Tattoos of the Virgin Mary and crosses stipple their shoulders and wrists.
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In the early '80s, we began the stretch-and-stipple process [to create aged features].
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Titanic was where I really learned how to do old-age stipple makeup, when I wrinkled her up.
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Then I used old-age stipple on her face, which is a latex product that has gelatin in it, and then you stretch her skin, and you do like three coats of old-age stipple, you powder it so it doesn't stick to itself and it creates all these wrinkles.
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If a Monday, would a novice solver know what STIPPLE means (much less understand a clever clue for it)?
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To STIPPLE is to mark a canvas with dots, and "Go completely dotty?" is a fun way to clue that word.
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After that I go in with a tiny brush and kind of stipple in little flecks of color and details until it's finished.
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He is a sculptor by trade, the creator of the kinds of statues that stipple the stadiums, plazas and rotundas celebrating our sports icons.
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A third left an entrance wound surrounded by gunpowder stipple at the base of his skull and an exit wound in his left cheek.
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While Hodgin uses his stippling algorithm, which has magnetic particles that push pixels in different directions, to slowly build stipple recreations of classic artworks, denial.of.
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But the pull is musical, particularly the way L'Orange's rhythms shift texturally as well as temporally—every minute, new effects daub and stipple the groove.
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Pat it in, then stipple the concealer around the edge of where the darkness is and lightly dab in some translucent powder to set it.
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Click here to view original GIFThere are a lot of reasons to be impressed with David Bayo's beautiful Astrée portrait created using a painstaking stipple technique.
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After going to Walmart and grabbing a fresh pair for makeup use only, Mayra shows us how to use a sock to stipple and blend in foundation.
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The first reproduction — "Tityos, after Michelangelo" — is a stipple engraving in brown ink by Francesco Bartolozzi (1795); the second is an engraving by Nicolas Beatrizet (ca. 1542).
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News. The artist then applied makeup using the "stretch and stipple" method: stretch the skin, put on makeup, and then let it dry so that the skin appears wrinkled.
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They stipple Raqqa and the surrounding countryside, and as former residents return to their damaged and destroyed homes, the city government is working to exhume and identify the bodies.
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Next, stipple on three complementary shades of your choice (we used a variety of Rimmel London Mono Eyeshadows) — applying them one at a time, from your browbones to your cheekbones.
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We learned to recognize the way bullets will stipple the skin while entering the body versus exiting and how the body looks after poisonings, deaths in custody, bludgeonings, car accidents, hypothermia, hyperthermia, fire.
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Dinkpiece, who was 20th on that same list, is the alias for Drew Dinkmeyer, a former stock trader whose winnings in D.F.S. have been so well publicized that he has his own Wall Street Journal stipple drawing.
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Shitty Sharpie Tattoo GunZac Bensing created a belt-driven temporary tattoo machine that uses a vibrating Sharpie marker to stipple a dagger, heart, or any design onto any body part you're brave enough to bring near it.
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It's incredibly frustrating for someone like me, who's been raised to squirt out a dime-sized amount of foundation and smear or stipple all around the face until all features have been erased to be re-drawn on.
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I used the large stipple brush in the brush set (which by the way, includes one of the best eye shadow brushes I've ever used) to tap, tap, tap and blend, blend, blend the mauve-y shade on the apples of my cheeks.
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"On the days he was supposed to look really messed up, I'd stipple in a [Premiere Products] glazing red gel at the top of his eyelids and bottom of his lash line so it looked like he'd really been up all night drinking," she says.
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While 33-year-old Mandy Moore probably won't look too much different from the way she does now when she reaches her 40s, that's not exactly the case for her character on This Is Us. That's why she has to help "stretch and stipple" her face by holding a hairdryer to it as her makeup artist applies something that gives her some wrinkles.
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Mr. Kogi chose pieces from designers less known outside of Japan, including suiting by Auralee (he was wearing it himself, underneath a white leather Louis Vuitton harness as he showed visitors through the offerings); T-shirts by Midorikawa with stipple portraits of the minimalist avant-garde composer John Cage; and sweatshirts from Mr. Kogi's own Poggy the Man collection embroidered with the letters L-O-V-E in a familiar-but-unplaceable bubbled logo.
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Co-founder and CEO Rey Flemings launched Stipple in August 2010, when the company released its first public offering. Seed funding amounting to $2 million was secured from people and companies including Kleiner Perkins Caufield & Byers, Floodgate Ventures, Justin Timberlake, Eghosa Omoigui, Quest Ventures, Naval Ravikant, Matt Mullenweg, and Rick Marini. In 2011, Stipple launched Stipple Lens, which allows photo agencies to earn money from images they upload to Stipple. Stipple Pipeline allows brands to tag their products in photos uploaded to Stipple.
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Through Stipple Network, the photos are open to use by website publishers, who are paid by companies with products in the photos. Consumers can then click on the products tagged and buy them. As of May 2011, Stipple had contracts with nine photo agencies, 50 brands, and 1,300 publishers. On September 20, 2011, Stipple launched Stipple Marketplace, a product that allows advertising to be delivered via images.
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The Stipple platform facilitates the tagging of products and people in images. Stipple tags appear when a user's cursor enters the frame of the image. Publishers enable Stipple by adding JavaScript code to their websites. Tagged items from one image automatically propagate to other images in Stipple's network with the same item.
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W. Todd Jones. Engraved in stipple by A. McDonald. George, Earl Macartney, as a young man. [C.
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The makeup for Sebastian was a "stretch and stipple" technique with no prosthetics. He was played by William Sanderson.
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Bond studied stipple engraving under Francesco Bartolozzi, with his first work being published in 1772. He was considered one of the best stipple engravers of the late 18th-century, along the likes of Richard Earlom, John Ogborne and Charles Turner. He was nominated to be the first president of the Society of Engravers in 1802/03.
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Stipple engraving, artist unknown. Chandos Leigh, 1st Baron Leigh (27 June 1791 – 27 September 1850) was a British landowner and minor poet.
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John Hunter, stipple engraving by James Mitan, 1805, after G. Slous James Mitan (13 February 1776 - 16 August 1822) was a British engraver.
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Besides solid colour the maps employed patterned colour (stipple, horizontal, diagonal and pecked lines etc.), and numeric and alphabetic symbols. In addition black stipple was used for derelict sites, white for unvegetated land (naturally bare rock etc. or stripped land awaiting development), and blue for water and marsh. Industry was subdivided into manufacturing (solid red) and extractive, tips and utilities using various patterns.
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Stipple is an Internet technology company founded in 2010 that provides a platform that allows the tagging of people, places, and objects inside of images.
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James Godby (1767-1849) was a British stipple engraver. In the early 19th century, he was living at 25 Norfolk Street, near the Middlesex Hospital.
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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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His only demonstrated power is being a speedster. Arnold Stipple - Arnold Stipple, better known under his Maxi name of Cosmos, was a member of the Liberty Squad. Though acquitted, he is considered to have betrayed the Liberty Squad to a villain known as Were- Lizard, which resulted in the death of Earth's greatest hero, Astral Man. This leads to his home in Tranquility being vandalized quite often.
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Stipple engraving of Revd. John Warburton of Trowbridge by John Thompson, 1832. Sold by E. Fowler. Thompson was born in Manchester to a London merchant, Richard Thompson.
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Portrait as ex-President of the Assemblée nationale, stipple engraving, 1791 Antoine Balthazar Joachim, baron d'André (2 July 1759 – 16 July 1825) was a French royalist politician.
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Molecular studies show that the genus Myrmotherula as then defined was polyphyletic. The stipple-throated members form a clade that is not a sister clade to any of the remaining members, and the genus Epinecrophylla has been erected to accommodate them. The stipple-throated species have a black and white (or buffy-white) stippled throat in one or both of the sexes. They also have a relatively long, plain-coloured tail.
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Zincke painted using existing portraits for reference, but also painted from life. To create skin tones he used a stipple technique of tiny red dots, sometimes described as 'measles'.
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Caslon's likeness was captured by Charles Catton and a stipple engraving of this by William Satchwell Leney. A copy of this is in the National Portrait Gallery in London.
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The stipplethroats are a South and Central American genus of passerine birds in the antbird family Thamnophilidae. They were previously included in the genus Myrmotherula as the "stipple-throated group".
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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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Technically, Wilkin's engravings "are among the best examples of stipple, the admixture of etched lines and a vigorous use of the roulette preserving a thoroughly draughtsmanlike style." Wilkin managed to stipple-engrave with a quite distinctive style, which was not an easy achievement, since this form of engraving does not lend itself to individual expression. Frank Wilkin (Francis William Wilkin, 1800–1842) and Henry Wilkin (1801–1852), his sons, also exhibited their paintings at the Royal Academy.
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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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Published by Arrowsmith, April 1801, at Hastings. Lord Rokeby, Drawn from Life, and engraved by Chapman, stipple engraving by John Chapman (active 1792 -1823). Lord Rokeby, print of him published in a magazine, 1 August 1808.
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Benjamin Dean Wyatt, stipple engraving by T. Blood, after Samuel Drummond. Dated 1812, in the collection of the National Portrait Gallery London Benjamin Dean Wyatt (1775–1852) was an English architect, part of the Wyatt family.
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The Duchess of Richmond, a stipple engraving portrait by William Wynne Ryland after Angelica Kauffman (1775) An etched stipple technique known as the crayon manner, suitable for producing imitations of chalk drawings, was pioneered in France. Gilles Demarteau used in 1756 goldsmith's chasing tools and marking- wheels to shade the lines in a series of Trophies designed by Antoine Watteau. Jean-Charles François who was a partner of Demarteau further developed the technique and used it to engrave the whole plate. François engraved in 1757 three etchings directly on copper in crayon manner.
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A stipple engraving of Cotes after Pierre-Étienne Falconet Francis Cotes (20 May 1726 – 16 July 1770) was an English painter, one of the pioneers of English pastel painting, and a founding member of the Royal Academy in 1768.
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Some of these have merit, but his style did not command much attention, being almost the last survival of the school of stipple-engraving. Claude Ferdinand Gaillard, the well-known French engraver, received his first lessons in his art from Hopwood.
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The term stipple can also apply to a random pattern of small depressions applied to a surface to increase the friction and make the surface easier to grip. This process is similar to knurling or checkering, but is often used on complex curved surfaces, such as anatomical grips, where a regular pattern would not fit. Stippling can be cast into plastic objects, or applied with a hammer and punch to wood or metal objects. A further use of stipple indicates the damage caused by spider mites which make tiny white spots on plant leaves which can coalesce until the entire leaf appears silvery.
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The tower was coated with Bellecoat Stipple, a black resin-based protective covering. Internally, new floors were fitted, and a new stage constructed around the mill. Replacement machinery was sourced from other windmills. The drive for the sack hoist came from Harpley.
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Environmental Protection Agency. Openjurist.org. Retrieved 10 January 2012. Until the mid-1980s, small amounts of white asbestos were used in the manufacture of Artex, a decorative stipple finish,Where can asbestos be found, Asbestos Surveying Ltd, Birmingham, UK, 2 08 2008. Retrieved 29 December 2008.
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Benjamin Smith (1754–1833) was a British engraver, printseller and publisher, active from 1786 to 1833. He was born c. 1754 in London. He worked mainly in dot or stipple engraving, producing portraits, illustrations, and allegorical and biblical subjects after prominent artists of the day.
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1600, in Nicholas Hilliard, Roy Strong, 2002, p.24, Michael Joseph Ltd, London, In drawings and prints, modelling chiaroscuro often is achieved by the use of hatching, or shading by parallel lines. Washes, stipple or dotting effects, and "surface tone" in printmaking are other techniques.
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Ogborne was born on 22 July 1755, the son of David Ogborne, and was baptised at Chelmsford, Essex on 6 August 1755. He was a pupil of Francesco Bartolozzi and one of the band of stipple-engravers who worked under that artist. He produced some excellent specimens of engraving in this branch of art, and later, by combining a certain amount of work in line with that in stipple, produced a variety of effect. He engraved some plates after John Boydell, Robert Smirke, and Thomas Stothard, for Boydell's 'Shakespeare Gallery,' and a great number of plates after Angelica Kauffmann, William Hamilton, William Redmore Bigg, Richard Westall, Thomas Stothard, and others.
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Woodman was born in London. He is often referred to as "The Younger" to distinguish him from his father, Richard Woodman, who was also an engraver.Google Books: Benezit Dictionary of British Graphic Artists and Illustrators He served his apprenticeship with Robert Mitchell Meadows (?-1812), a stipple engraver.
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Branwhite was born in St Albans, Hertfordshire, the son of a poet, Peregrine Branwhite, and became a pupil of Isaac Taylor. He exhibited 13 miniatures at the Royal Academy between 1802 and 1828. He was also a stipple engraver. By 1810 he was living in Bristol.
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Bernard Lens (III), stipple engraving, published 1794 Hannah Norsa (first name sometimes spelt Hanna; c. 1712 – 28 August 1784) was an English Jewish actress and singer, who achieved fame appearing in John Gay's The Beggar's Opera in 1732 and became the mistress of Robert Walpole, 2nd Earl of Orford.
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Giuseppe Nicolini on a stipple engraving by Luigi Rados (1773–1840) Giuseppe Nicolini (or Niccolini; 29 January 1762 – 18 December 1842) was an Italian composer who wrote at least 45 operas. From 1819 onwards, he devoted himself primarily to religious music. He was born and died at Piacenza.
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Coquille board, also known as stipple board, is a type of drawing paper with a pebbled texture. Used with a soft crayon or carbon pencil, coquille produces a shading effect similar to stippling, and is useful in works to be reproduced in print, such as scientific illustration and cartooning.
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William Henry Mote (1803–1871) was a British stipple and line engraver, primarily known for his portraits. He produced etchings for reference books, as well as original etchings. Mote became a member of the Royal Academy in his twenties and his portraits hang in the National Portrait Gallery, London.
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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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Francesco Morlacchi on a stipple engraving by Luigi Rados. Francesco Giuseppe Baldassare Morlacchi (14 June 1784 – 28 October 1841) was an Italian composer of more than twenty operas. During the many years he spent as the royal Royal Kapellmeister in Dresden, he was instrumental in popularizing the Italian style of opera.
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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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Another piece that is not on display is a stipple engraving of Jane Elizabeth, Countess of Ellenborough, published in 1829. So, in all, six portraits that hang in the NPG are "associated" with Henry Collen. The Victoria and Albert Museum has a regular miniature of a man, which is 4 in. × 3in.
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These he engraved in pale delicate tints, using stipple, sanguine, or aquatint, and sometimes enhanced their elegance by enclosing them in framelike borders, called 'glomisages,' from the French engraver Glomy, who first designed them. Among the portraits thus engraved were Maria Fitzherbert, Mrs. Tickell, Mrs. Bouverie, Madame du Barry, Horace Beckford, and others.
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Portrait of Edward Scriven by Benjamin Phelps Gibbon, engraver; after original by Andrew Morton Edward Scriven (Alcester 1775 - 23 August 1841 London) was an English engraver of portraits, in the stipple and chalk manner. Scriven was the pre-eminent engraver of his generation, with 210 portraits ascribed to him by the National Portrait Gallery.
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Capodimonte porcelain jar painted in the stipple style of Giovanni Caselli with three figures of Pulcinella from the commedia dell'arte, 1745-50 Stippling is the creation of a pattern simulating varying degrees of solidity or shading by using small dots. Such a pattern may occur in nature and these effects are frequently emulated by artists.
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John Crosley (1813). Stipple engraving by H. Meyer after S. Drummond John Crosley (1762–1817) was an English astronomer and mathematician who was an assistant at the Royal Observatory, Greenwich, a computer of the Nautical Almanac, an observer on maritime voyages of scientific exploration and a member and President of the Spitalfields Mathematical Society.
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Brown was born in 1809. He first exhibited at the Royal Academy in London in 1833. He is known for his many engravings using both stipple and line, working from paintings by the artists George Romney, John Opie, J. Robson, George Perfect Harding and John Hayter. Many of his works are portraits of titled aristocrats.
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Leucophores assist in camouflage by providing light areas during background matching (e.g. by resembling light-colored objects in the environment) and disruptive coloration (by making the body appear to be composed of high-contrasting patches). The reflectance spectra of cuttlefish patterns and several natural substrates (stipple, mottle, disruptive) can be measured using an optic spectrometer.
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These reactions include the formation of mild mosaic patterns or stipple streak. Unlike the other strains of PVY, some PVYC strains are non- aphid transmissible.Blanco-Urgoiti, B., Tribodet, M., Leclere, S., Ponz, F., Perez dé San Roman, C., Legorburu, F.J. and Kerlan, C. (1998). Characterization of potato potyvirus y isolates from seed potato batches.
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The rufous-backed stipplethroat (Epinecrophylla haematonota), also called the rufous-backed antwren or the stipple-throated antwren, is a species of bird in the family Thamnophilidae. It is found in southeastern Colombia and southern Venezuela to eastern Ecuador, northern and eastern Peru and western Brazil in its natural habitat of subtropical or tropical moist lowland forests.
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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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Ottavio Leoni, Gabriello Chiabrera, 1625, engraving and stipple in laid paper, Washington, National Gallery of Art Gabriello Chiabrera (; 18 June 155214 October 1638) was an Italian poet, sometimes called the Italian Pindar. Endnote: The best editions of Chiabrera are those of Rome (1718, 3 vols. 8vo); of Venice (1731, 4 vols. 8vo); of Leghorn (1781, 5 vols.
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Various finishes, patterns and textures are possible such as sand, sandstone, marble, stone, stone chip, lime wash or clay like finishes. There are stipple, glistening finishes, and those with enhanced water resistance and anti fungal properties. Depending upon the product, they can be rolled, troweled or sponged on. A limited number can also be sprayed on.
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Pierre Guillaume Alexandre Beljambe (10 May 1759 - 9 March 1838 Archives de Paris, fichier de l'état-civil reconstitué.) was a prolific French artist, stipple engraver and burin engraver. Some biographies spell his surname Bellejambe, Belejambe or Beljame - in 1824 his two sons (one of whom had a university career) won authorisation to change their surname to Beljame.
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Lord Rokeby, stipple engraving, with tricorn hat. Lord Rokeby Matthew Robinson, 2nd Baron Rokeby (Baptised, York 12 April 1713 – 30 November 1800), FRS, was an English landowner, politician and nobleman. In later life he was considered an eccentric. The late Right Honorable Matthew Robinson, Baron Rokeby of Armagh, painted by Thomas Arrowsmith, engraved by T. Barrow.
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Dalton offered him an appointment as Engraver to the King; Bartolozzi accepted and left for London in 1764. A detail of one of Bartolozzi's prints, showing the tonal effects of the technique of stipple engraving, in which he was an expert. Detail of Queen Charlotte as painted by William Beechey, 1799. The Hours; after Maria Cosway, 1788.
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The Duke of Leeds. Stipple engraving after Jean Petitot, c. 1710\. Ancestral arms of the Osborne family, Dukes of Leeds Vice-Admiral Peregrine Osborne, 2nd Duke of Leeds (1659 - 25 June 1729), styled Viscount Osborne between 1673 and 1689, Earl of Danby between 1689 and 1694 and Marquess of Carmarthen between 1694 and 1712, was an English Tory politician.
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Redstone has State heritage significance for the extremely intact nature of its interiors, including the retention of its original fixtures and fittings. These include the dining room screen, and kitchen and bathroom fitments. A patch of the original stipple paint wall finish exists within a hall cupboard. The joinery of the house retains much of its original finishes.
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Portraits of Ladies of Rank and Fashion Lady Charlotte Bury (1799) after John Hoppner Charles Wilkin (c. 1750 – 28 May 1814, in London), was an English engraver, painter and publisher who exhibited at the Royal Academy between 1783 and 1808, and is best known for his stipple engravings. Some of his more famous works were "Lady Cockburn and her Children" (1792) after Joshua Reynolds and "Mrs Parkyns" (1795) after John Hoppner. Wilkin also published ten stipple-engraved prints depicting "Portraits of Ladies of Rank and Fashion" (1797–1803), "executed in a manner to unite the Higher Finishing of Painting with the Spirit and Freedom of Drawing" - three were his own and seven were after John Hoppner, though Wilkin was vexed over "the Difficulty that attends getting Mr Hoppner’s Pictures".
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Satirical cartoons were his forte, but he also created landscapes and book illustrations. He worked in etching, line and stipple engraving, as well as aquatint. "His work rarely reached significant artistic heights", Lanmon wrote in an article on Charles. He was "neither an expert draftsman nor an accomplished technician" although some of his works showed expertise in both draftsmanship and technique, she wrote.
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The stem of the rose might be corded, creating a dimensional effect. The background could be quilted densely in a stipple pattern, causing the space around the rose bush to become less prominent. These techniques are typically executed with wholecloth quilts, and with batting and thread that matches the top fabric. Some artists have used contrasting colored thread, to create an outline effect.
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Classical portraits in Thomas Blackwell's History of the Court of Augustus, assumed to be his, are unsigned and not otherwise authenticated. Technically, Strange habitually employed drypoint, and was followed by Raffaele Morghen, William Woollett, and William Sharp. He disliked the stipple engraving of Bartolozzi. He planned a series of 50 of his major works as legacy, from early in his career.
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His daughter married Henry Wyatt, the painter; his son, William Raphael Eginton, succeeded to his father's business, and in 1816 was appointed glass- stainer to Princess Charlotte. His brother, John Eginton, was a noted stipple engraver. His nephew, also called Francis Eginton, was also a notable engraver. Eginton died on 26 March 1805, and was buried in Old Handsworth churchyard.
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He also made many portraits and engravings on a wide variety of subjects. Martin was technically very skilled, working in several graphic techniques, especially stipple, contour etching and aquatint. Among his works are the "beautifying theatre view" from the Södermalm district of Stockholm with upper-class audience that is a watercoloured etching after a drawing by his brother Elias from about 1790.
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He was a member of the Sketching Society, and his Enchanted Isle was lithographed for the set of Evening Sketches issued by it. His portraits of Lady Audley, Anna Maria Gulston née Knowles, Richard Miles the collector, George Frederick Cooke, Harriot Mellon, Louisa Brunton, and others were engraved, some of them by himself in stipple. His miniature self- portrait belonged to the Corporation of London.
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Jacob’s earliest known works of 1584–6 are mostly cabinet-size landscapes that clearly show the influence of his master Hans Bol. Panoramic river landscape, c. 1590 In Amsterdam Jacob was active as painter, etcher and draftsman. He produced a series of etchings in Pieter Bruegel the Elder's stipple technique depicting idealized rural scenes full of picturesque details, such as castle ruins and rabbit hunts.
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49 Belgrave Square, Herbert's home from 1851 Stipple engraving by W. Holl after G. Richmond In the early 1840s, Herbert is thought to have had an affair with the noted society beauty and author Caroline Norton, who was unable to get a divorce from an abusive husband, so that the relationship ended in 1846.Woodham-Smith, Cecil. Florence Nightingale, 1820–1910. McGraw-Hill Book Company, 1951, p.
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Born about 1759, Nutter became a pupil of John Raphael Smith. He worked exclusively as a stipple engraver, in the style of Francesco Bartolozzi. Nutter exhibited some allegorical designs at the Royal Academy in 1782 and 1783. He died at his residence in Somers Town, 14 March 1802, in his 44th year, and was buried in the graveyard of Whitefield's Tabernacle, Tottenham Court Road.
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Detail of a watercolour by Johan Fredrik Martin of a scene reminiscent of Ulla Winblad's journey back from Lake Mälaren to Stockholm in Fredman's Epistle No. 48, "Solen glimmar blank och trind" Johan Fredrik Martin (8 June 1755 – 28 September 1816) was a Swedish painter and engraver of the eighteenth century. He worked in a variety of media, especially stipple, contour etching and aquatint.
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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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Reynolds worked with great rapidity, often combining etching, aquatint and stipple engraving techniques with the mezzotint.Whitman, pp.4–5 Early in life Reynolds secured for himself and his family the friendship and patronage of Samuel Whitbread, and, through his connection with Drury Lane Theatre, became intimate with Thomas Sheridan and Edmund Kean. He frequently visited the theatre to assist the latter in making up his face for the part of Othello.
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The Black Bull Inn. This is one of the oldest glass engraving techniques, practiced by the ancient Romans probably using flint and in the mid-sixteenth century in England and Holland using diamond tipped tools and a stipple technique to produce landscapes, portraits, still life, etc. Old glass has a higher lead content than the present day and this generally made scribing easier and more fluid in its execution.history Scotland. Vol.
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Kevin Sprouls, a "hedcut" autoportrait. Kevin Sprouls is the creator of the Wall Street Journal portrait style known as hedcut. He began as a freelance illustrator for Dow Jones and Company, the parent company for The Wall Street Journal. In 1979 he introduced a style of stipple portraiture that the Journal adopted because it was reminiscent of the sort of old engravings that are found on bank notes.
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Pierre-Joseph Redouté (10 July 1759 - 19 June 1840), was a painter and botanist from Belgium, known for his watercolours of roses, lilies and other flowers at Malmaison, many of which were published as large, color stipple engravings. He was nicknamed "the Raphael of flowers" and has been called the greatest botanical illustrator of all time.Schmidt, Alesandra M., and Trudy B. Jacoby. "Herbs to Orchids: Botanical Illustration in the Nineteenth Century".
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"Salmon à la Chambord" The 28th edition is illustrated with 60, mostly small, engravings. There is a full-page frontispiece of the author, drawn by Auguste Hervieu and engraved by Samuel Freeman (1773–1857). Freeman is known for working mainly in stipple, and the portrait here is no exception. All the other engravings are of completed dishes, showing the serving-plate with the food arranged on it and often elaborately garnished.
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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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Stipple engraving by G. Rados, junior Marsilio Landriani (Milan, 1751 – Vienna, 1815) was an Italian chemist, physicist and meteorologist. He became known with his first book, (Physical investigations on the salubrity of air), published in 1775. In it he described a new instrument, the eudiometer, which was later improved by Volta with the addition of spark wires. From 1776 he held the chair of experimental physics in the Brera Ginnasio (College).
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His engravings were chiefly in stipple. They include works after Richard and Maria Cosway, and a series of allegories of the months after Edward Francis Burney, published by Rudolf Ackermann in 1807–9. His illustrations for Richard Payne Knight's Specimens of Ancient Sculpture, Aegyptian, Etruscan, Greek and Roman: Selected from different collections in Great Britain (1809), have been described by Nicholas Penny as "the finest ever made of sculpture".
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Gilles Demarteau etched 266 drawings of Boucher in stipple, for printing in an appropriate sanguine-coloured ink and framing.Griffiths, Antony, Prints and Printmaking: An Introduction to the History and Techniques, pp 81, British Museum Press (in UK), 2nd ed., 1996 ; Mayor, Hyatt A., Prints and People, Metropolitan Museum of Art/Princeton, 1971, no. 587-588, These prints so resembled red chalk drawings that they could be framed as little pictures.
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He was born at Roncade, Province of Treviso. He pursued his studies in his own country till nineteen, studying architecture with Antonio Gaidon in Bassano del Grappa and engraving, particularly stipple, which he practised in the studio of Antonio Suntach. He then moved to London, and completed his artistic education under Francesco Bartolozzi. In 1802 he married an English wife, and in 1805 he went to Russia, and spent two years in that country.
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Colours may be overprinted by using additional stones or plates to achieve a closer reproduction of the original. Accurate registration for multi-coloured work is achieved by the use of a key outline image and registration bars which are applied to each stone or plate before drawing the solid or tone image. Ben-Day medium uses a raised gelatin stipple image to give tone gradation. An air-brush sprays ink to give soft edges.
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Her mother with an elder sibling Her father Her mother, Georgiana, a stipple engraving (published 1782) after a drawing by Lady Diana Beauclerk dated 1779. Eliza Courtney was born in France, in Aix-en-Provence on 20 February 1792. She was brought to Falloden, Northumberland in northern England and adopted by her paternal grandparents. Unlike her mother's legitimate children from her marriage, Eliza was not raised as part of the Devonshire House set in London.
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Walker was born on 1 August 1791 at Markton, Musselburgh, near Edinburgh. In 1815, Walker went to London to study as a stipple engraver under Thomas Woolnoth. He established his reputation by engraving a large plate of Sir Henry Raeburn's equestrian portrait of John Hope, 4th Earl of Hopetoun. In 1829, on his marriage to Elizabeth Reynolds, the famous miniaturist, he settled at 64 Margaret Street, where he resided until his death.
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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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Lord Rokeby, by R. Page, published by J. Robins & Co, stipple engraving, 1821. The 2nd Lord Rokeby became an enthusiastic supporter of baths during a holiday in the spa town of Aix-la-Chapelle. When he returned to Kent, he began to make daily trips to the seashore to swim in salt water regardless of the weather. He preferred this environment to such an extent that his servant had to persuade him to come home.
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He attracted the notice of John Boydell and was employed to make an engraving after David Teniers. In 1761 he was awarded a premium from the Society of Arts; about nine years later he entered the Royal Academy, where he exhibited for the first time in 1770. He was admitted as a student in 1771. Sir Joshua Reynolds allowed Collyer to reproduce two of his paintings, "Venus"Venus (1786 stipple engraving after Renolds - V&A;).
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An example of stipple engraving, using tiny dots to create soft tonal effects, by Francesco Bartolozzi In the 17th and 18th centuries, line engraving made no new development. Instead, it flourished around the established techniques and principles. English and French artists began to use the technique, with the English learning primarily from the Germans (led by Rubens), and the French from the Italians (Raphael). There was, however, a good deal of cross-influence among all involved traditions.
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The portrait shown here was painted by Jacob Adriaensz Backer. Lutma is best known for his choir-panel in the New Church of Amsterdam. A number of the designs of Lutma were later published in 4 series of prints, mainly by his sons Jacob and Johannes Lutma the Younger, more often known as Jan Lutma. Jan developed a distinct, if not very influential, technique of stipple engraving by making dots on the plate with a punch and hammer.
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These specialized characteristics give them the ability to not only change their colour, but also change the texture appearance of their skin and all of this is done despite them being colour-blind. Their camouflaging abilities are categorized into four main types including mottle, stipple, uniform, and disruptive. These complex camouflage abilities are not just present in adult cuttlefish, but cuttlefish juveniles also have these complicated characteristics, which allows them to be able to camouflage from a young age.
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Traditionally, a render would be manufactured on site by a plasterer mixing sand, cement and sometimes lime material together with water to produce his render. This would then be applied to the walls, usually in either two or three coats. When painting, there is usually a primer, an undercoat and a topcoat. Similarly in renders there may be a stipple coat, then an undercoat (sometimes called a base coat) and finally a final coat (sometimes called a topcoat).
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Andrew W. Mellon Collection, National Gallery of Art, Washington, D.C. The Washington Family by Edward Savage (1789–1796). The British Museum, London (2011) 1798 stipple print of The Washington Family by Edward Savage The Washington Family by Edward Savage is a life-sized group portrait of the Washington family, including U.S. President George Washington, First Lady Martha Washington, two of her grandchildren and a slave. The National Gallery of Art in Washington, D.C., presently displays the large painting ( x ).
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The pictorial idea finds its artistic form in paintings showing a pixel-structure. The pixels, however, are different from digital pixels as they possess inner structures. This way Römer + Römer's art is related to Pointillism, and one may also see references to stipple engraving. The motifs are distributed over planes of colour and fragmented into thousands of painted dots, which, seen from a certain distance, merge in the eye of the beholder to form a focussed image.
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Carlo Innocenzo Frugoni on a stipple engraving by Luigi Rados. Carlo Innocenzo Frugoni (21 November 1692 – 20 December 1768) was an Italian poet and librettist. As a poet Frugoni was one of the best of the school of the Arcadian Academy, and his lyrics and pastorals had great facility and elegance. His collected works were published at Parma in 10 volumes in 1799, and a more complete edition appeared at Lucca in the same year in 15 volumes.
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Erasmus Darwin in stipple engraving by Holl, 1803, after J. Rawlinson Darwin formed 'A Botanical Society, at Lichfield' almost always incorrectly named as the Lichfield Botanical Society (despite the name, composed of only three men, Erasmus Darwin, Sir Brooke Boothby and Mr John Jackson, proctor of Lichfield Cathedralfl. 1740s–1790s. Also Bookseller and Printer in Lichfield. When Darwin left Lichfield in 1781, Jackson took over his botanical garden. His daughter, Miss Mary A(nn) Jackson of Lichfield (fl.
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Dawson Turner. Stipple engraving by A. Fox after M. W. Sharp Turner was the son of James Turner, head of the Gurney and Turner's Yarmouth Bank; see also: and Elizabeth Cotman, the only daughter of the mayor of Yarmouth, John Cotman. He was educated at North Walsham Grammar School (now Paston College), Norfolk and at Barton Bendish as a pupil of the botanist Robert Forby. He then went to Pembroke College, Cambridge, where the Master was his uncle Rev.
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The stippling technique involved the etching, usually on a copper plate, of stipple dots to form an image. The process was tedious; many thousands of these dots were required to form an image of this quality. After the copper plate was etched, it was then used to make a number of prints by the usual intaglio method. The number depended upon how well the plate held up during the printing process, which abraded the plate slightly with each use.
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It was usually printed in a neutral tone, such as light grey or terracotta.McLean 1963: 30 Often, Baxter used more than one colour to ink the key plate – for example, to gradate the image from blue in the sky, to buff in the middle distance and to a darker colour in the foreground; i.e. inking the plate à la poupée.Seeley 1924: 25Gascoigne 1986: Section 29 Usually, Baxter used aquatint for landscapes and stipple to work faces and figures.
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Giulio Campagnola, The Astrologer, c. 1509, with areas such as the dark foreground, the man's bald head, and the tree trunks created by a burin stippling technique. Stipple engraving is a technique used to create tone in an intaglio print by distributing a pattern of dots of various sizes and densities across the image. The pattern is created on the printing plate either in engraving by gouging out the dots with a burin, or through an etching process.
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Josey was born at Reading, and received his education at the local Reading Blue Coat School. At the age of 13 he was apprenticed to Thomas William Knight, and on the expiration of his apprenticeship he worked in the studio of the Chevalier Ballin. Ballin's influence is evident in Josey's work in stipple and line. His first commission was reportedly given to him by the firm of Henry Graves and Co., for whom he continued to work for many years.
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50 Smith had to use other methods, as an alternative to prosthetics, to create an aged Don Corleone in The Godfather (1972) because Marlon Brando was unwilling to have such appliances applied because of time considerations. Instead, Smith used stipple effects moving across the face from the actor's eyes.Harlan Lebo The Godfather Legacy: The Untold Story of the Making of the Classic Godfather Trilogy, New York: Fireside, 2005, p.85 A dental device called a "plumper" caused Brando's jowls to droop.
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Violet from 1798 showed drawings of domestic and fancy subjects at the Royal Academy, every year from 1798 to 1819. His portraits of Louis XVI and Marie-Antoinette, 1790, and George, Prince of Wales, 1791, and other works, were engraved by Francesco Bartolozzi. Other portraits engraved from Violet's miniatures are those Hester Piozzi by Marino Bovi, and Gaetano Bartolozzi by Thomas Tomkins. A set of etchings of domestic subjects, worked over in stipple by Violet, was published by Moltens in 1810.
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The rufous-backed stipplethroat was described by the English zoologist Philip Sclater in 1857 and given the binomial name Formicivora haematonota. It was formerly placed in the genus Myrmotherula. In 2014, the species name was changed from the nominate subspecies of the rufous-backed stipplethroat when two other former subspecies were reclassified as the Negro stipple-throated antwren and Yasuni antwren, but vocalizations were found to be identical and morphological differences slight (Isler and Whitney 2018), so they were returned to subspecies status.
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He was born in London, and was baptised 15 October 1759, the younger son of William Tomkins (1730?–1792), a landscape-painter, and his wife Susanna Callard; Charles Tomkins the antiquarian draughtsman and aquatint engraver was his elder brother. He became a pupil of Francesco Bartolozzi, and working in the dot and stipple style. Tomkins was engaged as drawing-master to the daughters of George III, and spent time at court, receiving the appointment of historical engraver to the queen.
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When his own drawings began to sell, 266 of them were etched in stipple substitutes by Gilles Demarteau. These were printed in red ink so they resembled red chalk drawings which could be framed as little pictures. They could then be hung in the small blank spaces of the elaborately decorated paneling of luxury dwellings. Boucher's most original inventions were decorative, and he contributed to the fashionable style of chinoiserie, after having etched 12 'Figures Chinoises' (Chinese figures) by Watteau.
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For each print, the catalogue provides a title, publisher, designer and creator if known, image description, lettering and inscriptions, dimensions, bibliographic references, and explanatory notes about the historical context and personages and printmaking technique (e.g. etching, aquatint, stipple, hand-coloured, etc.). The prints are for the most part in historical order of date of publication, though some appear out of chronological order in addenda that appear in later volumes. Within each year, Political and Social satire is arranged separately and sequentially.
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Wesley preaching to his assistants in the City Road Chapel (now Wesley's Chapel), London. Detail of a stipple engraving by T. Blood, 1822. The 20th-century Wesley scholar Albert Outler argued in his introduction to the 1964 collection John Wesley that Wesley developed his theology by using a method that Outler termed the Wesleyan Quadrilateral. In this method, Wesley believed that the living core of Christianity was revealed in Scripture; and the Bible was the sole foundational source of theological development.
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Kevin became the first full-time artist at the Journal, eventually the Assistant Art Director and head of the illustration department. His Wall Street Journal stipple illustrations were awarded a gold medal at The Society of Illustrators competition in 1986. His style of portraiture, later coined hedcut, is the definitive corporate icon and is created completely by hand, not computer. Sprouls is once again a freelance artist but still works for Dow Jones on occasion, along with a host of other publishing clients.
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Holl was a pupil of Benjamin Smith the engraver, and worked in the stipple method. He was noted as an exponent of "chalk manner" engraving, based on the simulation of chalk lines on paper. While with Smith, he had Thomas Uwins as unwilling pupil. A progressive in politics, Holl at the time of the Spa Fields riots in December 1816 took the risk of concealing James Watson, son of James Watson (1766–1838) the radical leader, and aiding his departure for the USA.
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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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After graduation, he went on to study at Sorbonne University and then the Accademia di Belle Arti in Florence Italy, studying under Primo Conti and Goffredo Trovarelli. Montalto remained in Italy after his adoption and was offered a partnership with Giancarlo 'Jinx' Girard at Tunsi Ceramics. Some of their works have been acquired by The Museum of Childhood in Santa Fe, New Mexico, USA. Inspired by the works of Lawrence Whistler and other masters of diamond point stipple glass engraving, Montalto developed his own techniques.
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Clover mites are polyphagous, feeding on a wide range of plants, including "lawn grasses, ornamental flowers, clover, dandelion, shepherd's purse, strawberry, daffodil, Salvia, Alyssum, and primrose". They are especially numerous in lawns with a heavy growth of succulent, well-fertilized grass. They do not cause any apparent harm to turf grass, but their feeding activity can turn the grass a silvery color and may stipple plants when heavy populations are present. Clover mites reproduce parthenogenetically, their eggs do not need to be fertilized and are entirely female.
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Nell Gwyn engraved by Thomas Wright after a painting by Peter Lely (1618–1680) Thomas Wright (1792–1849) was an engraver and portrait-painter. After serving an apprenticeship with Henry Meyer, and worked for four years as assistant to William Thomas Fry, for whom he engraved the popular plate of Princess Charlotte and Prince Leopold in a box at Covent Garden Theatre. About 1817 he began to practise independently as a stipple-engraver, and also found employment in taking portraits in pencil and miniature.
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In the early nineteenth century, Bessa, Redouté, Jean-Louis Prévost, Lancelot-Théodore Turpin de Crissé, and Madame Vincent raised France to pre-eminence in the genre of botanical painting. Bessa developed a masterful use of stipple engraving technique, an essential part of colour printing. Bessa and Redoute collaborated on the Histoire des Arbres Forestiers de L'Amerique Septentrionale, which appeared between 1810 and 1813. He prepared some 572 watercolours for L'Herbier Général de L'Amateur by Mordant de Launey and Loiseleur Longchamp, which appeared between 1810 and 1826.
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He acquired skill as an engraver in the chalk or stipple manner. Sylvester & Edward Harding, publishers in Fleet Street, employed him in engraving plates for their publications. He worked on their Shakespeare Illustrated, The Economy of Human Life, The Biographical Mirror, The Memoirs of Count de Grammont, Lady Diana Beauclerk's illustrations of John Dryden's Fables and other works. His style was similar to that of Francesco Bartolozzi, and Gardiner claimed some of the plates bearing Bartolozzi's name as his own work; he subsequently worked for Bartolozzi.
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The entry door from the south porch is a boarded and ledged door with a lancet head, and still furnishing its original bolt and rimlock. Inside, the nave has a special quality of light created by a continuous opening between the top of the walls and the roof framing, to the sides and the gable ends. The tall, narrow windows hand painted with a stipple pattern also contribute to this light. These windows have trefoil heads applied to the outside, giving them a Gothic- like shadow internally.
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James Holmes (1777 – 24 February 1860) was a painter in oil and water colour of genre scenes and miniatures. James Holmes was at an early age apprenticed to the well-known engraver Robert Mitchell Meadows and in 1800 engraved in stipple a portrait of Rickman after Hazlitt. Holmes was also talented in music, specifically as a flute player; Novello recommended that he pursue a career in music. He began attending the Royal Academy schools in 1796 and first exhibited at the Royal Academy in 1798.
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Above all, the process had to be economical enough to make its widespread commercial use practical. Ives patented his first "Ives' process" in 1881.U.S. Patents 237,664 and 245,501, both entitled "Method of Producing Impressions in Line or Stipple from Photographic Negatives" and both issued in 1881 This early process required the creation of a photographic relief image, made by a variety of the carbon process, from which a plaster cast was made. The highest areas on the surface of the plaster corresponded with the darkest areas of the original photograph.
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The star-throated antwren was described and illustrated by the German naturalist Johann Baptist von Spix in 1825 and given the binomial name Thamnophilus gularis. It was subsequently placed with the "stipple-throated group" in the genus Myrmotherula. When a morphological and genetic analysis published in 2012 found that the star-throated antwren was not closely related to other species in Myrmotherula it was moved to the monotypic genus Rhopias which had originally been erected by the German ornithologists Jean Cabanis and Ferdinand Heine in 1860. The type species is the star-throated antwren.
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Gascoigne, 26a; Griffiths, 117 Large areas, such as the sky in landscapes, might be done à la poupée, with more detailed parts hand coloured.Gascoigne, 26a It was used with all the various intaglio printmaking techniques, but tended to be most effective with stipple engraving, "giving a bright and clean look".Gascoigne, 26a The term à la poupée means "with the doll" in French, the "doll" being the wad of cloth, shaped like a ball. The term only came into use after about 1900, with a variety of contemporary terms being used in different languages.
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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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The Young Shepherd, engraving using stipple technique Giulio Campagnola (; c. 1482 – c. 1515) was an Italian engraver and painter, whose few, rare,His total oeuvre consists of about fifteen engravings (Mark Zucker, The Illustrated Bartsch, Commentary 35; Patricia Emison, "Asleep in the Grass of Arcady: Giulio Campagnola's Dreamer" Renaissance Quarterly 45.2 (Summer 1992:271-292) p. 274 note 4; the Metropolitan Museum of Art had only seven prints by him when A. Hyatt Mayor described the three most recent acquisitions (Mayor, "Giulio Campagnola" The Metropolitan Museum of Art Bulletin, 32.8 (August 1937:192-196).
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Cucumbers, c. 1860, Princeton University Art Museum In watercolor and aquatint engravings, Hill employed a stipple technique, building up planes of softly graduated colors made of tiny brushstrokes–a process commonly seen in painted miniatures. Applied to a larger scale on canvas the result was a form of objective realism in contrast with more common romanticized works of mid-19th century American painting. In 1829, at the age of 17, Hill began exhibiting watercolors and engravings produced in his father's studio at the Brooklyn Art Association and the National Academy of Design.
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The eldest of four sons of William Holl the Elder (c.1771-1838), he was taught engraving by his father – at first stipple and later line on steel. The first portrait engraving produced on his own was that of Thomas Cranmer in May 1829 for inclusion in Edmund Lodge's Portraits of Illustrious Personages. He contributed further work to this publication between 1829 and 1835 after artists such as van Loo, Holbein, Van Dyck, Lely, Godfrey Kneller and Daniel Mytens. He was a founder member of the Chalcographic Society started by several notable engravers in 1830.
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Hogarth, a personal friend of Coram's, was among the first governors of the Foundling Hospital. He painted a famous portrait of Coram (1740; reproduced in stipple by William Nutter [1754-1802] for R. Cribb in 1796) which can now be viewed at the Foundling Museum in London. Together with some of his fellow artists, Hogarth decorated the Governors' Court Room, which contains paintings by Francis Hayman, Thomas Gainsborough and Richard Wilson. He contributed paintings for the benefit of the Foundation, and the Foundling Hospital became the first art gallery in London open to the public.
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Like the Amsterdam poet Vondel before him who was productive in his office in Amsterdam, Greenwood's new job seemed to help him become an artist, because during his working hours Greenwood had the opportunity to read and became a poet and calligrapher. He engraved his poetry on glass and invented the stipple engraving for glass. He specialized in creating moralistic pictures for glass loosely based on popular paintings and emblems of his day. Greenwood became an influence on other engravers in Dordrecht and his most important follower was Aert Schouman.
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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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Glass engraving encompasses a variety of techniques, including intaglio work, with images and inscriptions cut into the surface of the glass through abrasion. Glass engraving tools are typically small abrasive wheels and drills, with small lathes often used. Engraving wheels are traditionally made of copper, with a linseed oil and fine emery powder mixture used as an abrasive. Use of an abrasive wheel to engrave a glass dish (Italy) Other forms of engraving are "stipple" and "drypoint" in which the surface of the glass is abraded with the use of small diamond tipped burrs.
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He then used the technique to etch three plates using different-size needles bound together. Other people who contributed to this new engraving technique included Alexis Magny and Jean-Baptiste Delafosse.Gerald W. R. Ward, 'The Grove Encyclopedia of Materials and Techniques in Art', Oxford University Press, 2008, p. 153 William Wynne Ryland, who had worked with Jean-Charles François, took the crayon manner to Britain, using it in his contributions to Charles Roger’s publication A Collection of Prints in imitation of Drawings, and developing it further under the name of "stipple engraving".
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He was born at Frome, Somerset, in August 1811. He was a pupil of Samuel William Reynolds, the mezzotinto engraver, but the style in which he at first worked was that known as ‘chalk’ or ‘stipple.’ He began his career by engraving plates for the editions of Edmund Lodge's Portraits of Illustrious Personages of Great Britain, and for the series of Portraits of Eminent Conservatives and Statesmen, as well as for Charles Heath's Book of Beauty and other works. In 1861, Ryall was living with his wife Georgina, niece and two servants at 15 Cheyne Walk, Chelsea.
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Juliusz Słowacki by James Hopwood James Hopwood, referred to as James Hopwood the Younger or James Hopwood the Second (James Hopwood II) (c. 1800–1850; vital dates also given as 1795-1855 ), engraver, son of James Hopwood the elder, followed his father's profession, and engraved in the stipple manner. He designed and engraved illustrations for books, and was employed in engraving for Finden's ‘Byron’ and some of the annuals. Subsequently, he went to Paris, where he was very extensively employed in engraving portraits on a small scale for the numerous collections of portraits published at that time.
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DeMartis in the 70s has a freer, lighter touch. His washes of color and stipple brush strokes belted in a broad ribbon of color that ‘frames out’ each composition are far removed from the heavily tooled, often overworked abstractions of the 50s.” “Jim DeMartis Retrospective at Brownstone Gallery Spans 25 years,” in The Phoenix Magazine, Brooklyn, NY, January 29, 1976. A reviewer described DeMartis’ oil paintings in a 1974 show in the following terms: “Smoky grays and neutrals take on the bold colors of Chagall’s or Dufy’s palette to create these frozen moments that seem to melt upon scrutiny.
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Biological illustration has traditionally employed the techniques of using carbon dust, color pencil, stipple pen and ink, lithography, watercolor and gouache; however, digital illustration has recently become more important in the field. Every professional scientific illustration begins with multiple rough sketches. Many details must be discussed between the artist and scientist before a final drawing can be completed, and additional preliminary drawings must be prepared in order to work out aesthetic details. Pen and ink (often a flex nib fountain pen) line illustrations are clean, crisp, clear, and inexpensive to produce, making them ideal for biological illustrations.
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Decameron, II.7. Rossetti explained in a letter to William Bell Scott that he was attempting to paint flesh more fully, and to "avoid what I know to be a besetting fault of mine - & indeed rather common to PR painting - that of stipple in the flesh...Even among the old good painters, their portraits and simpler pictures are almost always their masterpieces for colour and execution; and I fancy if one kept this in view, one might have a better chance of learning to paint at last."Treuherz, J, Prettejohn, E, Becker, E, Dante Gabriel Rossetti, National Museums Liverpool. p 56.
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Manufacturing was further divided by numbers indicating 14 groupings based on the Standard Industrial Classification as used in the 1951 Census, for example 3 for glass, ceramics and cement, 6 for engineering and shipbuilding, 7 for vehicle manufacture, etc. Large transport uses (ports, airports, railway yards etc.) were indicated by orange stipple. Rural uses were also subdivided using patterns: Market gardening into 10 categories ranging from 'field vegetables' to 'orchards with market gardening' and arable into 6 categories ranging from cereals to fallow. Heath, moorland and rough land (yellow wash) was overprinted with one or more of 16 symbols to indicate vegetation types.
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The raw, cut edges are folded under, and sewn onto the smaller piece of fabric below, creating a new design. Additional design options are provided by quilting techniques that alter the texture of the quilt. These include: trapunto (where additional batting to be sewn through is stuffed into a discrete section of the quilting), cording (where cotton cording or yarn are pulled between quilting lines that form channels), and stipple quilting (where dense, closely spaced quilting causes the batting to be more compressed than it is in adjacent areas). Another, more casual option is to "tie" the quilt.
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The Istituto nazionale per la grafica in Rome possesses twelve of these reproductions. At least 32 etchings and engravings can be traced that depict details of the painting, sometimes to use them as a part of a new composition. Among these depictions of details is one set of prints of heads, hands and feet engraved by G. Folo after Vincenzo Camuccini (1806), and another set of heads produced in stipple engraving by J. Godby after drawings by I. Goubaud (1818 and 1830). The first engraved reproduction of The Transfiguration is also called to be the first reproductive print of a painting ever.
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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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James Saxon, portrait of Sir Richard Phillips, in the National Portrait Gallery, London Saxon's portraits show the influence of John Opie. He exhibited at the Royal Academy in 1795 and 1796, and a total of 17 portraits by 1817. The portrait of John Clerk of Eldin from 1805 has a background, showing a system of naval evolution conceived by Clerk, by William Anderson (1757–1837); it went to the Scottish National Portrait Gallery. In the same year he painted a portrait of Sir Walter Scott, which was engraved in stipple by James Heath, as an illustration to The Lady of the Lake (1810).
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Tullamore. Copper engraving by John Cochran after F. W. Wilkin. La Belle Assemblee No. 11 New Series 1 May 1826 John Cochran or Cochrane (active 1821-1865) was a Scottish portrait miniaturist, a stipple and line engraver and a painter of watercolours. Cochran exhibited his portraits at the Royal Academy between 1821 and 1823, and at the Suffolk Street Gallery from 1821 to 1827.Scharlau Prints and Maps Dictionary of Artists Cochran contributed steelplate engravings to The National Portrait Gallery (four volumes, 1820), Wilson and Chamber's Land of Burns (1840) and Wright's Gallery of Engravings (1844–1846).
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Griffiths, 78 Then the plate is bitten with acid, and the etching ground removed. The lighter areas of shade are then laid in with a drypoint or a stipple graver; Fielding describes the latter as "resembling the common kind, except that the blade bends down instead of up, thereby allowing the engraver greater facility in forming the small holes or dots in the copper". The etched middle and dark tones would also be deepened where appropriate with the graver. In France the technique fed a fashion for reproductions of red chalk drawings by artists such as Antoine Watteau and François Boucher.
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The plates were stipple engravings (again produced by Lambert) in full color with extensive hand finishing. Stippling, which Madame Vincent probably learned from her teacher Redouté who was renowned for using this dotted technique, is well suited to representing the texture of flowers but poses extra challenges to the engraving process. The book, which is a comparatively small volume of 11 x 8.25 inches, has been praised as of "such consummate loveliness" that it enhances the overall reputation of French floral painters of the era. Madame Vincent's work was included in the 2013 show "The Feminine Perspective: Women Artists and Illustrators" organized by the Lenhardt Library of the Chicago Botanic Garden.
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With the financial success brought by the gin trade, Metcalfe became a passionate art collector and was a patron of the arts. Among his friends and acquaintances were the writers Samuel Johnson, Frances Burney, the painter Sir Joshua Reynolds, the philosopher Jeremy Bentham and West India merchant and art collector Robert Fullarton Udny (1722–1802) of Teddington, Middlesex. He sat for two portraits that are in the collection of the National Portrait Gallery: one by Pompeo Batoni and one by draughtsman and engraver artist William Evans (after Edward Scott's stipple engraving). He was appointed an executor to Joshua Reynolds's will, along with Edmund Burke and Edmond Malone.
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Between 1798 and 1807, they produced a total of thirty-three coloured plates, engraved in aquatint, stipple and line engraving. When he planned the project, Thornton had decided to publish seventy folio-size plates. Lack of interest from the general public spelled disaster for the scheme, and the holding of a lottery could not save it from financial ruin, neither did a page in the work dedicated to the spouse of George III, Queen Charlotte, patroness of botany and the fine arts. It is estimated that around 800 copies were produced, each containing 31 plates accompanied by inspirational poetry and explanatory notes covering flower lore and legend.
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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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He studied under Francesco Bartolozzi, but more especially under William Wynne Ryland, to whom he acted both as pupil and assistant, and was so much engaged on the engravings bearing that artist's name, that few original works of his own exist. After Ryland's disastrous end, Fielding produced some engravings in his own name. Among them were ‘The Meeting of Jacob and Rachael,’ and ‘Moses saved by Pharaoh's Daughter,’ after Thomas Stothard, R.A .; also ‘Theseus finding his Father's Sword and Sandals,’ and ‘The Death of Procris,’ after Angelica Kauffman, R.A. The latter are finely engraved in Ryland's stipple manner, and quite reach the level of that artist's productions.
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In 1792 John Alais, aged 14, was apprenticed to George Graham of Chelsea, stipple engraver and watercolourist.Register of Duties Paid for Apprentices' Indentures Very little is known of his antecedents or early career but his later emigration to Argentina may imply he had family there. In 1799 he married Jane Browning at St. Martin-in-the-Fields, Westminster, London,Marriage Record and they had a total of ten children.London Parish Records of Births and Christenings In 1802 he took as his apprentice George Palmer, by which time he had moved out of noisome central London across the river Thames to the then rural area of Battersea Fields.
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The Young Shepherd, engraving using stipple technique by Giulio Campagnola, around 1510 In a drawing or painting, the dots are made of pigment of a single colour, applied with a pen or brush; the denser the dots, the darker the apparent shade—or lighter, if the pigment is lighter than the surface. This is similar to—but distinct from—pointillism, which uses dots of different colours to simulate blended colours. In printmaking, dots may be carved out of a surface to which ink will be applied, to produce either a greater or lesser density of ink depending on the printing technique. In engraving, the technique was invented by Giulio Campagnola in about 1510.
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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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Depiction of the Grosmont Castle in 1823, by Theodore Fielding In addition to his watercolours, Fielding also worked in stipple and aquatint, and published numerous sets of engravings in the latter technique, including illustrations to Excursion sur les côtes et dans les ports de Normandie, after Bonington and others; Cumberland, Westmoreland, and Lancashire Illustrated (44 plates, 1822); A Series of Views in the West Indies (1827); Ten Aquatint Coloured Engravings from a work containing 48 Subjects of Landscape Scenery, principally Views in or near Bath, painted by Benjamin Barker (1824); British Castles; or, a Compendious History of the Ancient Military Structures of Great Britain (1825); A Picturesque Tour of the River Wye, from its Source to its Junction with the Severn, from Drawings by Copley Fielding.
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Ryder engraved a few plates in the line manner, of which the most important are "The Politician" (a portrait of Benjamin Franklin), after S. Elmer, 1782; and "Vortigern and Rowena", after A. Kauffman, 1802; but he is best known by his works in stipple, which are among the finest of their class. These include "The Last Supper", after Benjamin West; "The Murder of James I of Scotland", after Opie; "Prudence and Beauty", after A. Kauffman; nine of the plates to the large edition of Boydell's "Shakspeare"; and others from designs by Bigg, Bunbury, Cipriani, Cosway, Ryley, and Shelley. Ryder also engraved portraits of Mrs. Damer, after Kauffman; Henry Bunbury, after Lawrence; Sir William Watson, M.D., after Abbot; and Maria Linley, after Westall.
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Preview available here His younger brother Xavier, who became an army officer, was a popular writer of fiction. Stipple engraving of Maistre from a painting by Pierre Bouillon in which he is shown wearing the insignia of the Order of Saints Maurice and Lazarus Maistre was probably educated by the Jesuits. After the Revolution, he became an ardent defender of the Jesuits, increasingly associating the spirit of the Revolution with the Jesuits' traditional enemies, the Jansenists. After completing his training in the law at the University of Turin in 1774, he followed in his father's footsteps by becoming a Senator in 1787. A member of the progressive Scottish Rite Masonic lodge at Chambéry from 1774 to 1790,Vulliaud, Paul (1926).
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Troilus and Cressida, Act V, Scene II. Painted by Angelica Kauffman in 1789, and engraved by Luigi Schiavonetti for the Boydell Shakespeare Gallery's illustrated edition of Shakespeare in 1795. Luigi Schiavonetti (1 April 1765 - 7 June 1810), Italian reproductive engraver and etcher, was born at Bassano in Venetia. After having studied art for several years he was employed by Testolini, an engraver of very indifferent abilities, to execute imitations of Bartolozzi's works, which he passed off as his own. In 1790, Testolini was invited by Bartolozzi to join him in England, and, it having been discovered that Schiavonetti, who accompanied him, had executed the plates in question, he was employed by Bartolozzi and became an eminent engraver in both the line and the stipple manner.
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Stipple effects were used in conjunction with other engraving techniques by artists as early as Giulio Campagnola (c.1482 – c. 1515) and Ottavio Leoni (1578–1630), although some of Campagnola's small prints were almost entirely in stipple.Mark J. Zucker in Kristin L. Spangenberg (ed), Six Centuries of Master Prints: Treasures from the Herbert Greer French collection, Cincinnati Art Museum, 1993, nos 39 & 40, In Holland in the seventeenth century, the printmaker and goldsmith Jan Lutma developed an engraving technique, known as opus mallei, in which the dots are punched into the plate by an awl struck with a hammer, while in England the faces of portraits were engraved with stippled dots by William Rogers in the sixteenth century and Lucas Vorsterman in the seventeenth.
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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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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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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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The Facius print of the Kerrich drawing, 1803 A portrait of Ralph Symons by an unknown artist, now in the National Portrait Gallery, London, is the earliest known portrait of an artisan in England. A painting of Symons which may be this one appears in inventories at Sidney Sussex College from 1639 to 1748, and then disappears from the college record. The portrait was long known only from a post-1630 copy at Emmanuel College, a drawing in chalks by Thomas Kerrich (1748-1828) from the original, and an 1803 printed stipple and line engraving of the Kerrich drawing by Georg Siegemund Facius (captioned "From an original Picture which was in the/ possession of the late Mr. Essex at Cambridge"). In March 2016, the art dealers Philip Mould & Co. announced the discovery of the "lost" painting in Turin, Italy.
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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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Stippling may also be used in engraving or sculpting an object even when there is no ink or paint involved, either to change the texture of the object, or to produce the appearance of light or dark shading depending on the reflective properties of the surface: for instance, stipple engraving on glass produces areas that appear brighter than the surrounding glass. The technique became popular as a means of producing shaded line art illustrations for publication, because drawings created this way could be reproduced in simple black ink. The other common method is hatching, which uses lines instead of dots. Stippling has traditionally been favoured over hatching in biological and medical illustration, since it is less likely than hatching to interfere visually with the structures being illustrated (the lines used in hatching can be mistaken for actual contours), and also since it allows the artist to vary the density of shading more subtly to depict curved or irregular surfaces.
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John Alais, like his near contemporary, Francesco Bartolozzi, used the stipple technique which was a mixture of etching and engraving on metal plates, using a roulette, a punch and a curved burin for flickwork.Richard T. Godfrey, Printmaking in Britain: A General History This gave a softer and more subtle effect than the line technique mostly employed by the cartoonists of the time such as Thomas Rowlandson and James Gilray. For a comprehensive survey of 18th century satirical engraving see Vic Gatrell, City of Laughter, 2006 He seems to have worked with various artists including George Cruikshank and Adam Buck, but at least between 1802 and 1815 was published almost exclusively by John Roach of The Britannia Office, Russell Court, Drury Lane, London. He became known for producing portraits of actors and actresses, particularly those appearing at the Drury Lane and Covent Garden theatres, thus leaving a large contribution to the history of London theatre.
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