionalism into printmaking, improving the technical standard of printmaking as an art form, and championing printmaking throughout Australia. His students included George Baldessin (died in 1978 but widely acknowledged as one of Australia's best printmakers), Jock Clutterbuck, Elizabeth Cross, Tay Kok Wee and Graeme Peebles (widely acknowledged as Australia's foremost mezzotint artist). He encouraged artists to use the facilities and developed printmaking as a respected art form amongst artists such as Fred Williams, John Brack, John Olsen and Len French.
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Many of his portraits were engraved in mezzotint, including John, lord Naas (by W. Dickinson), Simon, earl Harcourt, now at Nuneham Park (by E. Fisher), Dr. Samuel Madden (by R. Purcell), John Wesley, painted in Dublin (by James Watson), and others. The entry from A Dictionary of Irish Artists (1913) reads: Robert Hunter, the principal portrait painter of his time in Ireland, was a native of Ulster, but of his family and of his early years nothing is known. He studied art under Thomas Pope (q.v.). A portrait by him of Tom Echlin, the noted Dublin wit, was engraved and published by Edward Lyons of Essex Street in 1752.
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In addition to being relatively inexpensive, glass is chemically inert. It does not oxidize, nor does it change or interact with the composition of printing inks, especially yellows and whites, which can turn green or gray in contact with metal plates.Lidh, W. (1986) “Prints from Glass”, Introduction. Western Carolina University, Cullowhee, NC, According to Claire Van Vliet of Janus Press, intaglio vitreographs also have an advantage over metal in that the glass plate wipes cleanly in non-image areas, allowing bright white to coincide with “black that is velvety as a mezzotint” in the finished print.McLean, G. (1999) “In Black and White: Landscape Prints by Claire Van Vliet”, page 61.
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Skeat was born in St Albans in Hertfordshire; his mother Theodora had an embroidery studio in Chester and his grandfather was Walter William Skeat, the etymologist. Skeat was educated at Lyndale School, St Albans and Whitgift School, Croydon. At the age of eighteen, he was apprenticed to Harry Scott Bridgwater who was a leading mezzotint engraver. He was a follower of Sir John Ninian Comper; after exhibiting at the Paris salon in 1932, he returned to St Albans in 1933 and the following year he became a pupil of Christopher Webb, who had a studio in St Albans and encouraged him to work in stained glass.
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His earliest portraits in mezzotint are dated 1771. He was a relatively early British user of the à la poupée method of printing in colours, extending the number of colours considerably, and for this received from the Society of Arts in 1776 a bounty of thirty guineas. Early in 1794, in partnership with James Whittle, he succeeded to the business carried on by Robert Sayer at the Golden Buck in Fleet Street, London as a publisher of engravings, maps, charts, and nautical works. Major charts published by this firm were James Cook's Survey of the South Coast of Newfoundland (1776) and the Surveys of St. George's Channel, (1777).
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Sartain set up a studio in Philadelphia in 1875 where she created paintings and engravings. Over the course of her career she made copies of paintings in Spanish and Italian galleries, portraits, genre paintings, and was the first woman to practice the art of the mezzotint in the United States and Europe. Among her works were period scenes that depicted submissive women with downcast eyes as in Italian Woman and The Reproof. Sartain exhibited her works in cities along the East Coast of the United States and was the only woman to win a gold medal at the 1876 World Fair in Philadelphia for The Reproof.
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The parlour from 2 Henrietta Street, London, the main panels have been attributed to Vincenzo Damini, Victoria and Albert Museum Damini was born in Venice towards the end of the 17th century. He was a pupil of Giovanni Antonio Pellegrini, whom he accompanied to England in about 1720. His portrait of the London scenery painter John Devoto is known from a mezzotint after it, made by John Faber. In the north transept of Lincoln Cathedral, he executed a wall painting of four bishops beneath Gothic canopies, replacing an older version of the same subject; his assistant while working on it was the English artist Giles Hussey.
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She went on a trip to Japan in the 1980s and grew more interested in mezzotint, leading her to include Mount Fuji and Shinto shines in her small black-and-white works. Reynolds frequently contributed to the Small is Beautiful series of galleries at Flowers East Gallery. Her work was included in the 1991 exhibition A Survey of Influential East Anglian Artists at the Chappel Galleries, Essex and continued to exhibit in the gallery. Reynolds was chair of the Women's International Art Club from 1964 to 1967, served as the first chair of the Gainsborough's House Print Workshop, Sudbury, Suffolk between 1978 and 1979, and was fellow of the Printmakers Council.
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Little Devil's Bridge over the Russ, above Altdorft, Swiss-d, from Liber Studiorum, part IV. Impression in the Metropolitan Museum of Art Liber Studiorum () is a collection of prints by J. M. W. Turner. The collected works included seventy-one prints that he worked on and printed from 1807 to 1819. For the production of the prints, Turner created the etchings for the prints, which were worked in mezzotint by his collaborating engravers. The original models for the printmakers to follow were mainly in sepia watercolour, sometimes with elements in pencil and other media, and are now in Tate Britain as part of the Turner Bequest.
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William Lord North & Grey, mezzotint after Sir Godfrey Kneller William North, 6th Baron North and 2nd Baron Grey (22 December 1678 – 31 October 1734), known as Lord North and Grey, was an English soldier and Jacobite, and a peer for more than forty years. He had the right to sit in the House of Lords between 1698 and 1734, although he spent the last twelve years of his life overseas. North and Grey was the first of his family to become a professional soldier, and he rose to the rank of Lieutenant General. His career faltered after the death of Queen Anne because he was known to be a Jacobite.
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Two of these paintings (the Algerine Pirates and Sweet William's Farewell, both engraved by Paul Fourdrinier, who since about 1900 has also been mistakenly referred to as Peter, or Pierre, Fourdrinier) appear to have been on display prior to the war with Spain, which began in 1739. A substantial number of prints, in mezzotint and line, after Monamy's works, were produced in the years from about 1730 until just before his death in 1749. These continued to be reproduced and copied, in some quantity, until well into the 19th century. Those engravings executed during Monamy's lifetime are an excellent guide to the genuine manner of his oeuvre.
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The daughter of the Irish engraver James Watson, she was born in London in 1760 or 1761, and studied under her father, who worked in mezzotint. She was known for her skilled worked in the stipple method, was particularly known for reproductions of miniatures, and was the only woman engraver to serve as an independent engraver in the British 18th century. She came to prominence as an engraver at about the same time as women began to make up a significant proportion print consumers. Her career began to wind down after 1810 due to ill health, and she died at Pimlico on 10 June 1814.
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61 However, by mid-May Howe had apparently abandoned the idea of an overland expedition: "I propose to invade Pennsylvania by sea ... we must probably abandon the Jersies."Mintz, p. 117 A 1777 mezzotint of Howe When the campaign season opened in May 1777, General Washington moved most of his army from its winter quarters in Morristown, New Jersey to a strongly fortified position in the Watchung Mountains.Martin, p. 22 In June 1777, Howe began a series of odd moves in New Jersey, apparently in an attempt to draw Washington and his army out of that position onto terrain more favourable for a general engagement.
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The early 19th-century Hilton House was the Lincoln home of celebrated artist Peter de Wint De Wint was the son of an English physician of Dutch extraction who had come to England from New York. He was born in Stone, Staffordshire. In 1800, William Hilton was apprenticed to the engraver John Raphael Smith, and around the same time enrolled at the Royal Academy school. Another apprentice from 1802 was Peter De Wint, they were inseparable friends. Apprenticed to John Raphael Smith, the mezzotint engraver and portrait painter, he bought his freedom from Smith in 1806, on condition that he supplied 18 oil paintings over the following two years.
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William Meriton Eaton, 2nd Baron Cheylesmore (15 January 1843 – 10 July 1902) is best remembered as a leading collector of English mezzotint portraits, and collector of other art. His mezzotints and other prints, over 10,000 in number, were left to the British Museum, and five oil paintings to the National Gallery, London. He also stood unsuccessfully for Parliament for the Conservative Party at Macclesfield in 1868, 1874 and 1880, and held a nominal partnership in the family silk business. As his elder brother had predeceased him, he became 2nd Baron Cheylesmore, which is pronounced "Chylsmore", in 1891 on the death of his father Henry William Eaton, 1st Baron Cheylesmore (1816–1891).
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Currently director of the Artist Proof Studio in Newtown, Johannesburg, she has worked a senior lecturer in the fine arts department of the Technikon at the University of the Witwatersrand and at the University of Johannesburg. A 1999 suite of prints by Berman in mezzotint, drypoint, and engraving on paper, titled Playing Cards of the Truth Commission, an Incomplete Deck, is currently owned by the National Museum of African Art, as is the 1997 artists' book Emandulo Re-Creation, to which she contributed as a member of the Artist Proof Studio. A 2001 print, Break the Silence, is in the collection of the Museum of Modern Art.
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Robert Anderson, The Poets of Great Britain, London 1794, Vol.8, p.514 Aesop’s original fable was made the subject of a painting by Frans Snyders which in the 18th century entered the collection of the dukes of Newcastle. Robert Earlom (1743-1822) made a mezzotint engraving of this in 1772, of which there are both hand-coloured Donald Heald com and plain versions.British Museum In 1811 Samuel Howitt’s independent treatment of the subject featured vultures circling above the combatants.Antiquarian Booksellers Association of America The plate was also bound into Howitt’s A New Work of Animals, where it was accompanied by L'Estrange’s version of the fable.p.
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1946 – World War II had done nothing to dampen the BBC's enthusiasm for "Martin's Close", and on 13 February, C. Whitaker-Wilson's 1938 script of Madam, Will You Walk? was remounted, this time produced by Noel Iliff. Whitaker-Wilson himself played the part of Judge Jeffreys in a 45-minute production for the BBC Home Service. The same year, the anthology series Stories Old and New featured David Lloyd James reading a 20-minute version of "Lost Hearts" for the BBC Home Service on 16 September. 1947 – The BBC's Wednesday Matinee strand presented a version of "The Mezzotint", adapted by Ashley Sampson, with Martin Lewis as Dennistoun.
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Portrait of alt= Greenhill's portraits are of great merit, often approaching those of Lely in excellence. Among his chief sitters were Bishop Seth Ward, in the Guildhall at Salisbury, painted in 1673; Anthony Ashley Cooper, 1st Earl of Shaftesbury, painted more than once during his chancellorship in 1672 (engraved by Abraham Blooteling); John Locke, who wrote some verses in Greenhill's praise (engraved by Pieter van Gunst); Sir William D'Avenant (engraved by William Faithorne); Philip Woolrich (engraved in mezzotint by Francis Place); poet Abraham Cowley, Admiral Edward Spragge and others. Greenhill painted a self-portrait, now hanging in the Dulwich Picture Gallery in LondonJohn Greenhill - Self portrait (Dulwich Picture Gallery). (engraved in Wornum's edition of Horace Walpole's "Anecdotes of Painting").
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In the patented Electroetch system, invented by Marion and Omri Behr, in contrast to certain nontoxic etching methods, an etched plate can be reworked as often as the artist desires The system uses voltages below 2 volts which exposes the uneven metal crystals in the etched areas resulting in superior ink retention and printed image appearance of quality equivalent to traditional acid methods. With polarity reversed the low voltage provides a simpler method of making mezzotint plates as well as the "steel facing" copper plates. Some of the earliest printmaking workshops experimenting with, developing and promoting nontoxic techniques include Grafisk Eksperimentarium, in Copenhagen, Denmark, Edinburgh Printmakers, in Scotland, and New Grounds Print Workshop, in Albuquerque, New Mexico.
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Color plate by Jacques Gautier d'Agoty, showing some of the muscles of the head. Part of a series of illustrations from Myologie complete en couleur et grandeur naturelle (1746) with texts by French physician and anatomist Guichard Joseph Duverney, 1746 Jacques Fabien Gautier d'Agoty (1716-1785) was a French anatomist, painter and printmaker. D'Agoty was born in Marseille, and became a pupil of the painter and engraver Jacob Christoph Le Blon, with whom he became a rival for title of the invention of a method of an color-printing method based on etching and mezzotint engraving. He later exploited this process with his four sons: it is significant that he published a journal that included color printed images.
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George Dawe (6 February 1781- 15 October 1829) was an English portraitist who painted 329 portraits of Russian generals active during Napoleon's invasion of Russia for the Military Gallery of the Winter Palace. He relocated to Saint Petersburg in 1819, where he won acclaim for his work from the artistic establishment and complimentary verses by Pushkin.“Tate organization: Arts and Artists”He was the son of Philip Dawe, a successful mezzotint engraver who also produced political cartoons relating to the events of the Boston Tea Party. One of his brothers was Henry Edward Dawe, also a portraitist.“Dadiani Fine Art” “Oxford Dictionary of National Biography”He died on 15 October 1829 in Kentish Town, United Kingdom.
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His father, also named Edward Williams, was an engraver who worked with the master mezzotint engraver John Raphael Smith, and ran with a notorious group of drinkers that included the aforementioned George Morland, and Thomas Rowlandson the caricaturist. As such, the younger Williams grew up surrounded by artists, of whom Ward and Moreland were two the best- known painters in Georgian London. Edward Williams, junior was sent around 1792 or 1793 to live with his maternal uncle James Ward, R.A. (1769–1859), but it seems unlikely that he received any painting instruction from him. Instead he was informally apprenticed to a carver and gilder named Thomas Hillier, who had a shop on Carnaby Street.
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Mezzotint portrait of William Bagot, 2nd Baron Bagot, by George Clint William Bagot, 2nd Baron Bagot (11 September 1773 – 12 February 1856), was a British peer. William Bagot was born in London, the eldest son of William Bagot, 1st Baron Bagot, and his second wife Elizabeth Louisa St John. He was educated at Westminster School and matriculated at Christ Church, Oxford, on 10 November 1791. He married twice; firstly the Hon. Emily Fitzroy, daughter of Lt-Gen Charles Fitzroy, 1st Baron Southampton, on 30 May 1799, and secondly (after the death in 1800 of his first wife) Lady Louisa Legge, daughter of George Legge, 3rd Earl of Dartmouth, on 17 February 1807.
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Beckett was born in Kent in 1653, and apprenticed to a calico printer in London, but, after meeting Edward Luttrell, he decided to learn the new art of engraving in mezzotint. Hearing that one John Lloyd was acquainted with the process, and being obliged through an intrigue to absent himself from his business, Beckett offered his services to him, and entered into articles to work for him. Before long, however, he again fell into trouble, and was assisted by Luttrell, with whom he became associated in the development of the art. He is said to have married a woman of fortune, which enabled him to set up as the publisher of his own prints.
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He was appointed principal painter and librarian to the Prince and Princess of Wales at their independent establishment in Leicester Fields, and while he was in favour he painted various portraits of royalty, and no doubt many of the nobility and gentry. Of the royal portraits, those of the Prince of Wales and of his three sisters, painted in 1728, were all engraved in mezzotint by Jean Pierre Simon, and that of the three elder children of the Prince of Wales by John Faber Junior in 1744. This last (entitled Playing Soldiers) was a typical piece of Mercier's composition, the children being made the subject of a spirited, if somewhat childish, allegory in their game of play.
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His first intention was to submit quietly to his punishment; but finding that he was to be treated with scant decency, he escaped to the Isle of Man, and thence to London. After his flight he was presented by the grand juries of the county and city of Dublin as a common libeller. A proclamation was issued by the lord-lieutenant, at the request of the House of Commons, for his apprehension, and an engraver who advertised a mezzotint of him, as "an exile for his country, who seeking for liberty lost it," was committed to prison by order of the House of Commons. Finally, at the Christmas assembly of the Dublin Corporation, he was disfranchised.
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After Herkomer won the gold medal in Paris, Arthur Turrell made a mezzotint after the painting for Pilgeram and Lefèvre. Copyright was registered in the US by Knoedler in 1878. Herkomer was made a chevalier of the légion d'honneur in 1879, ennobled by King Otto of Bavaria in 1899 (adding "von" to his name), and knighted in England in 1907. The painting sold to the stockbroker and accountant William Cuthbert Quilter in 1881, and it was then exhibited at the Munich International Exposition in 1883, at the Whitechapel Fine Art Exhibition in 1885, at the Royal Jubilee Exhibition in Manchester in 1887, and at the World's Columbian Exposition in Chicago in 1893.
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Rupert's largest and most famous alt=The gray tone picture shows a European man dressed in informal 17th-century clothing holding a sword, on which Rupert's name can just be made out, in one hand, and the severed head of John the Baptist in the other. The mezzotint engraving appears fluid, with broad sweeps of detail. After his quarrel with the Royalist court in exile, Rupert travelled to Heidelberg to visit his brother Charles Louis, now partially restored as Elector Palatine, where the two had an ambivalent reunion.Kiston, p. 118 Charles Louis and Rupert had not been friendly as children and had almost ended up on opposite sides during the Civil War.
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53 Verkolje was much in demand as a portraitist and was able to fetch high prices for his portraits. His sitters were a who's who of Delft society of his time: the famous scientist Antonie van Leeuwenhoek (whom he portrayed on canvas and in mezzotint), the prominent lawyer and bailiff Johan de la Faille and his wife (both works are in the Wadsworth Atheneum), the vicar Cornelius van Aken, the painter Pieter Jansz van Asch, and the burgomaster and historian Dirk van Bleiswijk.Vermeer and The Delft School, p. 180 Verkolje also created portrait prints of international celebrities such as Hortense Mancini, Duchess of Mazarin, King James II of England, Willem III, Prince of Orange, and his wife, Mary Stuart.
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There are also groups of the seven bishops, the bishops' council, the lords justices of England, and the Portsmouth captains who declared for King William. White engraved the plates to Francis Sandford's account of the funeral of the Duke of Albemarle, 1670; the first Oxford Almanac, 1674; a set of portraits of members of the Rawdon family; the plates to John Guillim's 'Heraldry' and Gilbert Burnet's History of the Reformation; as well as many book-titles and frontispieces. A few mezzotint portraits of noblemen bear White's name as the publisher, and are assumed to have been executed by him. A portrait of White was engraved by W. H. Worthington for Ralph Nicholson Wornum's edition of Horace Walpole's Anecdotes.
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Subsequently he moved to Dublin, where he set up a glass and china shop. Elers married Miss Banks, by whom he was father of Paul Elers, who was educated for the law, and married Mary, the daughter and heiress of Edward Hungerford of Blackbourton Court, Oxford. He died in 1781, aged 82, leaving by her, among other children, Maria, the wife of Richard Lovell Edgeworth, and mother of Maria Edgeworth, the novelist. There is a medallion portrait of John Philip Elers done by Wedgwood, from a painting in the possession of the family, and there are two small mezzotint portraits of Paul Elers and his wife, engraved from the life by Butler Clowes.
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According to an older tradition, he was born in Olesko, a town then belonging to the Polish Ruthenian Voivodeship (now in Ukraine) and was probably taught by painters active at Olesko Castle, that was also the birthplace of King John III Sobieski (1629–1696). However, other sources claim he was born in Olecko (Marggrabowa) in the Duchy of Prussia, into a Lutheran Polish family. A mezzotint decorated by the signature of Georg Lisewsskij, illustrating a travelogue by Otto Friedrich von der Groeben was issued in Prussian Marienwerder (Kwidzyn) in 1694. He may have received an apprenticeship by the Swedish court painter David von Krafft in Swedish Pomerania, with regard to similarity in style.
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Anastasia Robinson seated at the harpsichord, proof for 1727 mezzotint by John Faber the Younger after 1723 painting by John Vanderbank, British Museum Anastasia Robinson ( - April 1755), later known as Anastasia, Countess of Peterborough, was an English soprano, later contralto, of the Baroque era. She is best remembered for her association with the composer George Frideric Handel, in whose operas she sang.Note that Robinson is not to be confused with Ann Turner Robinson, another English soprano who was active during the same period, and who also sang for Handel. Though Turner Robinson was normally referred to as "Mrs Turner Robinson" in accounts of the time, it is not always easy to distinguish the two.
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5 In 1801 he issued, with great success, a print of Napoleon, apparently based on a portrait by Masquerier painted on a visit to Paris, and was involved in the exhibition of a gigantic painting, Bonaparte Reviewing the Consular Guards, also ostensibly by Masquerier. Turner's annotated copy of the exhibition catalogue, however, indicates that there was an element of deception to the enterprise, and that Masquerier had never in fact seen Napoleon. Turner himself had executed much of the painting.Whitman 1907, p.7 While a student at the Royal Academy, he had become a friend of J.M.W. Turner (to whom he was not related), and in 1806 he made a mezzotint of his Shipwreck.
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Mezzotint after Frederick Richard Say William Astell (13 October 1774 – 7 March 1847), was a Member of Parliament and eminent director of the East India Company. Astell was the second son of Godfrey Thornton of Moggerhanger House, Bedfordshire, a director of the Bank of England. He assumed the name of Astell instead of Thornton in 1807 on succeeding to the Everton estate in Bedfordshire of his great-uncle, Richard Astell. He was elected a member of the court of directors of the East India Company in 1800, and in the same year took his seat in the House of Commons as conservative member for Bridgwater, which borough he represented during six successive parliaments.
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A mezzotint print of the Earl engraved by Valentine Green, after Johann Zoffany, published 30 August 1774 In a famous exchange with the actor Samuel Foote, Sandwich declared, "Foote, I have often wondered what catastrophe would bring you to your end; but I think, that you must either die of the pox, or the halter." "My lord", replied Foote instantaneously, "that will depend upon one of two contingencies; – whether I embrace your lordship's mistress, or your lordship's principles." This retort is often misattributed to John Wilkes. Sandwich retired from public duty in 1782, and lived another ten years in retirement at what was then the family seat, Hinchingbrooke House, Huntingdonshire,Hinchingbrooke House.
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Joseph Wright of Derby:Painter of Light, Benedict Nicolson The first painting was made into a stipple engraving by Thomas Ryder in 1779 and it was published by John and Josiah Boydell in 1786.Room 4: Gothic Gloom , The Tate, London However an earlier mezzotint engraving by John Raphael Smith of the later 1778 painting had been commissioned by John Milnes after he bought the painting at a Royal Academy show. Milnes obtained a print of every Wright painting that he could, but the print that he commissioned of his own painting was limited to just twenty copies before the plate was destroyed. This engraving is now exceptionally rare and is only available in a small number of British institutions and none abroad.
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He sent this to her son, Landgrave William VI with a letter explaining that he had invented the process: ".... I could not pass up dedicating such a rare and previously unseen work of art in humble honour before anyone else to your highness who is an extraordinary connoisseur of art. The way this work is made, no engraver or artist could explain or guess.". The portrait is rather stiff, but the full range of tones from the very light ones on the layered lace collars to the solid black of the left background make it a very effective showpiece for the potential of mezzotint. He worked from "light to dark", only roughening the plate where he wanted to produce tones, using "roulettes" or wheels with sharp teeth.
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Engraving was a historically important method of producing images on paper in artistic printmaking, in mapmaking, and also for commercial reproductions and illustrations for books and magazines. It has long been replaced by various photographic processes in its commercial applications and, partly because of the difficulty of learning the technique, is much less common in printmaking, where it has been largely replaced by etching and other techniques. "Engraving" is also loosely but incorrectly used for any old black and white print; it requires a degree of expertise to distinguish engravings from prints using other techniques such as etching in particular, but also mezzotint and other techniques. Many old master prints also combine techniques on the same plate, further confusing matters.
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At Turin he painted Charles Emmanuel II, Duke of Savoy and several members of his court. Then, moving to Paris, where he was elected a member of the Académie Royale de Peinture et de Sculpture, he executed various altar-pieces and restored the works of Francesco Primaticcio at Fontainebleau. In 1737 he went to England, where he attracted attention by his portrait of Colley Cibber and of Owen McSwiny, the theatrical manager; the latter, like many other of van Loo's works, was engraved in mezzotint by John Faber Junior. He also painted Sir Robert Walpole, whose portrait by van Loo in his robes as chancellor of the exchequer is in the National Portrait Gallery, London, and the prince and princess of Wales.
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Born in Bull and Mouth Street, Aldersgate in London in 1804, Buss served an apprenticeship with his father, a master engraver and enameller, and then studied painting under George Clint, a miniaturist, watercolour and portrait painter, and mezzotint engraver. At the start of his career Buss specialised in painting theatrical portraits, with many of the leading actors of the day sitting to him, including William Charles Macready, John Pritt Harley, and John Baldwin Buckstone. Later Buss painted historical and humorous subjects. He exhibited a total of 112 pictures between 1826 and 1859, twenty- five at the Royal Academy, twenty at the British Institution, forty-five at the Suffolk Street gallery of the Society of British Artists, seven at the New Watercolour Society, and fifteen in other places.
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Jacob Coelemans was registered as a pupil of Frederik Bouttats the Younger at the Antwerp Guild of Saint Luke in the Guild year 1672-1673.Ph. Rombouts and Th. van Lerius, De Liggeren en andere Historische Archieven der Antwerpsche Sint Lucasgilde, onder Zinkspreuk: "Wy Jonsten Versaemt" afgeschreven en bemerkt door Ph. Rombouts en Th. Van Lerius, Advokaet, onder de bescherming van den raed van bestuer der koninklyke Akademie van beeldende Kunsten, van gezegde Stad, Volume 2, Antwerp, 1872, pp. 420, 424 Bouttats was a print artist, art dealer (person), painter and mezzotint artist from an extensive Antwerp dynasty of artists.Frederik Bouttats (II) at the Netherlands Institute for Art History He was never registered as a master in the Guild of Saint Luke of Antwerp.
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Pether, 1762 portrait of George III, after Thomas Frye. In 1762 he engraved Frye's portrait of George III in three sizes, and during the following fifteen years executed engravings after English, Dutch, and Italian masters, especially Rembrandt and Joseph Wright of Derby, with strong effects of light and shade. His plates of The Jewish Bride, 1763, Jewish Rabbi, 1764, Officer of State, 1764, and Lord of the Vineyard, 1766, after Rembrandt, and A Lecture on the Orrery, 1768, Drawing from the Gladiator, 1769, The Hermit, 1770, and The Alchymist, 1775, after Wright, were noted as mezzotint work. Pether engraved altogether about fifty plates, some of which were published by John Boydell, but the majority by himself at various addresses in London.
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The more experimental songs on the album are instrumental, while cuts with vocals from Williams are more on the pop music side. Described by Max Pearl as "both eerily familiar and totally otherworldly," Motion Graphics regards the free feeling of accessing unlimited places due to technology, which is symbolized by the record's use of virtual instruments. Finlayson called Motion Graphics a happier version of the works he co-produced with producer Matthew Papich, known by his stage name as Co La, which was also a response to modern internet culture; the album's happy mood is showcased in the Sakamoto-inspired chord structures of tracks like "Lense", "Houzzfunction" and "Mezzotint Gliss" as well as the calm tenor vocals sung by Williams.
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Born at Tong, Yorkshire, in July 1653, he was the sixth son of Henry Tempest of Tong by his wife, Mary Bushall, and brother of Sir John Tempest, 1st Baronet. It is said that he was a pupil and assistant of Wenceslaus Hollar, and some of the prints which bear his name as the publisher have been assumed to be his own work; but there is no actual evidence that he ever practised engraving. Tempest died on 1 April 1717, and was buried at St. Paul's, Covent Garden, London. There is a mezzotint portrait of him by Place, after G. Heemskerk, with the motto "Cavete vobis principes", and the figure of a nonconformist minister in the Cryes is said to represent him.
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It was hoped that technical improvements might save the art, but by the beginning of the 20th century, pictorial line engraving in England was practically non-existent. The disappearance of the art is due to the fact that the public refused to wait for several years for proofs (some important proofs took as long as 12 years to create) when they could obtain their plates more quickly by other methods. The invention of steel-facing S copper plate enabled the engraver to proceed more quickly; but even in this case he can no more compete with the etcher than the mezzotint engraver can keep pace with the photogravure manufacturer. Line-engraving flourished in France until the early 20th century, only through official encouragement and intelligent fostering by collectors and connoisseurs.
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Martin was a defender of deism and natural religion, evolution (before Charles Darwin) and rationality. Georges Cuvier became an admirer of Martin's, and he increasingly enjoyed the company of scientists, artists and writers—Charles Dickens, Michael Faraday and J. M. W. Turner among them. Martin began to experiment with mezzotint technology, and as a result was commissioned to produce 24 engravings for a new edition of Paradise Lost—perhaps the definitive illustrations of Milton's masterpiece, of which copies now fetch many hundreds of pounds. Politically his sympathies are not clear; some claim he was a radical, but this is not borne out by known facts, although he knew William Godwin, the ageing reformed revolutionist, husband of Mary Wollstonecraft and father of Mary Shelley; and John Hunt, co-founder of The Examiner.
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Abraham Bosse, a Parisian illustrative etcher popularized Callot's methods in a hugely successful manual for students. His own work is successful in his declared aim of making etchings look like engravings, and is highly evocative of French life at the middle of the century. Early mezzotint by Wallerant Vaillant, Siegen's assistant or tutor Wenzel Hollar was a Bohemian (Czech) artist who fled his country in the Thirty Years War, settling mostly in England (he was besieged at Basing House in the English Civil War, and then followed his Royalist patron into a new exile in Antwerp, where he worked with a number of the large publishers there). He produced great numbers of etchings in a straightforward realist style, many topographical, including large aerial views, portraits, and others showing costumes, occupations and pastimes.
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An assortment of hand engraving tools Other terms often used for printed engravings are copper engraving, copper-plate engraving or line engraving. Steel engraving is the same technique, on steel or steel-faced plates, and was mostly used for banknotes, illustrations for books, magazines and reproductive prints, letterheads and similar uses from about 1790 to the early 20th century, when the technique became less popular, except for banknotes and other forms of security printing. Especially in the past, "engraving" was often used very loosely to cover several printmaking techniques, so that many so-called engravings were in fact produced by totally different techniques, such as etching or mezzotint. "Hand engraving" is a term sometimes used for engraving objects other than printing plates, to inscribe or decorate jewellery, firearms, trophies, knives and other fine metal goods.
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Mackenzie married first Lady Caroline Stanhope (1747–1767), daughter of William Stanhope, 2nd Earl of Harrington by whom he had one daughter, Lady Caroline Mackenzie (1766–1847), who married (d. 1833) and had children. He married secondly Harriet Powell, or Lamb (died 11 December 1779), the daughter of an apothecary. Sir James Balfour Paul describes her tactfully as "a fashionable beauty of the town", but Horace Bleackley is rather more explicit: > The graceful Harriet Powell, equally frail and famous, whose winsome face > was portrayed in many a mezzotint, had spent her early youth as an inmate of > Mrs Hayes's disreputable establishment in King's Place, but now at last she > had become faithful to one man, and was keeping house with Lord Seaforth, > the creator of a famous regiment.
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Fanny, Setchel's first exhibited work, appeared at the Royal Academy in 1831, and she continued to exhibit there and at the Society of British Artists until 1840, when she sent to the Society A Scene from Howitt's Rural Life of England. She was elected in 1841 a member of the New Society of Painters in Water-colours, and in the following year contributed to its exhibition A Scene from "Smugglers and Poachers" in Crabbe's Tales of the Hall, representing a prison interior where a young man whose life is in jeopardy is visited by his betrothed. It became popular, and was engraved in mezzotint by Samuel Bellin as The Momentous Question. The Heart's Resolve, a subject from George Crabbe's tale of Jesse and Colin, exhibited in 1850, was engraved by Bellin as a companion plate.
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Arnald was a friend of fellow painter John Varley, and in 1798 and 1799 the two toured Wales together. His students included the portrait painter Henry William Pickersgill, who became a full Royal Academician and whose eminent sitters included William Wordsworth, the Duke of Wellington and Sir Robert Peel. In addition to providing illustrations for a number of books, Arnald published on his own an album of views on the River Meuse in 1828 [The river Meuse : being delineations of the picturesque scenery on the river and its banks, from the city of Liége to that of Mezières. The drawings were made ... in ... 1818 / and are etched by George Arnald, engraved in mezzotint by S. W. Reynolds, C. Turner, W. Ward ... , T. Lupton, H. Dawe, J. P. Quilley, etc.
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Detail at right of eye. Representative of his "later, more colorful and painterly style", "the elements of the picture are seen as separate abstract markings" when viewed close-up, while simultaneously maintaining the illusion of a realistic portrait at a distance.. The pencil grid and thin undercoat of blue is visible beneath the splotchy "pixels." The painting's subject is fellow artist Lucas Samaras. Throughout his career, Chuck Close has expanded his contribution to portraiture through the mastery of such varied drawing and painting techniques as ink, graphite, pastel, watercolor, conté crayon, finger painting, and stamp-pad ink on paper; printmaking techniques, such as Mezzotint, etching, woodcuts, linocuts, and silkscreens; as well as handmade paper collage, Polaroid photographs, Daguerreotypes, and Jacquard tapestries.Chuck Close, October 29 – December 22, 2011 Blum & Poe, Los Angeles.
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Charles Exshaw (died 1771) was an Irish painter and engraver. Exshaw was a native of Dublin, was one of the early competitors for the Society of Arts' premium for an historical painting, with a picture of ‘The Black Prince entertaining the captive French Monarch after the Battle of Cressy.’ He is said to have studied in Rome, but in 1757 he was in Paris as a pupil of Carle Vanloo, and he executed four engravings of that painter's children in a combined method of etching and mezzotint engraving. From Paris he proceeded to Amsterdam, where he especially studied the works of Rembrandt, and executed two etchings from his pictures, "Potiphar's Wife making Accusation against Joseph" and "Christ with his Disciples at Sea in a Storm", the latter plate being dated 1760.
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Mezzotint by James Ward, after Martin Archer Shee, of the Duke of Clarence, later William IV, 1801 Eaton seems to have begun collecting seriously in the 1870s, and a visitor in 1902 reported that his house in Prince's Gate was dominated by his collection, the best hanging in frames such that there was "no more hanging room", and others were "stacked in great heaps" or in "great portfolios". By the standards of art-collecting peers, Cheylesmore was not rich, and in 1902 his estate was valued for probate at £51,476, "even in 1902 not a very great sum". Most of his prints cost under a pound, with only a "few dozen" costing more than £10, and the top price paid £94.16.3 at a sale at Christie's in 1895.
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By now he was an experienced engraver and Richter gave him his first attempt at "stipple on steel" or Mezzotint that was titled "Omphale". Around that time, Richter had painted The Tight Shoe and had requested that Sartain do the engraving. Sartain did so, then later did additional engravings after he went to the US. Richter had hoped that Sartain would also do the engraving for his painting, The Brute of a Husband, but their relationship had soured and Sartain left Richter's employ to go out on his own. Between 1829 and 1830, Sartain was self-employed in London before leaving for Philadelphia and becoming very well known and respected in the US. From 1829 until his death, Richter he was both a member and a frequent exhibitor of the Society of Painters in Water Colours.
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Young Benjamin Franklin, then a printer in Boston, wrote a ballad about the incident entitled "Lighthouse Tragedy" and sold it on the streets of Boston. The pay of Keeper John Hayes was raised to £70 in 1718 so that he would not be obliged to entertain mariners on the island for extra money which he found " prejudicial to himself as well as to the town of Boston." In 1719 he asked " That a great Gun may be placed on Said Island to answer Ships in a Fogg" and one was supplied that year on which the date 1700 was engraved. The gun is shown on a mezzotint engraving of Boston Light made by Burgess in 1729. Hayes’ successor in 1734 was Robert Ball who petitioned the general court for preference in piloting vessels into the harbor.
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Close has been a printmaker throughout his career, with most of his prints published by Pace Editions, New York. He made his first serious foray into print making in 1972, when he moved himself and family to San Francisco to work on a mezzotint at Crown Point Press for a three-month residency. To accommodate him, Crown Point found the largest copper plate it could (36 inches wide) and purchased a new press, allowing Close to make a work that was 3 feet by 4 feet. In 1986 he went to Kyoto to work with Tadashi Toda, a highly respected woodblock printer.Scarlet Cheng (January 21, 2007), Proof is in the printing Los Angeles Times. In 1995, curator Colin Westerbeck used a grant from the Lannan Foundation to bring Close together with Grant Romer, director of conservation at the George Eastman House.
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Martha Dandridge Custis in 1757: mezzotint by John Folwell (1863) after a portrait by John Wollaston Martha Custis, age 27, and George Washington, age 26, married on January 6, 1759, at the White House plantation. As a man who lived and owned property in the area, Washington likely knew both Martha and Daniel Parke Custis for some time before Daniel's death. During March 1758, he visited her twice at the White House; the second time, he came away with either an engagement of marriage or at least her promise to think about his proposal. At the time, she was also being courted by planter Charles Carter, who was even wealthier than Washington.Brigid Schulte, "Fresh Look at Martha Washington: Less First Frump, More Foxy Lady", The Washington Post, February 1, 2009, accessed April 1, 2012 The wedding was grand.
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A mezzotint engraving of the fable by Robert Earlom, 1772 The fable only existed in Greek sources formerly and concerns a lion and boar who fight each other to be the first to drink from a spring. Observing vultures gathering to swoop on the loser, the two fierce animals decide that it is better to have friendly relations rather than be eaten by such vile creatures. The story appeared in few of the main fable collections but was given popularity during the Renaissance by being included among the emblems of Andrea Alciato under the heading “One man’s loss is another man’s gain” (ex damno alterius, alterius utilitas). The Latin quatrain accompanying the illustration does not mention the cause of the quarrel but concludes that the victor’s glory will belong to the one that gets the spoil.
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Jacob Christoph Le Blon developed a method using three intaglio plates, usually in mezzotint; these were overprinted to achieve a wide range of colors. In the 19th century a number of different methods of color printing, using woodcut (technically Chromoxylography) and other methods, were developed in Europe, which for the first time achieved widespread commercial success, so that by the later decades the average home might contain many examples, both hanging as prints and as book illustrations. George Baxter patented in 1835 a method using an intaglio line plate (or occasionally a lithograph), printed in black or a dark color, and then overprinted with up to twenty different colors from woodblocks. Edmund Evans used relief and wood throughout, with up to eleven different colors, and latterly specialized in illustrations for children's books, using fewer blocks but overprinting non-solid areas of color to achieve blended colors.
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Victoria of Saxe-Coburg-Saalfeld, Duchess of Kent, 1841 portrait by John Lucas Lucas exhibited 96 portraits at the Royal Academy, 13 at the British Institution, and eight at the Suffolk Street Gallery, between 1828 and his death. Those sat who sat for him included Queen Adelaide, Albert, Prince Consort (four times), the Princess Royal, the Duke of Wellington (eight times), Lord and Lady Palmerston, William Ewart Gladstone, Lord and Lady Mahon, and many court beauties. He contributed to Sir Robert Peel's gallery of contemporary portraits. Conference of Engineers at the Menai Straits Preparatory to Floating one of the Tubes of the Britannia Bridge, 1868 engraving by James Scott, after John Lucas, portrait group of Robert Stephenson, Isambard Kingdom Brunel, and other engineers, consulting over the Menai Bridge Many of Lucas's portraits were engraved, some, like that of Nicholas Conyngham Tindal, by himself in mezzotint.
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James I and his royal progeny, by Charles Turner, from a mezzotint by Samuel Woodburn (1814), after Willem de Passe James's queen, Anne of Denmark, gave birth to seven children who survived beyond birth, of whom three reached adulthood: # Henry, Prince of Wales (19 February 1594 – 6 November 1612). Died, probably of typhoid fever, aged 18.: "Latter day experts have suggested enteric fever, typhoid fever, or porphyria, but at the time poison was the most popular explanation ... John Chamberlain wrote that it was 'verily thought that the disease was no other than the ordinary ague that had reigned and raged all over England'." # Elizabeth, Queen of Bohemia (19 August 1596 – 13 February 1662). Married 1613, Frederick V, Elector Palatine. Died aged 65. # Margaret (24 December 1598 – March 1600). Died aged 1. # Charles I, King of England, Scotland and Ireland (19 November 1600 – 30 January 1649).
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The painting, depicting the Queen as lying half-length among lilies and other flowers, swathed in white tulle, her right hand holding a cross, is part of the Royal Collection held at Osborne House on the Isle of Wight, England, where it hangs in the Pavilion Principal Stairs Vestibule. In 1907, Herkomer was knighted by King Edward VII. He exhibited a very large number of memorable portraits, figure subjects and landscapes, in oil and watercolour; he achieved marked success as a worker in enamel, as an etcher, mezzotint engraver and illustrative draughtsman and he exercised wide influence upon art education by means of the Herkomer School (Incorporated) at Bushey, which he founded in 1883 and directed without payment until 1904, when he retired. It was later voluntarily wound up in 1926 having been run up to that time by Lucy Kemp- Welch, and it is now defunct.
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Having studied at the Stourbridge School of Art in his early years he joined the South Kensington School of Art (the first name of the current Royal College of Art) in 1883. Short also studied at the life class under Professor Fred Brown at the Westminster School of Art, and for a short time at the Schools of the Royal Institute of Painters in Water Colours. Diana and Endymion, etching and mezzotint, printed in brown ink, 1891, after George Frederick Watts His real life-work now became that of an original and translator engraver. He was a keen student of the works of JMW Turner; and his etchings and mezzotints from Turner's Liber Studiorum (1885 seq.), examples of painstaking devotion and skill, were among his earliest successes, combining sympathetic study of the originals with a full knowledge of the resources of engraving and unwearied patience.
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Two water-colour pictures by Collett, entitled The Asylum for the Deaf and Promenaders in St. James's Park, went to the South Kensington Museum. In the print room of the British Museum there is a collection of engravings from his works., an most of which are described in the Catalogue of Political and Personal Satires Preserved in the Department of Prints and Drawings in the British Museum. There is check list of his prints by David Alexander John Goldar engraved after him The Sacrifice, The Refusal, The Recruiting Sergeant, exhibited in 1767, The Female Bruisers, exhibited in 1768, and also engraved in mezzotint by Butler Clowes, The Spirit is Willing, but the Flesh is Weak, The Country Choristers, The Unlucky Attempt, The Discovery, The Mutual Embrace, and Modern Love, in four scenes, Courtship, The Elopement, The Honeymoon, Discordant Matrimony, painted in 1765, and published in 1782, after his death.
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Portrait of Sir John Perrot - mezzotint after George Powle During the late 16th century, Haverfordwest had a population of around two to three thousand, of which one hundred were burgesses, who bore the right to vote. It was politically dominated by a few individuals, most notably Perrot, who was supported by the local gentry, and opposing him, the antiquarian George Owen of Henllys, and John Barlow of Slebech, who had come into conflict with Perrot due to a land dispute. Perrot himself had grown up in the area, his boyhood home being at Haroldstone, and he had been Mayor of Haverfordwest in 1570, an office which he also held in 1575 and 1576. Prior to the events of the 1571, Perrot held a virtual monopoly of power - all the borough offices were held by his supporters, including the Mayor, John Voyle, and the Sheriff, Edmund Harries.
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His earliest dated mezzotint is a portrait of George, Prince of Wales, from May 1794.Whitman, p.1 In 1797 he engraved a plate of The Relief of Prince Adolphus and Marshal Freytag after Mather Brown, which shows a complete mastery of the art, and during the next twenty years produced many fine works, including The Vulture and Lamb, The Falconer, Leopards, Vulture and Snake, and Heron and Spaniel, all after James Northcote; A Land Storm, after George Morland; portraits of Sir Joshua Reynolds, Sir J. F. Leicester, and Lady Harcourt, after Joshua Reynolds; portraits of Lady Elizabeth Whitbread and the Duchess of Bedford, after John Hoppner; The Jew Merchant, after Rembrandt; and The Rainbow, after Rubens. He also engraved a large number of portraits and compositions by Dance, Jackson, William Owen (1769–1825), Stephanoff, Bonington, Sir Robert Ker Porter, and others, and was one of the artists employed by Turner on his Liber Studiorum.
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The ancient Egyptians made molds and used them to mass-produce small ceramic goods. It is therefore not overly remarkable that some or all of the credit for the invention of “photorelief printing” was claimed by, or on behalf of, more than one inventor when the Woodburytype process was current, or that the matter can still generate heated debate among those inventors' present-day admirers. Regardless of the fact that many historical findings speak to Joseph Swan’s priority of original ideas of the photorelief process introduced under the name photo- mezzotint, it was Woodbury who advanced his research ideas into a fully workable and practical method of photomechanical printing of continuous-tone photographs. Woodbury’s patents in England, France, Belgium, and the United States, as well as production of several Woodburytype process printing establishments in England, France, and the US, were responsible for the printing of hundreds of thousands of Woodburytype photographs that provided book and magazine illustrations, short-run advertisement material, and promotional material.
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A mezzotint of Fanny Murray from a painting by Henry Robert Morland Fanny Murray (1729 in Bath – 2 April 1778 in LondonSome sources give her date of death as 1770. Nevertheless, notices of her death only appear in gazettes from 1778.), née Fanny Rudman and later Fanny Ross, was an 18th-century English courtesan, mistress to John Montagu, 4th Earl of Sandwich and dedicatee of the fateful Essay on Woman (1763) that led to the downfall of John Wilkes. A contemporary of Kitty Fisher and Charlotte Hayes, the "celebrated Fanny Murray" was one of the most prominent courtesans of her day; a celebrity and fashion leader who rose from destitution to wealth and fame, before settling down into a life of "respectable prosperity". The Memoirs of the Celebrated Miss Fanny Murray are one of the first examples of the "whore's memoir" genre of writing, although they are unlikely to have been actually written by Murray.
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Falconet is best known in England by a set of portraits of eminent artists, drawn in profile in blacklead, with a slight tint of colour on the cheeks; these were engraved in the dotted manner by D. P. Pariset, and also by Burnet Reading.They comprise portraits of Sir William Chambers, Francis Cotes, Joshua Kirby, Francis Hayman, Jeremiah Meyer, Ozias Humphry, George Stubbs, Benjamin West, James Paine, W. W. Ryland, Paul Sandby, Sir Joshua Reynolds and others. Many of his other portraits were engraved, among them being: Horace Walpole, James Granger, Viscount Nuneham, the Earl and Countess of Marchmont and their son, Lord Polwarth, Hugh Percy, 1st Duke of Northumberland, Christian VII of Denmark, all engraved by D. P. Pariset; Elizabeth, Countess of Harcourt, Elizabeth, Countess of Ancrum, Mrs. Green and her son, and others engraved in mezzotint by Valentine Green; others were engraved by Hibbert, James Watson, John Dixon, Gabriel Smith, and J. F. Bause.
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Vanderbank was a frequent concert goer, drawing a caricature of Senesino, Cuzzoni and Berenstadt in a scene from Handel's Flavio in 1723, which was anonymously etched and engraved, and in the same year painting the portrait of the leading soprano, and later contralto, Anastasia Robinson, Countess of Peterborough, of which Faber produced a popular mezzotint in 1727. Vanderbank's extravagant habits saw him repeatedly in financial difficulties between 1724 and 1729, when his debts were cleared by his brother Moses. From 1729 John Vanderbank occupied a house in Holles Street, Cavendish Square, rent-free thanks to the generous patronage of Lord Carteret who, however, appropriated the contents of his studio after his death. According to Vertue, there Vanderbank lived ‘galantly or freely according to the custom of the Age’ Vertue, Note books, 3.97 and so in the 1730s Vanderbank's career returned to the ascendant, Vertue noting that he had 'a great run of business painting persons of quality and distinction'.
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Vanderbank's portraits of royalty, leading aristocrats and eminent persons of his day are to be found in every major art gallery around the world including the Metropolitan Museum of Art, National Gallery of Art, Washington DC, Royal Academy of Arts, Tate Gallery, The Royal Collection, The Courtauld Gallery, the Dulwich Picture Gallery, and the National Portrait Gallery. A great many of Vanderbank's portraits were engraved in mezzotint by John Faber, George Vertue, George White and others, and were highly popular at the time. Vanderbank's most characterful and distinguished portraits are generally of the 1720s including the great patron of Handel and of the arts the Duke of Chandos (1722), the two portraits of Sir Isaac Newton (1725 and 1726), the painter George Lambert (untraced but engraved by Faber in 1727), the eccentric Newmarket trainer Tregonwell Frampton (c.1725), the poet James Thomson (1726), and the sculptor John Michael Rysbrack (c.1728). Ellis Waterhouse considered that Vanderbank's masterpiece was the large full-length of Queen Caroline (1736).
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They produced also the Memoirs of Count Grammont (1793); The Economy of Human Life (1795) with plates by Gardiner from designs by Harding; Gottfried August Bürger's Leonora (1796) translated by William Robert Spencer; and John Dryden's Fables (1797), both illustrated with plates from drawings by Lady Diana Beauclerk. The first volume of their extensive series of historical portraits, The Biographical Mirrour, with text by Francis Godolphin Waldron, appeared in 1795. Silvester alone continued the Biographical Mirrour, of which he issued the second volume in 1798; the third was ready for publication at the time of his death. Among other original works by Harding were a portrait of Sir Busick Harwood, M.D., engraved on a large scale in mezzotint by John Jones, and a set of six illustrations to Rosalynde, Euphues Golden Legacie (the original of Shakespeare's As You Like It), with notes by F. G. Waldron, which were engraved and published by his brother Edward in 1802.
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Ketchum (1973), p. 103 Washington's adjutant, Joseph Reed, politely informed the messenger that no person with that title was in their army. Admiral Howe's aide wrote that "the Punctilio of an Address" should not have prevented the letter's delivery, and Howe was said to be visibly annoyed by the rejection.Ketchum (1973), p. 104 A second request, addressed to "George Washington, Esq., etc." was similarly rejected, although the messenger was told that Washington would receive one of Howe's adjutants. In that fruitless meeting, held July 20, Washington pointed out that the limited powers the Howe brothers had been given were not of much use, as the rebels had done no wrong requiring an amnesty. General William Howe, 1777 mezzotint In late August, the British transported about 22,000 men (including 9,000 Hessians) from Staten Island to Long Island. In the Battle of Long Island on August 27, the British outflanked the American positions, driving the Americans back to their Brooklyn Heights fortifications.
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Christian Ignatius Latrobe by Samuel Bellin, after Thomas Barber On his return to England, about 1834, he devoted himself to engraving, and became one of the leading workers in mezzotint and the mixed method. His plates, which are all from pictures by popular English painters of the day, include 'The Meeting of the Council of the Anti-Corn Law League,' after J. R. Herbert; 'Heather Belles,' after John Phillip; 'The Council of War in the Crimea,' after Augustus Egg; 'The Gentle Warning,' after Frank Stone; 'The Heart's Resolve,' and 'The Momentous Question,' after Sarah Setchell; 'Milton composing "Samson Agonistes,"' after J. C. Horsley; 'Opening of the Great Exhibition of 1851,' after H. C. Selous; 'Salutation to the Aged Friars,' after C. L. Eastlake; 'Dr. Johnson's Visit to Garrick,' after E. M. Ward; and portraits of Albert, Prince Consort, Lord John Russell, and the M.P. Joseph Hume. He produced his last plate in 1870, when he retired from the profession.
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Griffiths, 34 (quoted), 154 Before the invention of tonal intaglio techniques such as mezzotint and aquatint surface tone was really the only way to add tonal effects, but the technique sometimes continued to be used with the new tonal techniques, especially in the etching revival than began around 1850, the "most visible characteristic of [which]... was an obsession with surface tone". This was perhaps under the influence of Rembrandt, whose reputation had by this point reached its full height.Griffiths, 35; Gascoigne, 10d According to Antony Griffiths and others, the technique should be distinguished from accidental plate tone caused by slight imperfections or scratches in a new copper printing plate, which hold the ink and show in the print. These generally disappear after a few impressions are printed, and are taken as a sign that an impression is a very early one.Griffiths, 148; Gascoigne, 107 However some scholars use the terms as synonyms.
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To the Royal Academy he sent in 1820 'A Scotch Shepherd;' 'in 1821 'Music' and 'A Man with a Hare;' in 1822 (the year in which Wilkie's 'Chelsea Pensioners' was exhibited) 'Two Old Men (still living) who fought at the Battle of Minden,' later in the possession of Frederick Locker-Lampson. To the same year belongs 'An Old Northumbrian Piper.' In 1823 he exhibited 'Practice' (probably the barber's apprentice shaving a sheep's head, engraved in mezzotint by W. Morrison); 1824, 'Rummaging an Old Wardrobe;' 1825, 'Girl and Boy' and 'Smugglers Resting;' 1826, 'A Study of Figures;' 1827, 'Fishermen;' 1828, 'Interior, with Figures;' 1829, 'Coast Scene, with Fishermen' and 'Idlers;' 1830, 'The Truant' and 'Merry Cottagers;' 1831, 'Medicine:' 1832, 'Coast Scene, with a Fisherman' (acquired by the National Gallery); and 1833, 'The Industrious Mother.' Besides these, he sent forty-three pictures to the British Institution and two to the Suffolk Street Gallery, making a total of sixty-four works up to 1834.
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Oxford: Ashmolean Museum He was elected an Associate of the Royal Scottish Academy in 1923 and a full member in 1933; and he was President of the Society of Artist Printers from 1929 to 1947. In 1925 the publishers Seeley Service issued what is still regarded as the seminal treatise on the subject of etching, called The Art of Etching. In the book Lumsden describes the various techniques of intaglio printing using etching, drypoint, mezzotint and aquatint; he describes the history and development of etching through Rembrandt, Goya and the etching revival; and he reproduced personal, illustrated notes from several eminent etchers of the period on their techniques including: Marius Bauer, Frank Benson, Muirhead Bone, George Clausen, David Young Cameron, Frank Short, Augustus John, Frank Brangwyn, James McBey, Edmund Blampied, Percy Smith, Christopher Nevinson, Laura Knight, and John Everett. The book was published as a trade edition, which is still in print, and as a limited edition of 150 copies containing four original etchings by Lumsden.
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Richard Howe, 1st Earl Howe; mezzotint engraving by R. Dunkarton, after the painting by John Singleton Copley With his enemy visible from the deck of his flagship by 06:30, Howe recalled his frigates and ordered his fleet to press on all sail in the hope of engaging the rear of the scattered French line. By 10:35 Howe's continued pursuit was making his own battleline ragged, but he pressed on in the belief that Villaret intended to use the weather gage to outrun him and escape. To counter this, Howe ordered his fastest ships into a flying squadron under Admiral Thomas Pasley.Jane, p. 94 This squadron was significantly faster than the majority of the vessels in either fleet and rapidly closed with the French rear. The first shots of the engagement were fired at 14:30 by HMS Russell, commanded by John Willett Payne, which managed some long-distance fire at the rearmost French ships on the opposite tack.
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With his wife Susan, née Garrett, who was nine years older than him, Martin had six children who survived to adulthood: Alfred (who worked with his father as a mezzotint engraver and later became a senior tax official), Isabella, Zenobia (who married the artist Peter Cunningham), Leopold (who became a clerk), Charles (1820–1906), who was trained as a painter by his father, copying a number of his father's works – he later became a successful portrait painter and lived in America – his last exhibit at the Royal Academy was in 1896 and Jessie (who married Egyptologist Joseph Bonomi). Leopold was the godson of the future King Leopold I of Belgium, who had met and befriended Martin when they shared lodgings on Marylebone High Street in about 1815. Leopold later wrote a series of reminiscences of his father, published in the Newcastle Weekly Chronicle Supplement in 1889. Leopold accompanied his father on many walks and visits, and his anecdotes include encounters with J. M. W. Turner, Isambard Kingdom Brunel, William Godwin and Charles Wheatstone.
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In England artists such as Sandby and Thomas Gainsborough were attracted by the suitability of etched outlines with aquatint for reproducing the popular English landscape watercolours, which at this period usually also had been given an initial outline drawing in ink. Publishers of prints and illustrations for expensive books, both important British markets at the time, also adopted the technique. In all these areas, a print with etching and aquatint gave very satisfactory results when watercolour was added by relatively low-skilled painters copying a model, with a flat wash of colour on top of the varied tones of the aquatint.Griffiths, 94 After the French Revolution, one of the most successful publishers in London, the German Rudolf Ackermann, had numbers of French refugees working on the floor above his shop in The Strand in London, each brushing a single colour and then passing the sheet down a long table.Mayor, 374–376 Over the same period in France there was sustained interest in techniques for true colour printing using multiple plates, which used multiple printmaking techniques which often included aquatint (or mezzotint) for tone.
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1841), is his rendering of a 17th Century Bearded Gentleman with a Ruff, a copy of the Portrait of Cornelis van der Geest, by Anthony Van Dyck.Image, 17th Century Bearded Gentleman with a Ruff, courtesy of its owner, was obtained through David Gardner, Art 'n' Antiques, Trefin, Haverfordwest, Pembrokeshire England in 2014. Lock worked for a time in England as a lithographer. An 1841 mezzotint proof print of Lock's drawing of Queen Victoria and Prince Albert returning from their wedding ceremony, engraved by Samuel William Reynolds Jr., is in the British Museum collection.(Accessed 2015-12-18). That drawing by Lock was later reformatted and published in 1844 by John William Laird, bearing the title The Bridal Morn (Queen Victoria; Prince Albert of Saxe-Coburg-Gotha) is in The National Portrait Gallery collection, London.(Accessed 2016-02-17). Another of Lock's drawings, a portrait entitled The Fair Domino, engraved and printed by T. W. Huffman in 1844, is also in the British Museum collection.(Accessed 2015-12-18).
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In 2003, his mezzotint print Cyathea cooperi, portraying tree ferns native to the Queensland rainforest, was highly commended. Subsequent entries have included Of fragile dreams the heart which nevermore in 2005, Untitled (Ernie Grant in Blackman Street) in 2006, Exotic lies and sacred ties (the heart that conceals, the tongue that never reveals) in 2008, and A Transcendent Vision (of life, death and resurrection) in 2010. Reviewing the 2008 exhibition, academic Sarah Scott expressed surprise that Mellor's 2008 piece had neither attracted an award nor been purchased for the Northern Territory's public collection. Primavera 2005, an annual exhibition of young artists' work held at the Museum of Contemporary Art in Sydney, included Mellor's work Fig 1-100 (This particular collection made sense), a mixed media composition that included specimens of Ulysses butterflies. He has had numerous other exhibitions, both individually and as part of group shows, at galleries including the Queensland Art Gallery in 2003, the Canberra Museum and Art Gallery in 2006, and the Indigenous Ceramic Art Awards, at Shepparton Gallery in Victoria in 2007.
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Alain LeRoy Locke (1885-1954) was an intellectual, professor and author who espoused that African Americans, specifically artists, to capture the personality, lives, and essence of their people in The New Negro. He explained “The Negro physiognomy must be freshly and objectively conceived on its own patterns if it is ever to be seriously and importantly interpreted. Art must discover and reveal the beauty which prejudice and caricature have overlaid.” What Locke is expressing here is not only the call for black artists to overcome racial prejudices via positive artistic representations of blacks, but that the actual African American individual like Thrash portrayed the lives of fellow blacks, and had the power to propagate this idea of the New Negro, as Locke explains, “There is the possibility that the sensitive artistic mind of the American Negro, stimulated by a cultural pride and interest, will receive…a profound and galvanizing influence.” In his shadowy carborundum mezzotint Cabin Days, Thrash depicts a southern black family on the porch of their shack-like home in a rural landscape.
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In 1825 he was elected professor of painting at the Royal Academy, succeeding Henry Fuseli, and, in order to qualify himself for his duties, visited Italy and Rome in company with William Hilton, R. A., and also Sir David Wilkie, whom they met in Florence. He resigned the professorship in 1832, and in 1833 published his "Lectures on the History and Principles of Painting". Phillips also painted portraits of Walter Scott, Robert Southey, George Anthony Legh Keck (1830), Thomas Campbell (poet), Joseph Henry Green, Samuel Taylor Coleridge, Henry Hallam, Mary Somerville, Sir Edward Parry, Sir John Franklin, Dixon Denham, the African traveller, and Hugh Clapperton. Besides these he painted two portraits of Sir David Wilkie, the Duke of York (for the town-hall, Liverpool), Dean William Buckland, Sir Humphry Davy, Samuel Rogers, Michael Faraday (engraved in mezzotint by Henry Cousins), John Dalton, and a head of Napoleon I, painted in Paris in 1802, not from actual sittings, but with Empress Josephine's consent, who afforded him opportunities of observing the First Consul while at dinner.
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Although the theorists of the movement tended to concentrate on monochrome prints in the traditional techniques of etching, drypoint, and some mezzotint, and the term "etching revival" (and so this article) is mainly concerned with works in these, many artists also used other techniques, especially outside Britain. The French, and later the Americans, were very interested in making lithographs, and in the long run this emerged as the dominant artistic printmaking technique, especially in the next century after the possiblities for using colour became greatly improved.Griffiths, 106-107, 120 The same artists of the Barbizon school who etched were the main users of the semiphotographic etching-like technique of the cliché verre, between the 1850s and 1870s.Schaaf, Larry J., "A Photographic imitation of etching’ – Cliché-verre"; Schenck, Kimberly, "Cliché-verre: Drawing and Photography", 112-114, in Topics in Photographic Preservation, Volume 6, pp.112–118, 1995, American Institute for Conservation of Historic & Artistic Works, online The fashion for Japonisme from the 1870s gave a particular spur to the movement towards colour, as brightly coloured Japanese ukiyo-e woodblock prints began to be seen and admired in Europe.
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There are at least three by him of Thomas Bewick; the earliest, exhibited in 1816, and engraved by John Burnet, went to the Hancock Museum of the Newcastle Natural History Society; another, which appeared at the Royal Academy in 1823, to the National Portrait Gallery; and a third, a small full- length engraved by Frederick Bacon, belonged to Robert Stirling Newall of Gateshead. A portrait by him of Charles Grey, 2nd Earl Grey, painted for the Literary and Philosophical Society of Newcastle-upon-Tyne, and later in Newcastle town hall, was exhibited in 1837, together with that of Dr Thomas Elliotson, which went to the Royal College of Physicians. His portrait of Henry Grattan, which was passed down in the Grattan family, was engraved in mezzotint by Charles Turner, and a copy of it by Sir Thomas Alfred Jones went to the National Gallery of Ireland. Ramsay also exhibited scriptural, historical, and fancy subjects at the British Institution, including Isaac blessing Jacob, in 1813, The Trial of King Charles the First, in 1829, and The Entry of the Black Prince into London, in 1841; and also a few portraits at the Society of British Artists.
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There were two basic styles of collection: some concentrated on making a complete collection of material within a certain scope, while others aimed at perfect condition and quality (which declines in mezzotints after a relatively small number of impressions are taken from a plate), and in collecting the many "proof states" which artists and printers had obligingly provided for them from early on.Griffiths, 134–137; 141–142 Cheylesmore began as the first type of collector, but in his last years "the balance of his interest had swung more decisively towards technique rather than subject", and his bequest specified the collection should be arranged by artist rather than subject.Griffiths, 139–140 This may be part of the reason why, though a will of 1896 bequeathed his mezzotint collection to the National Portrait Gallery, in 1900 a codicil had transferred the bequest to the British Museum, very likely after being wooed by Sidney Colvin, Keeper of Prints and Drawings, and Alfred Whitman, superintendent of the Print Room and a writer on mezzotints. The collection of over 10,000 mezzotints, valued at £30,000, doubled the museum's holdings, and was the subject of a small special exhibition of 69 prints in 1903, while cataloguing and mounting continued, and then a larger exhibition of 641 in 1905.
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