This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1903 Excerpt: ...as a lawyer and studied at New Inn in London. Soon, however, turning his attention to art, especially portraits in crayon, in which he excelled, he moreover invented some way of rendering a similar effect on copper, probably analogous to what is now called soft ground-etching. He became fascinated with the art of ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1903 Excerpt: ...as a lawyer and studied at New Inn in London. Soon, however, turning his attention to art, especially portraits in crayon, in which he excelled, he moreover invented some way of rendering a similar effect on copper, probably analogous to what is now called soft ground-etching. He became fascinated with the art of mezzotinting through seeing some of Blooteling's prints, and he endeavoured to bribe Blois, the workman who laid Blooteling's grounds, to impart to him the secret of that process. John Lloyd, Luttrell's publisher, was the go-between, and he succeeded in obtaining the required information from Blois, but when he got it he would not pass it on to Luttrell but retained it himself, and very traitorously instructed his friend, Isaac Beckett, another engraver. This naturally incensed Luttrell, who still remained dependent upon his own observations of the envied prints and his experiments with tools of his own making, with a view to producing the same effects. At last he made the acquaintance of Jan van Somer, who explained the process fully, and in course of time the quarrel between Luttrell, Beckett, and Lloyd was made up and they all worked together amicably. Luttrell's prints bear witness to the statement that he experimented much with various methods for roughening the ground of his mezzotints. Walpole says that he rolled them with a roughened roller, but whatever he did them with they are not as a rule very successful. The grain used is too large, and in many cases the whole print is weak and betrays an excessive use of the scraper. E. LUTTRELL AND J. LLOYD Luttrell engraved chiefly after Sir A. Vandyck, Sir P. Lely, Sir G. Kneller, and J. Greenhill, and several of his plates are unsigned. His prints were mostly published by John Lloyd, himself an e...
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Seller's Description:
1st edn. Tall 8vo. Rebound by Bumpus in gilt lettered half red calf on marbled paper-laid boards, top edge gilt, marbled endpapers (outer joints a little worn). Pp. xlv + 207, illus with b&w frontispiece and plates with tissue-guards and with b&w drawings in text (previous owner's neat pencilled gift inscription on front free endpaper).
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Seller's Description:
Used; good. The Connoisseurs Library. American edition binding (Putnam's) with English text. New endsheets. Binding is tight and square. Book was donated to Friends of Omaha Public Library.
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Seller's Description:
Very Good. Publisher's pictorial cloth. xlv p., 1 l., 207 p. illus., 40 pl. (incl. front., ports. ) 26 cm. Red cloth. Hardcover. Top edge gilt. Good binding and cover. Clean, unmarked pages. The connoisseurs library. This is an oversized or heavy book, which requires additional postage for international delivery outside the US.
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Seller's Description:
Very good(+) Frontispiece and 39 other fine plates, tissue guards. 207pp. Large 8vo, gilt decorative cloth. New York: Putnam, 1903. First American edition. Very good (+). In The Connoisseur's Library series.
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Seller's Description:
Good (shelwear to boards, bookplate of previous owner inside front cover; light age toning but pages are otherwise clear. ) Green cloth, gilt lettering and design. bw frontispiece with protective guard sheet; xlv, 207 pp, 40 unnumbered pages of plates, untrimmed pages. Contents: Note--List of the more important works on mezzotints--Index to plates--Chapter I. Mezzotint engraving on metal: what it is and how it is done. How prints are made from mezzotinted plates, and how to keep them when they are made; inks, papers, and coloured prints. The enemies of prints, and the literature of mezzotints. Continental engravers in mezzotints--Chapter II. The pioneers of mezzotints engraving who worked about the middle of the seventeenth century: Ludwig von Siegen, Prince Rupert, T.C. von Furstenberg, Wallerant Vaillant, The Van Somers, Abraham Blooteling, William Sherwin, and Francis Place. The later mezzotint engravers of the seventeenth century: E. Luttrell, Isaac Beckett, W. Faithorne, R. Williams, J. Vandervaart, John Smith, and J. Verkolje--Chapter III. The mezzotint engravers of the eighteenth century: the Fabers, P. Pelham, T. Frye, J. MacArdell, R.E. Fisher, W. Dickinson, J. Watson, J. Spilsbury, R. Dunkarton, John Dean, J.R. Smith, J. Murphy, and C. Turner--Chapter IV. Mezzotint engraving in the nineteenth century. The work of S.W. Reynolds, J.M.W. Turner, W. Say, G. Clint, T.G. Lupton, W. and J. Ward, D. Lucas, Samuel Cousins, C.W. Campbell, Frank Short, John D. Miller, Gerald P. Robinson, Miss E. Gulland, R.S. Clouston, and Norman Hirst--Index."
