Modern etchings, mezzotints and dry-points . J. Turrell, Mr. WilliamMonk, and Mr. Frederick Marriott. Let me conclude on a note of colour, for the original colour-printhas undoubtedly come to stay. That sympathetic artist, Mr. AlfredHartley, shows us here, together with a fine black-and-white aquatint,dAt the Boat-Builders, a charming vision, in tender tones, of Silvery3^(ight. This was printed presumably from aquatint plates. ButMr. William Giles has adapted the principles of the wood-block tothe metal plate, and evolved a process of colour-printing from a seriesof cameo, instead of intaglio,
Modern etchings, mezzotints and dry-points . J. Turrell, Mr. WilliamMonk, and Mr. Frederick Marriott. Let me conclude on a note of colour, for the original colour-printhas undoubtedly come to stay. That sympathetic artist, Mr. AlfredHartley, shows us here, together with a fine black-and-white aquatint,dAt the Boat-Builders, a charming vision, in tender tones, of Silvery3^(ight. This was printed presumably from aquatint plates. ButMr. William Giles has adapted the principles of the wood-block tothe metal plate, and evolved a process of colour-printing from a seriesof cameo, instead of intaglio, plates. This process, permitting theprinting of pure colours, would seem to offer great pictorial anddecorative possibilities. zA <SMidsummer s S^Qght—Traelde 5^es—Denmark, a lovely, poetic thing, is the pioneer print of this newmethod of Mr. Giless, done from four zinc cameo plates and oneintaglio, though Mrs. Giles has since produced an exquisite littleprint, perfectly pure in colour, from five cameo plates only. 12 GREAT BRITAIN. {By perjnission of theFine Art Society Ltd.) A GATE OF NAFUES. ORIGINAL ETCHINGBY FRANK BRANGWYN, , 13 GREAT BRITAIN
Size: 1458px × 1714px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, booksubjectetching, bookyear1913
