The 18th century saw the creation of wove paper: a smooth paper, without the ribbed pattern created by traditional wire molds, which artists like Turner used to create dramatic new effects.
|
|
The exhibition features views from his stay there, including a busy drawing on wove paper of the overgrown garden seen from his first-floor bedroom and a painting of a wheat field with the Alpilles in the distance.
|
|
Connecticut House, ca. 1800. Watercolor and ink on wove paper, 13 x 16 in., Abby Aldrich Rockefeller Folk Art Center, WilliamsburgView of Litchfield, undated. Watercolor and ink on wove paper, Abby Aldrich Rockefeller Folk Art Center, Williamsburg Rebecca Couch (June 19, 1788 – September 4, 1863) was an American painter.
|
|
Mary Cassatt, Young Woman in a Black and Green Bonnet, 1890, pastel on tan wove paper, Princeton University Art Museum Wove paper is a writing paper with a uniform surface, not ribbed or watermarked. The papermaking mould's wires run parallel to each other to produce laid paper, but they are woven together into a fine wire mesh for wove paper. The originator of this new papermaking technique was James Whatman (1702-1759) from Kent, England.(Some historical background) For 500 years European paper makers could only produce what came to be called laid paper.
|
|
Crying Girl is the name of two different works by Roy Lichtenstein: a 1963 offset lithograph on lightweight, off-white wove paper and a 1964 porcelain enamel on steel.
|
|
The painting is a "watercolour, gouache on wove paper laid down to buff-colored wood-pulp paper" according to the MET. It is now in the public domain. It is a self-portrait of Mary Cassatt.
|
|
Whatman paper is a type of wove paper named after James Whatman. It is notable for its exceptional quality. Whatman paper is grained, strong and rigid, without laid lines. It is used in publishing, filtering, and chromatography.
|
|
All paper produced by paper machines as the Fourdrinier Machine are wove paper, i.e. the wire mesh that transports the web leaves a pattern that has the same density along the paper grain and across the grain. Textured finishes, watermarks and wire patterns imitating hand-made laid paper can be created by the use of appropriate rollers in the later stages of the machine. Wove paper does not exhibit "laidlines", which are small regular lines left behind on paper when it was handmade in a mould made from rows of metal wires or bamboo.
|
|
Colburn's Butte, South Utah is a 19th-century drawing by American artist Thomas Moran. Done in watercolor, gouache, and graphite on wove paper, the work depicts Tucupit Point (formerly Colburn's Butte) in the Kolob Canyons, Zion National Park.
|
|
The print-makers who rendered Oonark's drawings into limited edition fine art prints included Thomas Sivuraq. The printing technique in Baker Lake included colour stonecuts, stencil and lithograph on Japanese wove paper. These include the chop for Oonark and Sanavik.
|
|
Thirty-one of the images (ten of which are multicolored) are printed on Chine-collé. The remaining nineteen are high quality halftones prints. Each piece was marked with a unique signet—designed by Klimt—which was impressed into the wove paper in gold metallic ink.
|
|
Ker-Xavier Roussel (left), Édouard Vuillard, Romain Coolus, and Félix Vallotton, 1899 Ker-Xavier Roussel, Landscape with House, ca. 1897, chromolithograph on wove paper, 29.2 × 41.8 cm. Brooklyn Museum Ker-Xavier Roussel (10 December 1867 – 6 June 1944) was a French painter associated with Les Nabis.
|
|
Boys in a Dory is a mid 19th-century painting by American artist Winslow Homer. Done in watercolor and gouache on wove paper, the painting depicts a group of boys boating in a dory. Winslow's work is in the collection of the Metropolitan Museum of Art.
|
|
The name Turkey Mill was first recorded in 1739. The mill passed to Ann Cripps, who married James Whatman in 1740. thus James Whatman acquired the mill, and it was here that he and his son developed 'wove' paper. Turkey Mill became the largest paper mill in the country.
|
|
If these lines are distinct and parallel, and/or there is a watermark, then the paper is termed laid paper. If the lines appear as a mesh or are indiscernible, and/or there is no watermark, then it is called wove paper. This method is called line drawing watermarks.
|
|
Checkerboard and Playing Cards is an early 20th century drawing by Spanish cubist Juan Gris. Done in gouache, graphite, and resin on wove paper, the drawing depicts a table set with a checkerboard and playing cards. Gris' work is in the collection of the Metropolitan Museum of Art.
|
|
The name Turkey Mill was first recorded in 1739. The mill passed to Ann Cripps, who married James Whatman in 1740. thus James Whatman acquired the mill, and it was here that he developed 'wove' paper. At this time Turkey Mill was the largest paper mill in the country.
|
|
She has been active as an illustrator as well as printmaker, and favors mainly gravure techniques such as etching, aquatint, and drypoint. A print by Šoltészová from 1990, Dve lahve/Two Bottles in drypoint and aquatint in blue and black on wove paper, is owned by the National Gallery of Art.
|
|
File:Henri de Toulouse-Lautrec 054.jpg File:Henri de Toulouse- Lautrec Miss May Belfort saluant Litho.jpg File:May Belfort MET DP252760.jpg File:Miss May Belfort (large plate) by Henri de Toulouse-Lautrec, 1895, crayon and spatter lithograph on wove paper, State III-III, 2nd ed,Wittrock 114 - Montreal Museum of Fine Arts - Montreal, Canada - DSC08868.
|
|
Mountain Stream is an early 20th century watercolor painting by the American artist John Singer Sargent. Done in watercolor and graphite pencil on wove paper, the work depicts a nude figure by a dazzling mountain stream. Sargent's work was donated to the Metropolitan Museum of Art, where it remains, as part of the bequest of Joseph Pulitzer in 1915.
|
|
Landscape with Sky is an early 20th century painting by Henri-Edmond Cross. Done in watercolor on white wove paper, the work is currently in the collection of the Metropolitan Museum of Art. Reminiscent of Japanese painting, the impressionistic work depicts a star-studded sky above a pen and ink landscape. It is not currently (2018) on view.
|
|
The artist Thomas Addison Richards created a graphite-on-wove-paper drawing of Big Wapwallopen Creek in 1852. The Crystal Spring Water Company was chartered on April 11, 1861. It got its water supply from the upper reaches of the watershed of Big Wapwallopen Creek. In the 1800s, F.K. Miller constructed a tannery on a tributary of the creek in southeastern Dorrance Township.
|
|
Léon Bonvin - Still Life on Kitchen Table with Celery, Parsley, Bowl, and Cruets - Walters 371504, watercolor and brush with graphite underdrawing, pen and iron gall ink, and gum varnish on heavily textured, moderately thick, cream wove paper. Charles Léon Bonvin (February 28, 1834 – January 30, 1866) was a French watercolor artist known for genre painting, realist still life and delicate and melancholic landscapes.
|
|
The State Lottery Office ('The Poor and Money'), watercolor, September 1882, Van Gogh Museum, Amsterdam (F970, JH222). Private Collection, United States (JH214). The model is Adrianus Jacobus Zuyderland. Church Pew with Worshippers, pencil, pen and ink, opaque and transparent watercolour, on wove paper, September 1882, Kröller-Müller Museum, Otterlo (F967, JH225). Today's Draw, sketch in letter 270, Van Gogh Museum, Amsterdam,(F-, JH223).
|
|
The surface area of Kilbirnie Loch is recorded as its old name 'Loch Thankart'. The number of lint, corn and wool mills in a parish is listed on occasions. The maps are carefully hand coloured on wove paper with parish boundaries highlighted as are the turnpikes. Maps north, south, east and west directions are indicated using different styles of compasses.
|
|
Studies in Bibliography 5:187–189. The earliest examples of wove paper, bearing his watermark, appeared after 1740. This James Whatman and his wife had a child in 1741 who was also named James Whatman and he would be another innovative paper manufacturer. His wife Susanna Whatman would run his house and her writing on household management would come to notice about 200 years later.
|
|
Fallen Birch (1886), watercolour on wove paper The son of Daniel Fowler and Mary Ann Pope, he was born in Camberwell and grew up in the village of Downe. He was educated at schools in Camberwell and Walthamstow. He articled in law at the Doctors' Commons but abandoned law for art following his father's death in 1829. From 1831 to 1833, he studied with James Duffield Harding.
|
|
Linnaeus's Systema naturae (1758) Laid paper is a type of paper having a ribbed texture imparted by the manufacturing process. In the pre-mechanical period of European papermaking (from the 12th century into the 19th century), laid paper was the predominant kind of paper produced. Its use, however, diminished in the 19th century, when it was largely supplanted by wove paper. Laid paper is still commonly used by artists as a support for charcoal drawings.
|
|
The initial round design was shortly followed by one using a square frame with rounded corners, and using blue or white wove paper. These are somewhat more common. After the union of Moldavia and Wallachia in 1861, the design was adapted to show the emblems of both principalities side- by-side, and inscribed "FRANCO SCRISOREI". The first stamps inscribed "POSTA ROMANA" were issued in January 1865; the three values depicted Prince Alexandru Ioan Cuza in profile, facing right.
|
|
Rauenstein Castle from the opposite side of the valley Adrian Zingg, Rauenstein Castle Seen from the River's Edge, c. 1800. Pen and brown ink and brown wash on wove paper; overall size: 50.2 x 68.3 cm (19 3/4 x 26 7/8 inches.) National Gallery of Art, Washington. Ailsa Mellon Bruce Fund, 1991.126.1 Rauenstein Castle () is a castle in the village of Rauenstein in the town of Pockau-Lengefeld in the Ore Mountains of Central Europe.
|
|
John Baskerville (1707-1775), who needed paper that would take a light impression of the printing plate, approached Whatman; the resultant paper was used for the edition of Virgil's poetry, embellished with Baskerville's typography and designs. The earliest examples of wove paper, bearing his watermark, appeared after 1740. The Whatman business is credited with the invention of the wove wire mesh used to mould and align pulp fibres. This is the principal method used in the mass production of most modern paper.
|
|
In 1757 John Baskerville printed his famous edition of Virgil on a new kind of paper, called Wove (known in Europe as Vélin). This paper is now known to have been made by the elder James Whatman. Twenty-five years later (1780s) the manufacture of wove paper spread quickly to other paper mills in England, and was also being developed in France and America. All this took place over a decade before a machine to replace making paper by hand was conceived.
|
|
Initially, the offices used the regular stamps of Russia, but in 1899, they received stamps overprinted with "KITAI" (Russian for China) in Cyrillic script. This overprint was applied to all types of stamps up to 1916, including the varieties on horizontally laid, vertically laid, and wove paper. The overprint was also applied to postal stationery envelopes, postcards, letter cards and newspaper wrappers. The overprint itself was in black, blue, or red, generally being chosen to contrast with the stamp colors.
|
|
Baskerville was a member of the Royal Society of Arts, and an associate of some of the members of the Lunar Society. He directed his punchcutter, John Handy, in the design of many typefaces of broadly similar appearance. In 1757, Baskerville published a remarkable quarto edition of Virgil on wove paper, using his own type. It took three years to complete, but it made such an impact that he was appointed printer to the University of Cambridge the following year.
|
|
The Large Queens were the first issue by Canada; they are so- called to distinguish them from the 1870 issues (the "Small Queens") which are similar in appearance but physically smaller. The Large Queens were normally printed on wove paper, but the 1¢, 2¢, and 3¢ values were also printed on the less-desirable laid paper. The 1¢ and 3¢ on laid paper were long-known although uncommon. The Unitrade Specialized Catalogue of Canadian Stamps lists Scott number 32, the 2c Laid Paper Large Queen, at $250,000.
|
|
James Whatman (1702–1759) James Whatman (1702–1759), the Elder, was a paper maker, born in Kent, who made revolutionary advances to the craft in England. He is noted as the inventor of wove paper (or Vélin), an innovation used for high-quality art and printing. The techniques continued to be developed by his son, James Whatman the Younger (1741–1798). At a time when the craft was based in smaller paper mills, his innovations led to the large scale and widespread industrialisation of paper manufacturing.
|
|
At the end of 1904, Russia issued its first semi- postal stamps. The four values were each sold at 3k over the face to provide for orphans of casualties in the Russo-Japanese War. In 1909 a new series came out, using a mix of old and new designs, all printed on unwatermarked wove paper, and with lozenges on the face to discourage postage stamp reuse. Russia's first series of commemorative stamps appeared on 2 January 1913 to mark the 300th anniversary of the Romanov dynasty.
|
|
The Phantom on the Terrace, Hamlet (1843) by Eugène Delacroix, a lithograph on Arches wove paper The history of Arches starts in 1492 when the Arches site completed the amalgamation of the paper-making facilities around the village of Arches, south of Epinal.Arches Printmaking. Polymetaal. The Moulins d'Arches turned to the production of high quality paper for writing and art publication. The mill thus produced paper for incunables (the name given to the first printed books), such as the Chronique de Nuremberg by Dürer.
|
|
Mr. Whatman's Turkey Paper Mills by Paul Sandby (1794) The papermaker James Whatman the Elder (1702–1759) founded the Whatman papermaking enterprise in 1740 in Maidstone, Kent, England. He made revolutionary advances to the craft in England and is credited as the inventor of wove paper (or Vélin), an innovation used for high-quality art and printing. His son, James Whatman the Younger (1741–1798), further developed the company's techniques. At a time when the craft was based in smaller paper mills, Whatman innovations led to the large-scale and widespread industrialisation of paper manufacturing.
|
|
In Volume II the signatures run from A-L12 and M10. The fleurons are all simple double, diamond or broken rule lines. No 'chain and line' was used, only wove and the volumes therefore do not carry a watermark and the portrait of Burns on the frontispiece is also on wove paper. Burns had added a number of annotations to clarify or enhance the understanding of his works that were included here, such as with Halloween and his notes on the 'Cove of Colean' (Culzean) as the Elfhame or home of the fairies.
|
|
Artworks such as proof prints published by Pellet were often marked with his distinctive red monogram stamp. The artworks were often erotic, both Toulouse-Lautrec and before him Legrand making detailed studies of the night life of late nineteenth-century Paris. For example, the 1896 Elles ("Women") was a series of ten Toulouse-Lautrec lithographs and a frontispiece, which Pellet had printed on high quality wove paper, in a small edition of only 100; the paper was left deckle edged, and was specially watermarked "G. Pellet / T. Lautrec"; the women are mostly from Paris brothels, and they are shown relaxing, washing and dressing.
|
|
Most of these types are commonly available today (less than one US$); the most problematic is the blue overprint on the 14-kopeck wove paper variety, whose existence has been questioned. Although the offices had always accepted Chinese currency at par, a Chinese cent being considered equivalent to a kopeck, in 1917 the overprint was changed to clarify the situation, simply consisting of the value in Chinese money and using Latin letters. The valuation was still one-to-one. A later round of overprints, in 1920, changed to use a horizontal overprint in mixed case, but these saw little use, all Russian post offices in China being closed in that year.
|
|
Wove paper has a uniform texture while laid paper has a fine-lined texture created by wires that are attached to the wire mesh. If a watermark is part of the paper’s design, it is the mould that creates the watermark, in the same way that the fine lines of laid paper are created. A watermark is a deliberate thinning of the paper by the placing of either wires or metal shapes, called bits, onto the wire mesh of the mould. When the mould is removed from the vat, the water drains causing the pulp to be deposited more between the wires or bits relative to the top of the bits or wires.
|
|
Before the mechanization of papermaking, paper was made by hand, using a wire sieve mounted in a rectangular mould to produce a single sheet at a time. A papermaker would dip the mould into a vat containing diluted pulp of hemp or linen fibers, then lift it out, tilt it to spread the pulp evenly over the sieve and, as the water drained out between the wires, shake the mould to lock the fibers together. In the process, the pattern of the wires in the sieve was imparted to the sheet of paper. Up until the invention of wove paper around 1756, these screens were made up of thicker, more widely spaced wires around which were woven finer and more tightly packed wires.
|
|
Decorative patterns were often used by Gustav Klimt in his paintings. Die Umarmung ("The Embrace") - detail from the Palais Stoclet in Brussels. The only folio set produced in Klimt's lifetime, Das Werk Gustav Klimts, was published initially by H. O. Miethke (of Gallerie Miethke, Klimt's exclusive gallery in Vienna) from 1908 to 1914 in an edition of 300, supervised personally by the artist. The first thirty-five editions (I-XXXV) each included an original drawing by Klimt, and the next thirty-five editions (XXXVI-LXX) each with a facsimile signature on the title page. Fifty images depicting Klimt's most important paintings (1893–1913) were reproduced using collotype lithography and mounted on a heavy, cream-colored wove paper with deckled edges.
|
|
It is not clear whether or not the 500 or so 'Edinburgh Edition' copies had a new title page inserted bearing the names of Strahan and Cadell as well as Creech. London Editions are often in poor condition. The 'chain and line' or laid paper used for the text, unlike the 'Edinburgh Edition' with its fleur-de-lis, does not carry a watermark and the portrait of Burns on the frontispiece is also printed on laid rather than the wove paper that was used for the 'Edinburgh Edition'. Burns added a number of annotations to clarify or enhance the understanding of his works such as with Halloween on page 161 and his notes on the 'Cove of Colean' (Culzean) as the Elfhame or home of the fairies on page 159.
|
|
She also inspired poets Léon Dierx and Stéphane Mallarmé. Auguste Renoir made three portraits of her, a lithograph in gray on wove paper in 1899, exhibited at the Art Institute of Chicago Museum and a pastel in 1903, exhibited at the Museum of Fine Arts of Boston. The two paintings depict Amélie Diéterle wearing a white hat. The third portrait, made around 1910, is a pastel, currently at the in Saint- Quentin. One of the three works was loaned in 1922 by Gaston Bernheim (1870–1953) to the exhibition A Hundred Years of French Painting (1821–1921) from Ingres to Cubism, organized for the benefit of the Strasbourg Museum (hometown of the actress) at the Parisian headquarters of the Antiquarian Room (reproduced in the article by Léandre Vaillat in 'L'Illustration n° 4136 of 1er April 1922).
|
|
Those with postmaster Robert H. Morris's "RHM" fetch several thousands; and even that amount must be greatly multiplied for the inordinately scarce copies bearing the rarest initials, "MM" or "MMJr", those of Alonzo's older brother Marcena Monson Jr. Unused examples also fetch a premium — particularly those with gum, which are quite rare. While most of the stamps were printed on a bluish wove paper, different paper types are occasionally found, and examples on these, too, can be quite costly. The stamps have been a perennial favorite of collectors. For example, Henry G. Lapham received a gold medal at the 1926 New York International Philatelic Exhibition for his collection of New York Postmaster's Provisionals, which included more than 700 of the stamps, including six ones with the rare "RHM", and a complete plate assembled from forty of the stamps.
|
|
Jungfrau, 1870, Watercolor, Gouache, and graphite on pale blue wove paper Splendid Mountain Watercolours or Splendid Mountain Sketchbook is a collection of sketches and watercolors by John Singer Sargent (1856–1925), executed when he was fourteen years old, and on a summer excursion to Switzerland’s Bernese Alps in the Berner Oberland in 1870. The sketchbook contains 60 leaves, including 14 watercolors and 47 crayon or graphite studies of the mountains, landscapes and people he encountered while traveling with his family.Shelley, 185 Sargent began working in the notebook during a three-week trek with his father at the end of June 1870, after which he spent the rest of the summer with the entire family in the high Alpine village of Mürren, where he continued to fill the book. Stylistically the landscapes reflect techniques popularized in 19th-century art manuals, particularly John Ruskin's Elements of drawing.
|
|
The 6d was a portrait of Prince Albert from a drawing by William Drummond Esq. The 12d (1 shilling) was reproduced from a full-length painting of Queen Victoria done by Alfred Edward Chalon. All three stamps were produced by the firm of Rawdon, Wright, Hatch and Edson of New York. In April 1851, the rate for inland letters to Canada, Nova Scotia, New Brunswick, Cape Breton and Prince Edward Island was 3d per ½ oz. Letters to the USA was 6d per ½ oz, excluding California and Oregon, which was 9d per ½ oz. The first issues were made on laid paper, which did not stick as well to envelopes; thus in 1852 the printers switched to wove paper. All of these early stamps were imperforate issues. These earliest issues on laid paper are quite rare; a grand total of only 1,450 copies of the 12d were ever issued. Copies today, depending on their condition, may sell for US$50,000 or more.
|
|
He has suggested that the Bell type's development was influenced by the greater quality possible in printing by more general use of hot-pressing of paper, which previously had only been used in Baskerville's elite printing, and the growth of fine book printing in London in the period. Historian James Mosley has also written in that in this period "the use of wove paper, hot-pressed [and] the cult of a simpler, more open page made the appearance of the type itself a more prominent feature of an edition, and one to which its promoters tended increasingly to draw attention." Besides body text faces, the foundry sold ornamented and inline letters, some based on French examples. The initial success of the face was short lived however, both due to business problems with the British Letter Foundry, which led first to Bell leaving it and then its sale in 1797, and later by 1808 a dramatic change in tastes in printing towards darker typefaces with greater extremes of thick and thin strokes.
|
|
An 1868 6¢ "Large Queen" stamp. The Canadian "Xmas" map stamp of 1898. The Dominion came into existence July 1, 1867, assembled from colonies each of which had their own stamps, so the new government issued a new series of stamps on April 1, 1868, superseding all previous issues. These featured a profile of Queen Victoria, based on an engraving by Charles Henry Jeens and became known to philatelists as the "Large Queens". They ranged in value from ½¢ to 15¢. While mostly printed on wove paper, a few of the 1¢, 2¢, and 3¢ values were also printed on laid paper; only three examples of the Canada 2c Large Queen on laid paper are known, making it Canada's rarest stamp. Except for the 15c value which was in use as late as 1897, the Large Queens had a relatively short life, being replaced in 1870 by the "Small Queens", smaller stamps of the same basic design, adopted to be able to produce more stamps more quickly. The Small Queens came in a number of printings between 1870 and 1897. In 1893 20¢ and 50¢ stamps came out with a 3/4 portrait of Victoria.
|
|