. Studio international . THE FISH MARKET. W. LEE HANKEY. New School of Colour-Printing that of the art collector who has discovered whathe believes to be a genuine Rembrandt on anameless canvas, to the J. R. Smiths and WilliamWards, the Bartolozzis and Burkes, upon hiswalls, or maybe to the Debucourts and Janinets,for he rarely collects both English and as he draws your attention to the brilliantand delicate quality of the colour-printing, hewill tell you, with an air suggesting that he, aspossessor, shares in the superiority, that They cantdo that sort of thing nowadays
. Studio international . THE FISH MARKET. W. LEE HANKEY. New School of Colour-Printing that of the art collector who has discovered whathe believes to be a genuine Rembrandt on anameless canvas, to the J. R. Smiths and WilliamWards, the Bartolozzis and Burkes, upon hiswalls, or maybe to the Debucourts and Janinets,for he rarely collects both English and as he draws your attention to the brilliantand delicate quality of the colour-printing, hewill tell you, with an air suggesting that he, aspossessor, shares in the superiority, that They cantdo that sort of thing nowadays. Its a lost art. This, of course, is a mere parrot-phrase, theparrot-phrase of the collector who accepts all thecraft of the eighteenth century as fine art, andignores, or does not attempt to understand, theart of his own day. Colour-printing from metalplates is by no means a lost art. On the contrary,there has lately been a very lively revival of it, andthis revival constitutes a movement of far more. NOVEMBER real artistic significance and importance than wasthe industry, so active in the later eighteenthcentury and earlier nineteenth, of printing incolours the almost invariably reproductive stippleand mezzotint engravings, generally after the plateshad given off the required number of monochromeimpressions, and the engraved surface had begunto show signs of wear from the printing. Seldomwas it that the old English colour-prints—or theFrench, too, for the matter of that, with the notableexception of Debucourt—were designed by theengraver ; and, even when they were so, as in thecase of certain favourite prints by J. R. Smith,William Ward, P. W. Tomkins, and ThomasCheesman, it can hardly be said that they wereengraved primarily for printing in colours, as weregenerally the old French colour-engravings. Onthe other hand, in the case of the modernEnglish colour-print, as produced by the membersof the Society of Graver-Printers inColour, it is throughout the work of oneartist
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Keywords: ., bookcentury180, booksubjectart, booksubjectdecorationandornament
