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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..322e765 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #62127 (https://www.gutenberg.org/ebooks/62127) diff --git a/old/62127-0.txt b/old/62127-0.txt deleted file mode 100644 index fe1d6ae..0000000 --- a/old/62127-0.txt +++ /dev/null @@ -1,2143 +0,0 @@ -The Project Gutenberg EBook of On the Processes for the Production of Ex -Libris (Book-Plates), by John Vinycomb - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: On the Processes for the Production of Ex Libris (Book-Plates) - -Author: John Vinycomb - -Release Date: May 14, 2020 [EBook #62127] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK PRODUCTION OF BOOK-PLATES *** - - - - -Produced by deaurider, Paul Marshall and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - - -Transcriber’s Notes: - - Underscores “_” before and after a word or phrase indicate _italics_ - in the original text. - Equal signs “=” before and after a word or phrase indicate =bold= - in the original text. - Small capitals have been converted to SOLID capitals. - Illustrations have been moved so they do not break up paragraphs. - Antiquated spellings have been preserved. - Typographical errors have been silently corrected. - - -[Illustration] - - - - - ON THE PROCESSES FOR - THE PRODUCTION OF - - EX LIBRIS - (BOOK-PLATES) - - _By John Vinycomb_, M.R.I.A. - - Fellow of the Royal Society of Antiquaries of Ireland - President of the Belfast Art Society, 1891-92 - Member of Council of the Ex Libris Society - - _Reprinted from the Journal of the Ex Libris Society - with additional illustrations._ - - [Illustration] - - _LONDON_: - A. & C. BLACK, SOHO SQUARE - 1894 - - TO - ARTHUR VICARS, F.S.A., - ULSTER KING OF ARMS - - A VICE-PRESIDENT OF THE EX LIBRIS SOCIETY - AND AN EMINENT COLLECTOR - - I RESPECTFULLY DEDICATE - THIS LITTLE BOOK. - -[Illustration: FRANKLIN PRESS. - -Now at Philadelphia, U.S.A.] - - - - -PREFACE. - - -In acceding to the author’s request that I would add a few words of -introduction to these reprinted articles, I do so with pleasure, -although entering a mild protest thereon, inasmuch as the writer has -handled his subject so well that it leaves very little to say, except -in commendation of the work to the favourable consideration of those -for whom it was written. - -Mr. Vinycomb has in these articles aimed to give his readers a -practical dissertation upon the modes of execution, rather than -upon the history and classification of styles in the production of -book-plates; and in this he has certainly departed from the beaten -track, and has furnished a very concise and clear account of the -various processes by which our book-plates are produced and reproduced, -and the numerous and ingenious methods of manipulation resorted to in -their manufacture. - -Some people may take exception to the word manufacture, used in this -connection, as being inappropriate to a description of what may be -defined as one of the modern arts. But the terms, though by no means -synonymous, are at any rate akin; for doubtless the majority of -book-plates are artistically designed, but for their reproduction and -final manipulation the aid of science must be resorted to. - -Mr. Vinycomb, in his opening remarks, says: “The production of -book-plates, by whatever means, is but a side branch of the art -by which pictorial and decorative illustrations of every kind are -executed, and copies multiplied by some of the ordinary processes of -printing.” He then tells us that whereas in former times wood engraving -and copper engraving were responsible for most of the book-plates -existing, “the advance of modern science has, however, changed all -that, and we may now possess a charming book-plate, which is neither -engraved on wood or on copper, and yet may pass for either the one -or the other, or have characteristics entirely its own.” It must be -borne in mind, however, that many persons have a great abhorrence of -processes of all kinds, and cannot be satisfied with anything short of -an Ex Libris worked direct from the copper. In the highest interests of -Art, they are doubtless right; but whereas it is only the rich man who -can purchase the work of an old master or of a modern painter, by means -of the despised process blocks these same works of art can be placed -in the hands of everyone. This, however, is too wide a subject to be -dealt with here; yet a glance at the pages of the _Studio_ and other -current periodicals should convince the most sceptical that the most -beautiful work may be produced by these same processes. It is the same -with book-plates, the artist’s handiwork being reproduced in absolute -_fac-simile_. - -Mr. Vinycomb leads us, in these pages, by easy stages, through the -various developments of engraving, from the rough woodcuts which are -to be found in the earliest printed books to the beautifully finished -work of Dürer and other masters of engraving. Then comes the engraving -on metals and etching; and last we are let into the secrets of the -various means adopted for the duplication of artists’ sketches by means -of blocks or transfers, from which any number of copies may be taken. -He has, as we have already stated, treated his subject in an eminently -practical manner, so that the veriest tyro may be able to understand -the methods used in the multiplication of Ex Libris; and by means of -the well-selected illustrations, and the hints so freely scattered over -these pages, it is an easy matter for those who have not studied the -art of engraving and process-working to gain a fair knowledge of the -subject. - -Some of the illustrations have already appeared in connection with -these articles in the _Ex Libris Journal_ (Vol. III., pp. 151, 170; -Vol. IV., pp. 17, 43, 57, 92); others are introduced here for the first -time; but they are all well calculated to enhance the value of Mr. -Vinycomb’s work, and to show what can be done by the various methods in -use. Further, it may be safely assumed that all systematic collectors -of book-plates will be glad to have in this handy and independent form -an essay upon the practical side of a subject in which they have up to -the present taken, perhaps, but a general or sentimental interest. - -Thanks to the formation of the Ex Libris Society, the collection -and preservation of book-plates has now reached something akin to a -scientific position, and in large and valuable collections it has -become more and more necessary to know how best to classify and arrange -our acquisitions. This knowledge can therefore best be secured by -studying such works as the present, by means of which the collector is -able to judge of the age and value of a plate, or at any rate to fix -an approximate date to those (and they are many) which have no printed -date to fix their identity. - -This little work comes as a valuable companion to Mr. Hamilton’s -recently published work on “Dated Book-plates,” in which he deals -with almost all the branches of the subject of most interest or value -to collectors, but has, naturally, little to say upon the practical -production of Ex Libris—leaving that to an expert in the person of -the writer of the present essay. For practical engravers Mr. Vinycomb -has probably said too much, or not enough, or has, perhaps, only told -them what they knew already; but as the majority of collectors cannot -be classed in this category, it may fairly be assumed that the author -has filled a gap in book-plate literature which no previous writer has -attempted to supply, and that his work will be found of great value to -members of the Ex Libris Society, and to collectors of book-plates in -general. - - W. H. K. WRIGHT, - Editor _Ex Libris Journal_. - - - - -CONTENTS. - - - _Page_ - PREFACE v. - INTRODUCTION 1 - WOOD ENGRAVING 9 - ENGRAVING ON COPPER AND STEEL 27 - LITHOGRAPHY 58 - CHROMO-LITHOGRAPHY 65 - PHOTO-LITHOGRAPHY 65 - DRAWING FOR PHOTO-LITHO. AND PROCESS WORK 67 - PROCESS BLOCKS—Line Work 69 - ” Half-tone Blocks 83 - HINTS TO COLLECTORS OF EX LIBRIS 91 - “AU REVOIR” 95 - -[Illustration] - - - - - EX LIBRIS ILLUSTRATIONS. - - R. S. Mansergh—Armorial, printed in tinctures - by Chromo-Lithography _Frontispiece_ - MODERN ENGRAVED PLATES— _Facing Page_ - R. Day, F.S.A., engraved by C. W. Sherborn, - printed from the copper-plate 27 - {printed by } - R. Day, F.S.A.—Vesica Armorial {lithography} 1 - R. S. Mansergh—Armorial ” 42 - Edward Cox—Circular Armorial ” 45 - W. H. K. Wright, F.R.HIST.SOC. - —Library Interior ” 47 - R. Day, F.S.A.—Pictorial, Etching ” 48 - R. J. Welland, Bishop of Down and Connor } - and Dromore } ” 52 - J. F. Wilson—Circular Armorial ” 54 - J. Neville Cross—Circular Seal Armorial ” 56 - - LITHOGRAPHED AND PHOTO-LITHOGRAPHED EXAMPLES— - Joseph McChesney—Pictorial 58 - Robert Day, F.S.A.—Library Interior 60 - Fredk. Arthur Beale—Armorial 62 - Wood Institute, Rugby—Decorative 64 - Robert Day, F.S.A.—Ogham, Landscape, etc. 66 - Free Public Library, Belfast—Decorative Arm. 70 - Rev. J. H. Bibby—Library Interior 72 - Robert Cochrane, C.E., F.R.I.B.A., F.S.A., etc. - —Armorial 80 - - EX LIBRIS ILLUSTRATIONS IN THE TEXT, - _Reproduced by Process Blocks_. - - _Page_ - J. H. Fryer—Etching, Landscape, by Lambert, Newcastle 1 - Brandenburg or Buxheim plate—Early wood engraving 8 - Hans Igler plate—Early wood engraving (double-page) 14 - Kress of Kressenstein, by Albert Dürer 17 - Wm. Taylor, by Bewick—Wood engraving 19 - (No name) ” ” 21 - Kress of Kressenstein, by Hans Troschel, - engraved on copper 28 - Samuel Pepys—Portrait plate by R. White, - engraved on copper 31 - Henʸ. Jaˢ. Pye—Chippendale plate by Playner 33 - —— Barrow—Armorial Book-pile, by Lightboune, - engraved on copper 36 - William Cowper—Decorative Armorial, engraved on copper 39 - Ellis Gamble—Decorative Armorial, by William Hogarth, - engraved on copper 40 - William Hogarth—Decorative Monogram plate, - engraved on copper 41 - Edw. Loveden Loveden—Engraved on copper 44 - H. Stamford—Pictorial, etching on copper 49 - - James Neild } - } Two Pictorial Etchings by Bewick 51 - —— Spence } - - Joseph Pollard } - } ” ” 53 - Chas. Fenwick } - - Charles Bragge—Urn Armorial, etching 57 - - Arthur Vicars, F.S.A., _Ulster King of Arms_— - Pen and ink, by Rev. W. FitzGerald 68 - Francis Joseph Bigger, M.R.I.A.—(Old Belfast) - Pen and ink 70 - Robert Day, F.S.A.—Armorial Masonic 72 - Walter Besant, M.A.—Library Interior 74 - Francis Joseph Bigger—Armorial 76 - George Rollo—Smithy Interior 78 - F. D. Ward, J.P., M.R.I.A., CH.L.H.—Armorial 80 - I. M. F. H. Stone, M.A., F.L.S., F.C.S.—Armorial 82 - Arthur Acton—Emblematic 84 - Belfast Art Society, 3 sizes—Emblematic 86 - Dublin Naturalists’ Field Club 88 - Masonic Province of Down—Armorial Masonic 90 - John Vinycomb, M.R.I.A.—Armorial 96 - - FINE HALF-TONE PROCESS BLOCKS— - _Facing Page_ - Antiquarian subject, reproduced from Mono-tint Drawing 83 - Virgin and Child, reproduced by Aquatint Engraving 89 - George G. Ward, reproduced from Design in Colours for - Stained Glass 93 - Vinicombe Bey, reproduced from Soft-ground Etching 94 - - ILLUSTRATIVE CUTS IN TEXT. - - Franklin Press, now at Philadelphia iv. - Caxton’s “Printer’s Mark” 9 - Form-Schneider at Work 13 - Engraver’s Knife, from Papillon’s Treatise, 1766 15 - Press of Ascensius 16 - Engraver’s Tools 24 - Mode of Engraving 25 - Copper-plate Printing Press 46 - Lithographic Printing Press 58 - -[Illustration: Transfer, direct from Engraved plate to stone.] - -[Illustration: Etching on copper by Lambert, Newcastle, reproduced by -process block. - -From the collection of W. H. K. Wright.] - - - - -ON THE PROCESSES FOR THE PRODUCTION OF EX LIBRIS. - - -_By John Vinycomb_, M.R.I.A. - - - - -INTRODUCTORY. - - -The production of book-plates, by whatever means, is but a side branch -of the Art by which pictorial and decorative illustrations of every -kind are executed, and copies multiplied by some of the ordinary -processes of printing. Without, at this stage, going minutely into -the history of pictorial illustration and printing, it may be briefly -stated that in times past, the only available modes of reproduction -were either by engraved wood blocks with the lines in relief to print -with letterpress, or by engraved copper-plates having the lines cut -into the polished surface of the metal and printed by the copper-plate -press (the _modus operandi_ in each method will be explained later on). - -The processes for the production of Ex Libris—as it is now the -fashion to term these dainty little works of art we so delight to -collect and preserve—are to-day so numerous and so varied in their -style and character of work as to be wholly dissimilar, yet in very -many instances we find the results to be so nearly alike that only a -practical expert can, with any degree of certainty, state how and by -what means they have been executed. It is not therefore surprising -that the collector—that picker-up of unconsidered trifles—however -deeply versed he may be in the literature of the subject, for want -of some technical knowledge should sometimes be mystified and unable -to declare how a particular specimen has been produced. In the older -examples there is little or no difficulty in distinguishing the -difference between a woodcut and a print from a copper-plate; to one or -the other of these two methods it must of necessity belong. The advance -of modern science has, however, changed all that, and we may now -possess a charming book-plate, which is neither engraved on wood nor -on copper, and yet may pass for either the one or the other, or have -characteristics entirely its own. - -Some account of these two older methods and their later developments, -as well as a sketch of some of the modern processes arising out of -the invention of lithography and photography, will be of interest to -collectors of Ex Libris; particularly the process blocks so much in -vogue at the present time for high-class book illustrations, magazines, -the illustrated weeklies, etc., by means of which the artist’s drawing, -through a happy union of these later arts and chemical science, may -be translated into a printing surface of metal or other material for -giving off impressions by the type press, the copper-plate press, by -lithography, or by one of the photo-mechanical processes, such as -calotype, etc. By reference to representative examples, it is hoped -to enable the collector to form a pretty accurate idea of the mode of -execution of similar works. - -Whatever merit of originality or of fancy the earlier examples may -possess, it is interesting to observe how largely book-plates partake -of the prevailing style or fashion of the times. By this test alone, -collectors are led almost to a certainty to fix an approximate date -when they were designed and engraved. Again, how clearly the character -of the artist appears upon the face of each example, whether he was a -“base mechanick” at his trade, or a true artist, who lent his thought -and skilful hand to embellish the library of his friend or client. The -artist himself, in old times, generally a versatile many-sided man, -adapted himself to his work and wrought out his ideas _con amore_ in -whatever direction he might be called upon, whether it was to paint -some great picture, to draw and perhaps engrave on wood or copper some -of his immortal conceptions, or it may be only a simple book-plate for -his friend and patron. Such a man was Albrecht Dürer. A book-plate by -him, cut on wood, for his friend, Bilibaldi Pirckheimer, forms the -frontispiece to the Hon. Leicester Warren’s book on “The Study of -Book-plates.” Men like Michael Angelo, who could vary his occupation to -every phase of Art, now as an architect, conceiving and carrying out -the erection of the great Church of St. Peter’s at Rome, painting the -grandest and most sublime pictures, and in sculpture without a rival, -but who could also bring his lofty mind to the consideration of works -of less importance. To him, to Hans Holbein, and others of highest rank -as artists, we are indebted for the immense advancement of the fine -arts at this period, which, starting with the Renaissance of Literature -and Art in the 15th and 16th centuries, gradually dispersed the -darkness of the middle ages. Drawing and engraving on wood were brought -to a high degree of perfection, and a race of artists was educated, who -devoted themselves exclusively to illustrating books which the recently -invented art of printing had called into requisition. - -Wood engraving, as an adjunct to printed books, was the earliest -form in which good art became popularised: book illustration by -engraved copper-plates was a later development, though the art was not -unknown: at a later period, copper-plate illustrations almost entirely -superseded wood for the purpose. - -One who has carefully studied the illustrations in early-printed -books—from printer’s mark on title-page to colophon—cannot fail to -be struck with the manly and vigorous style of drawing in the cuts, -shewing a real grasp of the subject and mastery of detail, and while -we may be amused at the quaint conceits, and somewhat crude lines, -we cannot but be charmed with the natural simplicity of the drawing, -though lacking almost entirely in local colour. In the infancy of the -art of engraving on wood, it necessarily followed that there should -be some want of refinement in the execution. The engraver on wood -was born very young, and had to grope his way by tedious practice to -acquire skill and knowledge for his work. The artist, on the contrary, -like Minerva, came into being fully equipped, or, to be literal, he -already existed; with mature experience he adapted his skill to the -requirements of the new art, the first and most important being that, -as the tools of the engraver and the wood he used were unfitted for -small details, the lines to be drawn by the artist on the wood must -necessarily be _few_ and _well chosen_. - -[Illustration: The Brandenburg, or Buxheim plate, _circa_ 1480. - -[The oldest Ex Libris actually connected with a printed book. See _Ex -Libris Journal_, Vol. II., p. 71.]] - -[Illustration: Fig. 4.—DEVICE COMMONLY ATTRIBUTED TO CAXTON. - -CAXTON’S MARK.] - - - - -WOOD ENGRAVING. - - -Beyond giving some idea of what wood engraving is and how it is -produced, it is not intended to do more than refer to the early history -of the art—a subject on which bulky volumes have been written—or to -enter minutely into the details and modes of execution of modern work. -To those who desire further information, special works on the subject -may be consulted.[1] - -[Footnote 1: Jackson’s “History and Practice of Wood Engraving”; Firmin -Didot’s “Essai sur l’Histoire de la Gravure sur Bois”; “The Book, -its Printers, Illustrators, and Binders,” by Henri Bouchot; “Wood -Engraving: a Manual of Instruction,” by W. J. Linton.] - - -WOOD ENGRAVING AND COPPER-PLATE ENGRAVING—THE DIFFERENCE. - -Copper-plate engraving, which almost entirely superseded wood in the -seventeenth and eighteenth centuries, differs in principle from wood -engraving in this—that a woodcut has the lines of the design standing -up in relief, the wood between the lines incised or cut away, so -that when the surface is inked the lines so charged will give off -an impression upon paper by rubbing the back, or by the use of the -type press. In the copper-plate the lines are cut _into_ the polished -surface of the metal, which, when smeared over with printing ink, and -the surface wiped clean, leaves the incised lines filled with ink; an -impression is taken by the use of a press specially adapted to the -purpose. - -It will be seen that _surface printing_ is the necessity and -characteristic of wood engraving. Simple and crude in its beginnings, -owing chiefly to the imperfect mechanical means of cutting the wood -in sufficiently fine or exact lines; it was employed first in the -production of playing cards, the outlines of which were formed by -impressions from wood blocks, and the colouring filled in by hand or -stencil. In Europe the earliest application of the art to pictorial -illustration took place in Germany about the close of the fourteenth -or beginning of the fifteenth century. The oldest woodcut with a -date known is of 1423. It represents St. Christopher carrying our -Saviour on his shoulders across a river. Other specimens, though -undated, from their greater rudeness, have been held to have superior -claims to antiquity. With the invention of printing the art soon made -rapid strides, and on the introduction of moveable types to print -in conjunction with engraved blocks, a new impetus was given to the -production of engraved wood blocks. In the early part of the sixteenth -century, several artists of celebrity were either designers on wood or -engravers. Books at this period were profusely illustrated. Among the -most distinguished in this line was Albert Dürer, whose productions -as a painter and an engraver on copper and wood are so numerous that -he could not possibly have engraved a tithe of the wood engravings -attributed to him; probably he only put the design on the blocks, -leaving them to others to execute. - -The art was chiefly practised in Germany, where it was patronised by -the Emperor Maximilian, for whom Burgmair produced the great work, “The -Triumphs of Maximilian.” The next great name in the annals of wood -engraving is that of Hans Holbein, whose “Dance of Death” was printed -in Lyons in 1538. - -In England Caxton brought out his “Game and Playe of Chesse” in 1476, -with cuts. There are woodcuts also in the “Golden Legend,” 1483; -“Fables of Æsop,” 1484; Chaucer’s “Canterbury Tales,” and other books -of his printing—all scarce and poor in execution, but noticeable in -the history of Art. From 1545 to 1580 wood engraving continued to be -much used for illustrating books in England, chiefly by John Daye. From -this period there is little to be recorded of essential importance till -the appearance of Bewick, to whom the revival of wood engraving is -chiefly to be attributed. - -[Illustration: FORM-SCHNEIDER.] - - -EARLY METHOD OF ENGRAVING ON THE SIDE OF THE WOOD WITH KNIVES. - -In early days of wood engraving a close-grained slab of wood of a -suitable thickness to print with type was used for the purpose by the -engraver—cut the long way of the tree, and not upon the end or section -of the wood as in modern work; and the cutting was necessarily executed -with the knife. The quaint and rude cut on the accompanying double page -is a fair example of the earliest species of woodcut, and is the most -ancient Ex Libris known. - -Regarding the knife as a cutting instrument, Mr. W. J. Linton, in his -“Manual of Wood Engraving,” p. 28, says: “As far as I have been able -to ascertain, with the one possible exception of the cuts to Croxall’s -Fables, 1722, all engravings on wood from the earliest time to the time -of Bewick were done with the knife instead of gravers.” - -[Illustration: Rude Early Woodcut. (Actual size.)] - - The most ancient Ex Libris known. It is Jean Knabensberg, - called Igler, chaplain to the family of Schönstett. It - represents a hedgehog with a flower in its mouth. In the - banderole we read, “Hanns Igler das dich ein Igel Kuss.” - Its approximate date is 1450. Herr Ludwig Rosenthal, - antiquariat, Munich, has a copy of this rare plate in his - possession, which he values at 600 marks. See Warnecke’s - “Die deutschen Bücherzeichen” (Ex Libris), 1890. - -[Illustration: From Papillon’s Treatise, 1766.] - -We can to some extent realise the difficulties the early wood -engravers laboured under in this respect in producing fine work, but -when we examine the later works of the German engravers, and observe -the gradual improvement from crudeness to really excellent work, we -are amazed that with such disabilities such splendid results were -attainable by the knife. The _Form-schneider_, as the engraver of block -pictures was termed, increased in skill and dexterity in deftly cutting -the design exactly as it was drawn on the wood, and with exceeding -truthfulness; using a finer grained and harder wood and tools more -perfectly adapted for the work, so would the art advance by leaps and -bounds, until in the time of Dürer and Holbein it had reached its -high-water mark of excellence. Boxwood was then, as now, in use, but -for delicate work only, and cut plank-wise. For larger work softer -woods were good enough: pear and apple woods, privet, sycamore, and any -white wood upon which a drawing could be seen—everything being drawn -line for line on the plank; the engraver’s business simply to cut away -the white spaces between the lines, cutting, as before said, with -knives in the smaller spaces, and with chisels and gouges clearing away -the larger to a sufficient depth to escape the ink in printing. - -[Illustration: PRESS OF ASCENSIUS.] - -[Illustration: Small DÜRER Woodcut, of the Nuremberg family of Kress of -Kressenstein.] - -At the present day, in the skilfully drawn and engraved block books -of the Japanese, the illustrations will be found to be drawn with the -brush upon _the side_ of the wood, and cut with a knife; but we are -not now astonished at anything done by this wonderful people, who have -knocked the wind out of us in so many forms of art. - - -MODERN WOOD ENGRAVING. - -To understand the scope and practice of wood engraving, it will be -necessary to glance through the illustrated publications of a few years -ago, before process blocks had to so large extent superseded the work -of the graver. The immense popularity the art has obtained in this -country owing to the establishment of the _Illustrated London News_, -_Graphic_, _Art Journal_, _Magazine of Art_, and similar publications, -not to speak of book illustrations, has been remarkable. The excellence -of the work and the infinite variety of style introduced by the -best artists and engravers show it to be capable of representing -every artistic quality supposed to be peculiar to copper and steel -engraving; other qualities it has, such as power and force in the -darker portions, and the use of white-line work on tint, or solid -ground—effects obtained with extreme difficulty upon the metal plate. - -[Illustration: Ex Libris engraved on wood by Bewick, reproduced by -process block.] - -Wood engraving for pictorial work may be divided into two kinds:— - -I.—BLACK-LINE or FAC-SIMILE WORK.—The drawing on wood is engraved -exactly as it is drawn, line for line. All examples up to the time -of Bewick, and a great many since, are of this kind. As illustrating -the best qualities of this style of wood engraving, no more apt -examples could be named than the cartoons and drawings in _Punch_ -by Tenniel, Doyle, Leech, and others, before the introduction of -photo-etched process blocks. (Bewick himself, an artist as well as -an engraver, made a departure from the old crude manner of wood -engraving by introducing a new style of work, imitating more truly -the local colour and the textures of nature: drawing the subject of -the design on wood in pencil and afterwards _tinting_ in the masses -of shade and local colour with washes of china ink; and _with the -graver_ giving all the characteristic markings and minuter details -by white lines upon the dark ground. In his Natural History Cuts he -imitated in the most marvellous manner the textures of trees, grass, -and natural scenery, the plumage of birds, the shaggy or smooth coats -of animals, etc. A number of Ex Libris executed by him on wood have -the same characteristic handling). The two wood engravings by Bewick -are reproduced by process blocks. Though inferior to many of his -Natural History Cuts, they fairly show the style and character of his -handiwork—the careful execution of details and the use of white-line -work upon solid black ground. - -[Illustration: (_From the Collection of W. H. K. Wright, Esq._). - -Wood Engraving by Bewick.] - -II.—TINTED WORK.—In this mode the subject is drawn in TINTS OR WASHES, -and partly with the pencil. To be successful in work of this kind, -to interpret the artist’s ideas truly, the engraver must himself be -an artist of considerable ability, as he has to adapt the lines to -the work, and in this lies rare judgment and discretion, as not only -the direction of the line most conducive to develop the form, but the -width and thickness of the lines and spaces must be accurately judged; -the various qualities of surfaces must likewise be suggested by the -engraved lines. - - -MATERIALS AND MODE OF PROCEEDING. - -The wood used by engravers is boxwood, on account of its close -grain and firm texture; it is principally imported from Turkey, cut -transversely or across the grain (so that the engraving is done upon -the end way of the wood). It is made seven-eighths of an inch in -thickness (type height). It takes a beautifully smooth surface, and -cuts under the graver with the utmost clearness and fineness. The -polished surface of the wood being unsuitable for drawing on, a slight -“tooth” is given to it by a little water-colour white rubbed over the -face of the block with the ball of the thumb until nearly dry, when it -presents a pleasant surface for the pencil. - -The drawing or design having been sketched out and perfected on paper, -it is then traced the reverse way upon the wood block, and the drawing -then worked out, either in black-line fac-simile or in tints, as may be -intended. The _black lead pencil_, of sufficient hardness of lead to -stand the pressure upon the solid surface, is the favourite instrument -for drawing. For tinting, either the pencil or the brush with washes of -china ink can be used. - -[Illustration] - -The tools used are _gravers_, _tint-tools_, and _scoopers_, or cutting -out tools—in all about a dozen different sizes; the several kinds -are here indicated. With the gravers the outline and all the details -are cut; the tints, by which the proper tones or light and shade are -obtained, can best be rendered with tint-tools of various widths -of cut. The parts not required to be printed are hollowed out with -scoopers. It will be understood that all the blanks or white parts of -an engraving have been cut away in the block. - -[Illustration: Mode of Engraving on Wood.] - -There are several _et ceteras_ also required by the engraver, as, an -oil-stone to sharpen his gravers; an eye-glass, when engraving very -fine work; a small circular sand-bag, on which the block is held while -being engraved; an instrument called a burnisher, with which to take -proofs. A glass globe filled with water, to concentrate the light from -lamp or gas jet upon the block, is used at night. - -The engraving being completed, the surface of the block is inked very -lightly with printing ink, and a piece of India paper, or any fine -paper of similar quality, being laid upon it, an impression is taken by -rubbing the paper with the burnisher until it is fully printed. From -this proof the engraver can judge whether any alterations are required -and what improvements can be effected. - -The revival of wood engraving by Bewick and others, and the high state -of perfection to which it had been brought by his immediate successors, -to a very great extent superseded copper-plate engraving for book -illustrations, though for Ex Libris, copper-plate held, and still holds -its place as the chief and deservedly favourite style. - -[Illustration: _Crest Ex Libris of R. Day_, F.S.A., _Cork_. - -Engraved by C. W. Sherborn, and printed direct from the Copper-Plate.] - - - - -ENGRAVING ON COPPER AND STEEL. - - -Where be the equal now of those glorious editions of the poets, the -“Annuals,” “Keepsakes,” “Books of Beauty,” and other delightful volumes -that still charm the eyes and glad the hearts of those who have the -taste and the wit to possess them? As works of the highest art quality, -they have never since been equalled for beauty of work, with their -engraved titles, frontispieces, and illustrations in the text, drawn by -Stothard, Turner, Creswick, Stanfield, Harding, and a host of the first -names in British Art, and engraved in the rarest and most exquisite -manner by men equally eminent in their line. “Woodcuts,” however, cut -them out for the time, owing to the excellence to which the art had -attained, and the greater rapidity and cheapness in printing. - -[Illustration: KRESS BOOK-PLATE. (See _Ex Libris Journal_, Vol. IV., p. -9.) - -Engraved on Copper by Hans Troschel, 1699. Reproduced by process -block.] - -In all the changes and inventions in the modes of art reproduction -the engraved plate has steadily held its own as the most finished -and perfect. For Ex Libris it is particularly suitable; it is _par -excellence_ THE STYLE for the attainment of the highest art quality. - -_The Art Journal_, supported by one or two similar publications, has -heroically endeavoured to maintain the traditions of the best period of -the Art in its steel-plate illustrations, but, except for pictures of -this kind, and of larger size for framing, illustrations on steel and -copper for books may be said to be practically extinct. - -Time, however, has its revenges: wood engraving, in its turn, is being -rapidly displaced by “_process blocks_” (of which more anon), and now, -if we take up any recent illustrated book or journal, we find the bulk -of the pictures and designs not wood engravings but process blocks. - -In every good collection of Ex Libris the majority of examples will be -found to be printed from engraved plates, very few relatively being -from wood blocks. The reason is not far to seek. The wood engraving as -practised in England previous to the opening of the present century was -poor in execution, and did not lend itself sufficiently to working out -minute details with the same ease and readiness with which they can be -executed on copper. - -[Illustration: Pure Line Engraving by Robert White, from a Painting by -Sir Godfrey Kneller. Reproduced by process block.] - -That it was the favourite mode of producing these dainty little -works is evident also from the fact that copper-plate pictures for -book illustrations of every kind had almost entirely superseded wood -engraving, which had indeed fallen completely into disfavour. Until -the beginning of the present century, when Bewick and others had -elevated it into a fine art, wood engraving was in an exceedingly rude -condition, and little fitted for small works. Copper-plate engraving, -on the contrary, had for several centuries flourished successfully; -every goldsmith was able to “_chase_” and engrave the decorative and -heraldic work upon silver plate and goldsmiths’ work, or upon metal of -any kind, in relief, or intaglio, as in medals, coins, etc. That this -is no mere assumption we know from historical evidence, as well as from -a careful comparison of the “_handling_,” or the manner of cutting the -lines upon silver work, which is identical with the style of cutting -the lines in so very many engraved book-plates of the last and early -part of the present century. Whatever may be thought of the vagaries -of the accessories in the Jacobean, Chippendale, and other kindred -styles—which are essentially silver engraving patterns—much of this -class of work shows at least a true heraldic spirit in the treatment of -the charges. - -[Illustration: A Chippendale pattern. Silver Engraver’s style of work, -reproduced by process block.] - -Benvenuto Cellini, whose works now bring fabulous prices in goldsmith -work, was an expert engraver as well, as were probably most of the -workers in the precious metals of his time. Hogarth, in the earlier -part of his career, did much in the way of engraving arms, crests, -etc., for the silversmiths; so did Bewick, who worked on wood and -on metal indifferently. The writer has done a fair share of similar -work in his younger days; and to his knowledge it was the custom in -many establishments for the engravers to do both, as the exigencies -of business required, though the tendency when work was plentiful was -to specialise, each man doing that part for which he seemed to have -an aptitude. This refers particularly to graver work; the pictorial -engraver executing his work principally by means of the etching -process, and only finishing up with the graver. - -No doubt a life-long practice in one particular class of work of this -kind is calculated to engender a stiff and formal manner, and set -patterns to become stereotyped, were it not for the capricious changes -of fashion; sometimes slowly developed, at other times, a new fashion -suddenly sets in and changes all; the later chasing the earlier out of -the field, only to be elbowed aside in its turn. Styles of ornament, as -they course each other down the stream of time, invariably leave their -high-water marks on the margin, which serve as valuable data for the -student; the prevailing styles of decorative and heraldic art, having, -like all mundane things, their periods of development, full-blossoming, -and decadence, the dates of which, book-plate collectors, aided by -dated specimens, arrive at with tolerable certainty. - -The prevalence of a particular style, its vogue and duration, will -account in a great measure for the family likeness observable in so -many book-plates; the chief factors, however, may be set down to the -general low state of the art, the paucity of designers and engravers -of merit, and the ample supply of the ordinary article—the mechanical -craftsman. - -[Illustration: Pure Line Engraving, reproduced by process block.] - -As to the history and development of styles in Ex Libris, a reference -to the works of the Hon. J. Leicester Warren, J. Paul Rylands, F.S.A., -Egerton Castle, M.A., F.S.A., W. J. Hardy, and the pages of the _Ex -Libris Journal_, will find the subject fully and plainly set forth. - -A word as to the origin and history of Copper-Plate Engraving. The art -of engraving on metal plates, for taking impressions on paper, was -first practised by Tommaso Fineguerra, a Florentine goldsmith, about -the year 1460. Some writers have claimed the invention for Germany, -but it is generally considered that the art was first practised in -Italy, and had its origin in the workshops of the goldsmith. An -assistant is said to have suggested to Fineguerra the possibility of -taking an impression from an engraved design with ink on moistened -paper. _The first book printed at Rome_ was illustrated by _the first -plate engraving_. This work is dated 1478, but was commenced in 1472. -Engraving made rapid strides towards excellence in Germany. Albert -Dürer was a man whose universality of talent extended the boundaries -of every department of art, and carried all to a degree of perfection -previously unknown. He had great command of the graver, and carried his -plates to a higher state of finish than his Italian contemporaries. He -is also believed to have invented the art of etching by corrosion: on -examining his etchings, we see that they have all been corroded at one -“_biting-in_,” which sufficiently explains their monotonous appearance, -and proves that “_stopping-out_” was not then understood. To the Dutch -and Flemish schools we owe many improvements in the art. The celebrity -of the French school dates from the time of Louis XIV. Gerard Audran -was the first engraver who successfully united to any extent the use -of the graver and the etching point. The English school of engraving -dates only from the middle of the eighteenth century, previous to -which those who practised the art in England were chiefly foreigners. -Hogarth engraved many of his own designs. Francis Vivares introduced -the art of landscape etching: he, Woollet, and Brown produced some of -the first landscape engravings extant. Sir Robert Strange excelled in -portrait engraving. Of the moderns who have attained eminence in the -various branches of the art, the very enumeration of them would lead -to needless length, the present purpose being chiefly to describe the -processes. - -[Illustration: Pure Line Engraving, reproduced by process block.] - -[Illustration: Line Engraving by William Hogarth, reproduced by process -block.] - -[Illustration: William Hogarth’s own book-plate. Line Engraving, -reproduced by process block.] - - -THE VARIOUS MODES OF ENGRAVING ON COPPER AND STEEL-PLATE. - -There are many kinds of engraving on steel and copper for the -purpose of printing by the copper-plate press. We will specify -those principally in use and indicate their chief characteristics; -afterwards, some further explanation may be necessary. It may be here -stated that the various processes are of such a technical nature that -it would be impossible in a short compass to explain all the details -of execution; we may, however, refer those who desire to pursue the -subject further to an excellent little handbook (price one shilling) -published by Winsor and Newton,[2] which, as stated in the preface, -will, by means of any of the modes of engraving on copper therein -treated of, enable anyone “skilled in pen and ink drawing to reproduce -their designs with greater delicacy and added depth of effect.” Other -books on the subject there are, of greater cost, as Hamerton’s splendid -work, but for the amateur the handy little manual just named is an -admirable guide. - -[Footnote 2: “The Art of Etching explained and illustrated, with -remarks on the allied processes of Dry-point, Mezzotint, and Aquatint.” -By H. R. Robertson, Fellow of the Society of Painter-Etchers; Author -of “Life on the Upper Thames,” etc. Winsor and Newton, Limited, 38 -Rathbone Place, London.] - -[Illustration: Transfer, direct from Engraved plate to stone.] - -[Illustration: Pure Line Engraving, reproduced by process block.] - -[Illustration: Transfer, direct from Engraved plate to stone.] - -To one skilled in drawing, and with some leisure and enthusiasm for -the work, ETCHING offers a delightful field for the exercise of the -artistic mind. There are no technical difficulties that may not be -surmounted by care and patience. The few tools and necessary appliances -are not of a costly nature, if we except the copper-plate printing -press. - -There are different kinds or methods of engraving, the six principal -varieties of which need only be considered, namely:— - - (1) LINE ENGRAVING. - (2) ETCHING. - (3) SOFT-GROUND ETCHING. - (4) AQUATINT ENGRAVING. - (5) MEZZOTINT ENGRAVING. - (6) STIPPLE ENGRAVING. - -The distinctive features of all copper-plate and steel-plate engraving -consist in this, that the lines or strokes composing the design are cut -or ploughed into the surface of the metal with a fine tool termed a -graver, etched or corroded out with acid or by other means. A _Print_ -is obtained by filling the lines so made with a special ink composed -of a drying oil and colour-pigment. During the process of inking -the plate is kept warm, the superfluous ink being wiped off with a -coarse muslin rag, and made perfectly clean. The plate, placed in the -travelling bed of the copper-plate press, is covered with a sheet of -paper slightly damp; on turning the press, it is subjected to such -pressure as forces the paper into the lines; by this means the ink is -transferred to the paper, and the result is an impression or _proof_. - -[Illustration: COPPER-PLATE PRINTING PRESS.] - -[Illustration: Transfer, direct from Engraved plate to stone.] - - -1.—LINE ENGRAVING. - -The majority of the earlier book-plates are engraved, or cut into -the plate entirely with the graver, and may properly be termed _line -engraving par excellence_. - -As early examples of this style of work we are enabled to give -reproductions of several book-plates, viz., Kress of Kressenstein, by -Hans Troschel, 1699, p. 28; the portrait plate of Samuel Pepys, by -Robert White, p. 31; two plates engraved by Hogarth, pp. 40-41. The -Ex Libris of WILLIAM COWPER, Clerk of the Parliaments; EDWARD LOVEDEN -LOVEDEN; —— BARROW; and HENʸ JAMˢ PYE, also illustrate the quality of -_line_ or _graver work_ alone. The examples interspersed in the text -carry their own explanation. - -As modern examples of this style we are enabled to give several -characteristic varieties—the library interior of W. H. K. Wright, by J. -E. Wood, of Plymouth, and a number designed by the writer and engraved -by Marcus Ward & Co., Limited, printed by lithography—all of which will -be found useful as keys to the style of handling of graver work alone, -and in combination with etching. - -Among the chief exponents of the art may be mentioned the name of C. W. -Sherborn, who is _facile princeps_ as an engraver of heraldic subjects. -One of his smaller works, engraved in pure line, appears facing page -27, the dainty crest plate of R. Day, F.S.A., _printed direct from the -copper-plate_; a favourite old toast, in playful allusion to the wings -in the crest, doing duty as a motto. - - -2.—ETCHING. - -This method admits greater freedom of handling than graver work. The -design is drawn through a resisting ground with the etching point, -and the exposed lines on the surface of the copper corroded to the -requisite depth with aquafortis, the finishing of the work being -usually done with the graver. - -[Illustration: Transfer, direct from Engraved plate to stone.] - -[Illustration: Etching on Copper reproduced by process block. - -From the collection of W. H. K. Wright.] - -_Machine ruling_ or _tinting_ is now much used in conjunction with line -engraving and etching, for the even tints of skies and level surfaces -in pictorial work, and for the symbolical lines denoting tinctures in -heraldry, of which several examples are given. - -_Steel-plates_ were used for engraving very fine work, or when large -numbers of copies were required to be printed from the plate. Any -advantage over copper which steel formerly possessed is now neutralised -by the process known as _steel facing_, that is, coating the copper -plate with an electro deposit of iron. - -Copper-plate printing, as it is termed, though giving the most perfect -result, is slow and tedious, and necessarily costly. A much speedier -method of printing—by Lithography—is now much used instead, transfers -from the engraved plate being put on the lithographic stone and printed -therefrom, the original plate being retained intact. (See examples -under Lithography). - -[Illustration] - -[Illustration: Two Etchings on Copper by Bewick, reproduced by process -block. - -From the collection of W. H. K. Wright.] - -Some early examples of etched plates are given. The urn design of -Charles Bragge, Armorial Landscape, and Bewickian Landscape show the -character and handling of etched work as distinguished from line -engraving. Other examples illustrate the combination of _Line_, -_Etching_, and _Machine Ruling work_. - - -3.—SOFT-GROUND ETCHING. - -A very charming style of work which was much used by Bartolozzi and -other engravers of his time, but now gone entirely out of use. A -suitable book-plate engraved in this manner not turning up in time, -the present fine example of the style was selected to illustrate the -character of the work, which bears a close resemblance to a chalk -drawing, and on that account offers considerable difficulties in the -way of reproduction by the half-tone process. The result is, however, -successful in a remarkable degree in translating the peculiar texture -of the original. - -[Illustration: Transfer, direct from Engraved plate to stone.] - -[Illustration] - -[Illustration: Two Etchings on Copper by Bewick, reproduced by process -block. - -From the Collection of W. H. K. Wright.] - -The allegorical device represents the turret-crowned goddess Cybele, -“mother of a hundred gods,” standing upon an isolated rock in the sea, -holding out an olive-branch, and with her attribute, the rudder, as -guide and director of the destinies of cities and states; youthful -figures representing the Arts and Sciences—which are the glory of a -State—are disporting themselves in the clouds. - -Though not originally intended for a book-plate, a friend is desirous -of adopting it, with the motto from Virgil, “_Fato prudentia major_”—to -intimate that, in his opinion, prudence is greater than fate. - - -4.—AQUATINT ENGRAVING. - -A style of work having all the appearance of a china ink drawing, and -frequently used by artists in conjunction with etching, to give body -and consistency to the tints. An admirable example of this combination -of etching and aquatint is the charming book-plate of the Hon. Leicester -Warren, by W. Bell Scott, well known to collectors. It does not, -however, lend itself well to reproduction. - -[Illustration: Transfer, direct from Engraved plate to stone.] - -The texture, which may be of various degrees of fineness, is produced -on the plate by a solution of resin (dissolved in pure spirit), which -is poured over the surface; as the spirit evaporates it leaves the -resin in minute isolated particles adhering to the plate. The design -is traced or transferred upon it, the highest lights “_stopped out_” -with engravers’ varnish. The etching (or biting-in with acid) is then -proceeded with; repeated stoppings out and etchings are made as the -deeper shades are attained. - - -5.—MEZZOTINT ENGRAVING. - -Produced by roughening the surface of the plate by a rocking tool, -and the lights and shades attained by scraping and burnishing. Seldom -used for small work, but largely used combined with Nos. 1 and 2 for -prints and pictures. The small French print of the Virgin and Child, -reproduced by half-tone process block, represents fairly well the -character of the work. (See example under “Half-tone Process Blocks.”) - - -6.—STIPPLE ENGRAVING. - -Performed with the graver or other tool, which is so managed as to -produce the tints by small dots. This method is much used for statuary -and for portraits particularly, the rest of the picture being generally -executed by some of the other methods, Nos. 1 and 2 especially. - -[Illustration: Transfer, direct from Engraved plate to stone.] - -[Illustration: Etching on Copper, reproduced by process block.] - -[Illustration: LITHOGRAPHIC PRINTING PRESS.] - - - - -LITHOGRAPHY. - - -Lithography, as one of the modern arts, dates only from about the end -of the last century. The inventor, ALOYS SENEFELDER, the son of an -actor, was born at Munich in 1771, and died there on the 26th February, -1834. Intended for the profession of the Law, he, on the death of his -father, was obliged to retire from the University. - -[Illustration: Drawn on transfer paper and transferred to stone -direct.] - -Thrown on his own resources at the age of eighteen, he turned to his -father’s profession, but met with little success. Writing for the -stage, he found difficulty, owing to his poverty, in getting his -writings published, and it was in trying to find out some ready process -to attain this end that he arrived at what we now term the Art of -Lithography. Senefelder lived to perfect his art to a high degree, -and to see it brought into general use, but without bringing much -profit to himself. Since his time many advances have taken place, and -new developments in various directions, as in the beautiful art of -chromo-lithography and photo-lithography. - -The term Lithography is derived from the Greek, _lithos_, a stone, and -_grapho_, to write. Lithographic stone is a species of limestone, the -best qualities of which are obtained from the quarries at Solenhofen, -near Munich, and from Papenheim, on the Danube. The stones are cut into -slabs or blocks of various sizes to suit the work required; to print -an octavo page, quarto, etc., up to sixty inches by forty, and even -larger. The thickness varies from an inch and a half in the smaller, -to four or five inches in the larger sizes. The stones are ground -perfectly level with sand and water, and finished off with a fine stone -until a perfectly smooth polished surface is produced, when it is ready -to receive the drawing, or to have transferred to its surface a drawing -or writing made upon specially prepared paper (_lithographic transfer -paper_). For chalk or crayon drawings, the smooth surface of the stone -is _grained_ with sifted silver sand, which gives a beautifully even -granular texture, and the drawing is made upon it with _lithographic -chalk_. For drawing upon the smooth stone, or upon transfer paper, -_lithographic ink_ is used. - -THE PRINCIPLE UNDERLYING THE PROCESS OF LITHOGRAPHY is simply this:—The -nature of the stone is such that it retains with great tenacity the -resinous and oily substances contained in the ink or the crayon -employed to form the design. The lithographic stone also absorbs water -freely; this, combined with the peculiar affinity between resinous -substances and their mutual power of repelling water, causes the ink on -the printing roller to adhere to the design and to leave untouched the -damp surface of the stone. - -[Illustration: Drawn on transfer paper and transferred to stone -direct.] - -THE PROCESS OF LITHOGRAPHIC PRINTING is as follows:—After the drawing -on the litho. stone is completed, it receives a wash of dilute acid -and gum arabic, and this, by removing the alkali from the ink, leaves -the design on it in a permanent form, at the same time that it etches -away a minute portion of the surface of the stone, and renders it more -absorbent of water. After _etching_, all trace of the acid is removed -with a sponge and water, the stone is rubbed over with a _damp muslin -cloth_ to equalise the moisture upon the surface, the _lithographic -roller_ charged with _printing ink_ is passed over the surface, the -lines of the design alone taking ink; the paper is then laid upon the -stone, and a copy is obtained by means of the _lithographic press_. The -damping of the stone and inking is repeated for every impression. - -LITHOGRAPHIC WRITING AND DRAWING INK and LITHOGRAPHIC CRAYONS for -chalk drawing on stone, are similar in composition, but different -in proportions, suited to the particular kind of work, _white wax_, -_shell-lac_, _hard soap_, _tallow_, and _lamp black_ being the chief -ingredients. For writing and drawing all kinds of line work on stone -or transfer paper, the ink is made in sticks, and rubbed down with -water to a proper consistency for use, and used with a _pen_ or _sable -pencil_. For chalk drawings upon a grained stone, the ink is cast into -the form of crayons, and used in a port-crayon for convenience in -drawing, sharpening the point as required. - -CHALK DRAWING ON STONE is rarely used for such small work as -book-plates. We need not therefore more particularly refer to it, -than to say that excellence in this department of Lithography may be -attained more readily than in _fine-line work_, for which constant -practice, and a very delicate handling of the implements, the -lithographic pen and fine sable pencil, is required. - -[Illustration: Drawn on transfer paper and transferred to stone -direct.] - -The technical difficulties to be overcome in Lithography are very -great; to the unpractised they seem insuperable: the magic of handling -acquired by long-continued practice in the use of the materials, as -seen in good examples, exhibits a degree of technical skill which the -amateur may not hope to rival. To draw with the _pen_ or _small sable -pencil_ with the requisite degree of fineness of line of the expert, -and with the precision and apparent freedom of the accomplished artist, -is a thing of difficult attainment. This is a disadvantage to artists -generally, who are obliged to entrust the translation of their drawings -to the professional lithographer—not always with a satisfactory -result(!) - -GRAINED OR TEXTURED PAPER, of which there are many varieties specially -made with a chalky surface for _photo-lithography_, are now much used, -on which the artist makes his drawing in litho-chalk or suitable -black lead pencil. As the knife point may be used to scrape out lights -on the chalky surface, it admits of very effective work for pictorial -illustrations. A photo-litho transfer is then put to stone, or a -_process block_ made from it, as may be required. Drawings made on this -prepared textured paper with lithographic chalk may also be transferred -to stone direct, and printed from. Extreme beauty and fineness are, -however, gained by the photo-reduction. - -Very beautiful Pictorial and Heraldic Ex Libris have been executed -by the lithographic process, hardly to be distinguished from plate -engraving. - -ENGRAVED PLATES may have transfers taken from them and printed from -stone. A number of examples, with explanatory titles, are given of the -various modes of _lithographic and photo-lithographic reproduction_. - -[Illustration: Drawn on transfer paper and transferred to stone -direct.] - - -CHROMO-LITHOGRAPHY. - -Some very dainty examples of Ex Libris emblazoned in heraldic tinctures -are met with, very charming in their way, principally German ones. -Colour in the heraldry of book-plates has not found the same favour -in this country as on the Continent; for what reason it is hard to -understand. Through the courtesy of Mr. R. S. Mansergh, Friarsfield, -co. Tipperary, we are enabled to print as a frontispiece the plate -newly designed by the writer, and executed by Messrs. Marcus Ward & -Co., of Belfast. - - -PHOTO-LITHOGRAPHY. - -Photo-lithography is now so largely employed for the reproduction -of all classes of work that a few words in explanation of it may -be very desirable. The process is of a somewhat technical nature, -but simplicity itself when understood! It is founded upon the fact -that _gelatine_, by the addition of a certain chemical, is rendered -insoluble on exposure to light. - -A negative photograph from the original drawing in black lines having -been taken by the _wet_ or collodion plate, it is intensified to the -required degree, so that the lines of the design appear perfectly clear -upon a dense, opaque, black film. It is then “exposed” in the printing -frame, upon paper that has been coated (in the dark) with the prepared -gelatine—now extremely sensitive to light. Taken out of the printing -frame in the dark room, the exposed print (which barely shows any -trace of the design at this stage) is then covered with a thin film -or coating of printers’ transfer ink. _The lines exposed to the light -have been rendered insoluble_, while the white ground of the design -protected by the negative is still in a soluble condition. Floated -in a bath of warm water, the soluble gelatine (not acted on by the -light), with its coating of ink, is washed away—the insoluble lines of -the design alone remaining, coated with printers’ transfer ink. This -“_photo-transfer_” is then ready to be put down to the lithographic -stone and printed from, or it may be transferred to a polished zinc -plate, and etched to the requisite depth as a block for type printing. - -[Illustration: Drawn on stone direct, with mechanical ruling added.] - - -DRAWING FOR PHOTO-LITHO, AND FOR PROCESS LINE-BLOCKS. - -The invention of photo-lithography enables the artist to make -his own drawings or designs in black and white on a larger scale -(usually one-third or one-half larger than required), which will be -photo-litho’d down to the size required, thus preserving intact every -touch and flexture of line in the original, and, by the reduction, -gaining a fineness of line and beauty of finish which the artist could -not himself produce on the reduced size. MACHINE RULING may afterwards -be transferred into the design when it is upon the stone, as in some of -the designs in the accompanying examples. - -“_Process blocks_,” which reproduce so admirably all kinds of drawings -and engravings, are, when carefully printed, sometimes very difficult -to detect from direct lithographs. - -[Illustration: _Ulster King of Arms._ - -Pen and Ink Drawing by Rev. Wm. FitzGerald, reproduced by process -block. Much reduced.] - - - - -PROCESS BLOCKS. - - -LINE WORK. - -There are quite a number of processes that have been brought into -use with more or less success, as Graphotype, Dallas-type, etc., to -which it is not necessary to refer, as for all practical purposes -Zinc Etching holds the field against all others, either for HALF-TONE -BLOCKS, or for LINE-BLOCKS of every kind, of which last a number of -examples are here given, with an explanatory title to each specimen. - -For work of the very finest kind, the Photogravure or Heliogravure, -printed by the copper-plate press, bears the palm, but it has the -disadvantage of being very expensive. Those desirous of knowing more -fully concerning the various processes in use may be referred to a -very excellent volume in the “Book Lovers’ Library”—“MODERN METHODS OF -ILLUSTRATING BOOKS,” by H. Trueman Wood, M.A., Secretary to the Society -of Arts, and published by Elliot Stock. - -[Illustration: Pen and Ink Drawing, reproduced by process block. -Slightly reduced.] - -[Illustration: Pen and Ink Drawing reproduced by Photo-lithography.] - -These modern methods provide a most important and valuable means of -producing illustrations for printing purposes. By their aid, any -photograph, drawing, design, or engraving of any kind can be translated -into a block, and with such success that, with suitable subjects, it is -often hardly possible to tell the original from the copy; and not only -do they enable surface blocks to be produced with great rapidity and at -slight cost, but they give blocks capable of producing effects which -could not be obtained at all by wood engravings, or, if at all, only at -great expense. - -Many artists have hailed with delight the process of Zinc Etching, as -by its means they obtain a perfect _fac-simile_ of their work, more -especially pen and ink drawing, which could never be reproduced by -any other method with the same accuracy and delicacy of finish which -the zinc process gives, and which could not by wood engraving be an -absolute _fac-simile_. - -[Illustration: Pen and Ink Drawing, reproduced by process block. -Slightly reduced.] - -[Illustration: Pen and Ink Drawing reproduced by Photo-lithography.] - -[Illustration: Pen and Ink Drawing, reproduced by process block. (Same -size.)] - -Mr. Carl Hentschel, head of an eminent firm of photo-etchers, to whom -we applied for information upon certain points in the manipulation of -his process, courteously offered some very interesting statements as to -the development of zinc etching. He says the process of Zinc Engraving -was introduced into England about thirty years ago, but really did -not “catch on,” as the Yankees would say, for twenty years after; nor -was there any real value attached to it from a commercial point of -view until about twelve years ago, when, as Mr. Hentschel assures us, -the system he adopted rendered it possible to have blocks of all kinds -for newspapers, books, magazines, and journals of every description -produced in such time that their delivery could be relied upon for the -most urgent publication, and, only then, the vast possibilities of -the zinc process began to dawn upon publishers, and soon the method -was gradually adopted for all purposes of engraving. Some idea of the -extent to which it is made use of may be gathered from the fact that -this firm alone delivers weekly about three thousand blocks for various -publications throughout the country, and even to far-off India, where -the plates of whole volumes of educational works have been despatched -by this enterprising firm. To keep pace with the requirements of the -times it has been found necessary recently to add largely to the -facilities for the execution of half-tone blocks, using engine power -to the extent of forty horse for the production of the electric light, -essential for this branch of the business, so that in this respect they -are practically independent of sunlight. In cases of emergency it is -no unusual thing to deliver half-tone blocks in five to seven hours, -and Line work, from transfers, one and half hours, and in the case of -having to photo the subject, two and half to three hours. This would -have been impossible under the old system, trusting to daylight, and -this fact, coupled with the cheaper rate of cost, has given an impetus -to illustrated journalism that could hardly have been dreamt of under -the old _regime_. - -[Illustration: Pen and Ink Drawing, reproduced by process block. -Slightly reduced.] - -Under the head of photo-lithography, the initiatory stage in the making -of what are termed “Process Blocks” was explained, namely, the making -of photo-transfer from the original drawing—in printer’s ink—for -transference to the lithographic stone and printed form. The metal Zinc -possesses the same or similar properties as lithographic stone, and may -be used to print from in the same way. The term Zincography is applied -to the process, though practically it is the same as lithography. - -[Illustration: Drawn in pen and ink, reproduced by process block.] - -To convert the design upon the zinc plate into a relief block to print -with type is only one step farther—to so protect the lines of the -design on the zinc plate, as to resist the corrosive action of acid, -and by etching the plate, produce a relief block. For this purpose, a -resinous or bituminous substance is introduced into the composition of -the printing ink. Here, then, we have the lines of the design in an -acid-resisting material upon the surface of a metal plate exceedingly -susceptible to the action of acids. If the prepared plate is now placed -in an acid bath, the entire surface of the zinc, except the protected -lines, will become etched, or dissolved away, leaving the design in its -integrity, with the lines standing up in relief: the etched plate has -now only to be mounted upon wood to the height of type to be ready for -the printer’s use. - -[Illustration: Pen and Ink Drawing, reproduced by process block.] - -[Illustration: Pen and Ink Drawing reproduced by Photo-lithography.] - -Such is a brief outline of the process in the production of LINE -BLOCKS. The design may be put on the metal plate in any of the -following ways:— - - (_a_) By direct drawing on the zinc plate. - (_b_) By a drawing on transfer paper to zinc or stone. - (_c_) By transference of a photo-transfer. - (_d_) By transfer from an engraved plate. - (_e_) By transfer from a lithographic stone. - (_f_) By direct photography upon zinc. - -The most perfect work is said to be obtained by the latter method. -There are many technical difficulties to be encountered in working -the process, difficulties which for twenty years kept it at the -experimental stage, and of little practical utility, as, for instance, -after etching the plate for a short time the acid has a tendency to -bite laterally as well as vertically, and so undermine and weaken the -lines intended to be left standing. This is obviated by some photo -etchers in using certain chemicals, and others by an ingenious manner -in the working by etching in stages. This is done by re-inking and -dusting with bitumen, heating the plate after each “etching,” which -has the effect of melting and spreading the resinous or bituminous -ink on the face, and slightly down the sides of the lines. Successful -work is only attained by attention to the various delicate technical -manipulations, which only experience can give. - -[Illustration: Pen and Ink Drawing, reproduced by process block.] - -[Illustration: Reproduced by half-tone process block, from a Monochrome -Sketch, reduced in size.] - - -HALF-TONE PROCESS BLOCKS. - -The subject, whether it is a drawing, engraving, painting, or a photo -print, must in each case be photographed to obtain upon the negative -the texture which is the means of producing the gradations of light and -dark we find in the finished block. The theory is simple enough, but -the practice is extremely difficult, and one requiring great skill and -care. A glass screen having cross lines ruled upon it, with perfect -mechanical regularity (about seventy lines to the inch for large work, -up to two hundred lines to the inch for very fine half-tone blocks, -as may be best suited to the subject in hand). The screen is fixed in -the camera between the lens and the negative to be exposed. The fine -black lines of the screen are reproduced upon the negative as white -lines, breaking up the picture into a series of minute square dots, of -varying size according to the light and shade of the original picture. -A photo-transfer is then taken as previously explained. (In Hentschel’s -process the secret of the prepared transfer paper is in the possession -of Mr. Hentschel solely.) After being transferred to the zinc, and -manipulated with certain chemicals, the plate is gradually etched until -a sufficient depth has been obtained. It is then trimmed and mounted -type height ready for the printer. - -[Illustration: Pen and Ink Drawing, reproduced by process block.] - -[Illustration: Original size. - -Pen and Ink Drawing, reproduced by process block in three sizes.] - - -PEN AND INK DRAWING. - -Drawings for reproduction by the modern processes of photo-lithography -and photo-etching may be prepared in a variety of ways. The most -frequently used is termed PEN AND INK DRAWING (often mistakenly called -“_etching_,” which is engraving by means of an acid). This class of -work is the most popular of all, and the most easily got at by artists -and amateurs; it is translated with much greater ease, and at less -cost, than photographs or shaded drawings of any kind. As the term -indicates, it is executed with _the pen_; many artists, however, have -a predilection for _the brush_ (a fine sable pencil), which, though it -requires considerable practice to master its use, becomes in masterly -hands a valuable instrument, capable of greater and more varied effects -than the pen. Good _black ink_, and _smooth white paper_ or cardboard, -are the essentials. Much may be said on the style or modes of different -artists in drawing, the kind or quality of the ink, the pens and paper -to be used. The relative values of thick and thin, open and close -lines, the direction of the lines, etc., in producing the varied -character and quality of good expressive drawing; the various textures -of surfaces—roughness, smoothness, etc.—have all to be considered, more -especially if the drawing is made upon a larger scale, to be reduced -in the photo-etching process of translation. We heartily commend the -shilling handbook on Pen and Ink drawing published by Winsor and -Newton. It is an excellent introduction to the art; it gives full -instructions on the best means of working, and the materials to be -used.[3] - -[Footnote 3: “The Art of Pen and Ink Drawing, commonly called Etching.” -By H. R. Robertson, Fellow of the Society of Painter-Etchers, Author of -“The Art of Etching,” etc. Winsor & Newton, Limited, London.] - -[Illustration: CLUB DEVICE AND EX LIBRIS. - -Pen and Ink Drawing, reproduced by process block.] - -[Illustration: Reproduced by half-tone process block, from an Aqua-Tint -engraving, same size.] - -For HALF-TONE SHADED BLOCKS the design may be executed in washes -as a china ink drawing, or in any other way. The illustrations are -reproductions from various kinds of originals, as explained under each -example. - -Messrs. Carl Hentschel & Co., 182-3 Fleet Street, have been good enough -to prepare several examples to illustrate the half-tone process; each -block having been made from an original executed in a different way, as -indicated by the explanatory title; and may be considered rather severe -tests of what the process is capable. For these favours we are much -obliged; we tender also our thanks for their kindness and courtesy in -supplying much of the foregoing information. - -[Illustration: Pen and Ink Drawing, reproduced by process block.] - - - - -HINTS TO COLLECTORS OF EX LIBRIS. - - -_To distinguish how a book-plate may have been produced._ - -A lithograph or a photo-lithograph may be distinguished from a woodcut, -or from a copper engraving, by the following: By the quality of the -lines, whether _cut_ with the graver or _etched_ upon copper; _drawn -with the pen_ or with _the fine sable pencil_. Each has a character of -handling and manner of its own by which it may be recognised. A little -observation of admitted examples with the aid of a strong magnifying -glass will generally resolve this. - -[Illustration: EX LIBRIS. - -Reproduced by half-tone process block, from Coloured Design for Stained -Glass Window.] - - - - -THE DIFFERENCE IN ENGRAVED OR CUT LINES, AND ETCHED LINES. - -Lines cut with the graver are invariably smooth and even, and have a -clear silvery appearance; in isolated lines or cuts it will be observed -that the beginning of the lines are finer where the graver has entered -than where it stops. Etched lines, on the contrary, do not possess the -same smooth-edged rigid character as those cut with the graver; and -where greater strength of line is obtained it is by deeper etching with -the acid bath, and in this the difference in the quality of line is -more perceptible. - - -TO DISTINGUISH AN IMPRESSION FROM PLATE. - -In a _plate engraving_ the lines are slightly _in relief_ (and, -if strongly engraved, or the paper thin, observable on the back). -A sensitive finger will detect the stronger raised lines of the -engraving. _The mark of the plate_, unless cut off, also betrays it; -the engraved plate by Mr. Sherborn, facing page 27, will illustrate -this. - -TO DISTINGUISH A WOODCUT, OR LINE PROCESS BLOCK. - -In a block the lines of the design are _indented_ slightly into the -paper, which shows itself on the back of the print (unless thoroughly -rolled out under heavy pressure). Close observation with the magnifying -glass will show the edges of the lines to be slightly rough—by the -ink from the face of the line being squeezed over the edge; in good -printing this is not so apparent. A weakness with nearly all process -blocks is that the edges of fine tints and outlying fine lines are apt -to print heavier than they should, unless very carefully worked. - - -TO DISTINGUISH A LITHOGRAPH. - -In a _lithograph_ the surface of the paper is perfectly smooth, and -not indented in any way. The examples of engraved plates printed from -stone, and the litho. and photo-litho’s printed in brown ink, will -serve to illustrate the qualities of lithography. Unless well printed, -the fine lines are apt to show weak and rotten, or to have become thick -and blurred, either in transferring to the stone or by too much ink on -the printing roller. - -[Illustration: FATO PRUDENTIA MAJOR. - -EX LIBRIS VINICOMBE BEY, _Colonel d’ Artillerie Tophané, -Constantinople_. - -Example of soft-ground etching—Reproduced by half-tone process block.] - - - - -“AU REVOIR.” - - -Having now rehearsed, I hope clearly and concisely, the various modes -by which Ex Libris are and have been produced, and having revealed -as many trade secrets as the limited space at command would allow, I -beg to thank the Council of the Ex Libris Society for permission to -reprint from the pages of the _Journal_ the series of articles on the -subject—now somewhat expanded—and for the use of the blocks by which -they were illustrated. To Mr. W. H. K. Wright, F.R.HIST.SOC., the able -Editor and Secretary of the Ex Libris Society (to whom all collectors -are infinitely indebted), my thanks are due for his valued aid and -counsel; and on whose shoulders I have now laid the further obligation -of a preface. As a special favour I have requested his “library -interior” plate to appear. A similar favour I have desired from Arthur -Vicars, F.S.A., _Ulster King of Arms_, to whom I dedicate this little -book. With the exception of these two “library interiors” and the crest -plate of R. Day, F.S.A., by Sherborn, all the modern Ex Libris designs -here printed have been made by, or under the superintendence of, the -writer, and executed by Marcus Ward & Co., Limited, whom I beg to thank -most heartily for their kind co-operation, particularly in printing the -lithographed specimens, and the use of additional blocks. I have also -to thank several personal friends who have been good enough to lend me -their copper-plates and process blocks. - -[Illustration: JOHN VINYCOMB, M.R.I.A.] - -RIVERSIDE, HOLYWOOD, CO. DOWN, 1894. - - - - - THE - =_Journal_= - OF THE - =_Ex Libris Society_=, - - _PUBLISHED MONTHLY_, - - =Price, 1s. 6d. Post Free, 1s. 9d.= - - [Illustration] - - _ALSO_, - =VOLUME I. Out of Print - VOLUME II. Out of Print - VOLUME III. Price, 21_s._ - Post Free, 21_s._ 8_d._= - - =Cases for the above Volumes— - Price, 1s. 6d. Post Free, 1s. 9d. - - ADAM AND CHARLES BLACK=, - _SOHO SQUARE, LONDON_. - - - - - DATED BOOK-PLATES - (=_Ex Libris_=), - - _With a Treatise on their Origin and Development_. - - BY - WALTER HAMILTON, - - _Chairman of Council of the Ex Libris Society; Vice-President - of the Société Française des Collectionneurs d’Ex Libris._ - - =WITH NUMEROUS ILLUSTRATIONS.= - - A list of Dated Plates prior to 1700 appears in Part I., with - _fac-similes_ of Ex Libris specially selected as typical - examples of early work. - - Part II. will contain Dated Plates of the 18th century. - - Part III. will contain Dated Plates of the 19th century. - - The work will be printed on paper of the same size as the - _Journal_ of the Ex Libris Society, so as to range - with it. - - The price of each part will be Seven Shillings and Sixpence - net. Post free, 7s. 11d. - - Part I. is now ready. Parts II. and III. will be issued very - shortly, as all the materials are ready for the press. - - ADAM AND CHARLES BLACK, - _SOHO SQUARE, LONDON_. - - - - - =_Book-Plate Annual_= - AND - _ARMORIAL YEAR BOOK_, - 1894. - - Edited by JOHN LEIGHTON, F.S.A. - - _Price, 2s. 6d. Post Free, 2s. 9d._ - - CONTENTS— - - 1.—Half Title, the Author, the Printer, the - Bookbinder, and the lover of Books. - - 2.—Memorandum Sheet for the entry of Loans and - Exchanges. - - 3.—The Ex Libris of the Duke of York and Princess. - (By gracious permission.) - - 4.—Description of the Royal Wedding Book-plate. - By Arthur Jewers, F.S.A. - - 5.—Portrait of the Great Master of Symbolical - Heraldry, Albert Dürer. - - 6.—Should Wales have a place on the Royal Standard of - England. - - 7.—Suggestions for a Welsh Order of Knighthood. - The Collar and Jewel of St. David. - - 8.—Cambria upon the Currency in the fourth quarter. - - 9.—The Library, Books and Bindings. Their Restoration - and Preservation. - - 10.—How to keep Ex Libris under any classification or - arrangement. - - 11.—The Process of Binding. A Book from the Sheets to - the Volume. - - 12.—Taxes upon Vanity. Armorial, Servants, Horses, and - Carriages. - - 13.—Arms of Participation. An Economy in a high Luxury. - - 14.—Rebinding Old Books of value; what should be done? - - 15.—The Find of the Year. The Virginian Book-plate - confirmed in America. - - 16.—Cut and come again. The Trimming of Books and - Cutting Down. - - ADAM AND CHARLES BLACK, SOHO SQUARE, LONDON. - - - - - THE - DRYBURGH EDITION - OF THE - =_Waverley Novels_.= - - - _With 250 Page Illustrations, specially Drawn for this Edition - by the well known Artists whose names are given below, and - engraved on wood by Mr. J. D. COOPER. - In Twenty-five Volumes._ - _Crown 8vo, Cloth. Price, 5s. each._ - - CHARLES GREEN WAVERLEY. - GORDON BROWNE GUY MANNERING. - PAUL HARDY THE ANTIQUARY. - LOCKHART BOGLE ROB ROY. - WALTER PAGET { BLACK DWARF. - LOCKHART BOGLE { LEGEND OF MONTROSE. - FRANK DADD, R.I. OLD MORTALITY - WILLIAM HOLE, R.S.A. HEART OF MIDLOTHIAN. - JOHN WILLIAMSON BRIDE OF LAMMERMOOR. - GORDON BROWNE IVANHOE. - JOHN WILLIAMSON THE MONASTERY. - JOHN WILLIAMSON THE ABBOT. - H. M. PAGET KENILWORTH. - W. H. OVEREND THE PIRATE. - GODFREY C. HINDLEY FORTUNES OF NIGEL. - STANLEY BERKELEY PEVERIL OF THE PEAK. - H. M. PAGET QUENTIN DURWARD. - HUGH THOMSON ST. RONAN’S WELL. - GEORGE HAY, R.S.A. REDGAUNTLET. - GODFREY C. HINDLEY { THE BETROTHED. - { HIGHLAND WIDOW. - GODFREY C. HINDLEY THE TALISMAN. - STANLEY BERKELEY WOODSTOCK. - C. M. HARDIE, A.R.S.A. FAIR MAID OF PERTH. - PAUL HARDY ANNE OF GEIERSTEIN. - GORDON BROWNE COUNT ROBERT OF PARIS. - PAUL HARDY { THE SURGEON’S DAUGHTER. - WALTER PAGET { CASTLE DANGEROUS. - - ADAM AND CHARLES BLACK, SOHO SQUARE, LONDON. - - - - - -End of the Project Gutenberg EBook of On the Processes for the Production of -Ex Libris (Book-Plates), by John Vinycomb - -*** END OF THIS PROJECT GUTENBERG EBOOK PRODUCTION OF BOOK-PLATES *** - -***** This file should be named 62127-0.txt or 62127-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/2/1/2/62127/ - -Produced by deaurider, Paul Marshall and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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margin-left: 0em; padding-left: 3em;} -.ws4 {display: inline; margin-left: 0em; padding-left: 4em;} -.ws5 {display: inline; margin-left: 0em; padding-left: 5em;} - - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of On the Processes for the Production of Ex -Libris (Book-Plates), by John Vinycomb - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: On the Processes for the Production of Ex Libris (Book-Plates) - -Author: John Vinycomb - -Release Date: May 14, 2020 [EBook #62127] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK PRODUCTION OF BOOK-PLATES *** - - - - -Produced by deaurider, Paul Marshall and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - - -<div class="figcenter"> -<a name="FRONTIS01" id="FRONTIS01"> </a> - <img src="images/frontispiece01.jpg" alt="" width="395" height="694" /> -</div> - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_i" id="Page_i">[Pg i]</a></span></p> - -<h1>ON THE PROCESSES FOR<br />THE PRODUCTION OF<br /> <br /> -<big>EX LIBRIS</big><br /><small>(BOOK-PLATES)</small></h1> - -<p class="f150"><i>By John Vinycomb</i>, <span class="smfont">M.R.I.A.</span></p> - -<p class="f90 space-below2">Fellow of the Royal Society of Antiquaries of Ireland<br /> -President of the Belfast Art Society, 1891-92<br />Member of Council of the Ex Libris Society</p> - -<p class="f90 space-below2"><i>Reprinted from the Journal of the Ex Libris Society<br /> -with additional illustrations.</i></p> - -<div class="figcenter"> - <img src="images/logo01.jpg" alt="" width="150" height="133" /> -</div> -<p><span class="pagenum"><a name="Page_ii" id="Page_ii">[Pg ii]</a></span></p> -<p class="center"><i>LONDON</i>:</p> -<p class="f120">A. & C. BLACK, <span class="smcap">Soho Square</span><br />1894</p> -<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[Pg iii]</a></span></p> -<hr class="chap" /> - -<p class="center">TO<br /><big>ARTHUR VICARS</big>, <span class="smfont">F.S.A.</span>,<br /> -ULSTER KING OF ARMS</p> - -<p class="center">A VICE-PRESIDENT OF THE EX LIBRIS SOCIETY<br /> -AND AN EMINENT COLLECTOR</p> - -<p class="center">I RESPECTFULLY DEDICATE<br /> -THIS LITTLE BOOK.</p> - -<p><span class="pagenum"><a name="Page_iv" id="Page_iv">[Pg iv]</a></span></p> -<hr class="chap" /> - -<div class="figcenter"> - <a name="FRONTIS02" id="FRONTIS02"> </a> - <img src="images/frontispiece02.jpg" alt="" width="500" height="551" /> - <p class="center"><span class="smcap">Franklin Press.</span><br />Now at Philadelphia, U.S.A.</p> -</div> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p> - -<div class="chapter"><h2 class="no-break">PREFACE.</h2></div> - -<p>In acceding to the author’s request that I would add a few words of -introduction to these reprinted articles, I do so with pleasure, -although entering a mild protest thereon, inasmuch as the writer has -handled his subject so well that it leaves very little to say, except -in commendation of the work to the favourable consideration of those -for whom it was written.</p> - -<p>Mr. Vinycomb has in these articles aimed to give his readers a -practical dissertation upon the modes of execution, rather than -upon the history and classification of styles in the production of -book-plates; and in this he has certainly departed from the beaten -track, and has furnished a very concise and clear account of the -various processes by which our book-plates are produced and reproduced, -and the numerous and ingenious methods of manipulation resorted to in -their manufacture.</p> - -<p>Some people may take exception to the word manufacture, used in this -connection, as being inappropriate to a description of what may be -defined as one of the modern arts. But the terms, though by no means -synonymous, are at any rate akin; for doubtless the majority of -book-plates are artistically designed, but for their reproduction and -final manipulation the aid of science must be resorted to. -<span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span></p> - -<p>Mr. Vinycomb, in his opening remarks, says: “The production of -book-plates, by whatever means, is but a side branch of the art -by which pictorial and decorative illustrations of every kind are -executed, and copies multiplied by some of the ordinary processes of -printing.” He then tells us that whereas in former times wood engraving -and copper engraving were responsible for most of the book-plates -existing, “the advance of modern science has, however, changed all -that, and we may now possess a charming book-plate, which is neither -engraved on wood or on copper, and yet may pass for either the one -or the other, or have characteristics entirely its own.” It must be -borne in mind, however, that many persons have a great abhorrence of -processes of all kinds, and cannot be satisfied with anything short of -an Ex Libris worked direct from the copper. In the highest interests of -Art, they are doubtless right; but whereas it is only the rich man who -can purchase the work of an old master or of a modern painter, by means -of the despised process blocks these same works of art can be placed -in the hands of everyone. This, however, is too wide a subject to be -dealt with here; yet a glance at the pages of the <i>Studio</i> and other -current periodicals should convince the most sceptical that the most -beautiful work may be produced by these same processes. It is the same -with book-plates, the artist’s handiwork being reproduced in absolute -<i>fac-simile</i>.</p> - -<p>Mr. Vinycomb leads us, in these pages, by easy stages, through the -various developments of engraving, from the rough woodcuts which are to -be found in the earliest printed books to the beautifully finished work -<span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span> -of Dürer and other masters of engraving. Then comes the engraving on -metals and etching; and last we are let into the secrets of the various -means adopted for the duplication of artists’ sketches by means of -blocks or transfers, from which any number of copies may be taken. He -has, as we have already stated, treated his subject in an eminently -practical manner, so that the veriest tyro may be able to understand -the methods used in the multiplication of Ex Libris; and by means of -the well-selected illustrations, and the hints so freely scattered over -these pages, it is an easy matter for those who have not studied the -art of engraving and process-working to gain a fair knowledge of the subject.</p> - -<p>Some of the illustrations have already appeared in connection with -these articles in the <i>Ex Libris Journal</i> (Vol. III., pp. 151, 170; -Vol. IV., pp. 17, 43, 57, 92); others are introduced here for the first -time; but they are all well calculated to enhance the value of Mr. -Vinycomb’s work, and to show what can be done by the various methods in -use. Further, it may be safely assumed that all systematic collectors -of book-plates will be glad to have in this handy and independent form -an essay upon the practical side of a subject in which they have up to -the present taken, perhaps, but a general or sentimental interest.</p> - -<p>Thanks to the formation of the Ex Libris Society, the collection -and preservation of book-plates has now reached something akin to a -scientific position, and in large and valuable collections it has -become more and more necessary to know how best to classify and arrange -our acquisitions. This knowledge can therefore best be secured by -studying such works as the present, by means of which the collector is -<span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span> -able to judge of the age and value of a plate, or at any rate to fix -an approximate date to those (and they are many) which have no printed -date to fix their identity.</p> - -<p>This little work comes as a valuable companion to Mr. Hamilton’s -recently published work on “Dated Book-plates,” in which he deals -with almost all the branches of the subject of most interest or value -to collectors, but has, naturally, little to say upon the practical -production of Ex Libris—leaving that to an expert in the person of the -writer of the present essay. For practical engravers Mr. Vinycomb has -probably said too much, or not enough, or has, perhaps, only told them -what they knew already; but as the majority of collectors cannot be -classed in this category, it may fairly be assumed that the author has -filled a gap in book-plate literature which no previous writer has -attempted to supply, and that his work will be found of great value to -members of the Ex Libris Society, and to collectors of book-plates in general.</p> - -<p class="author"><big>W. H. K. WRIGHT</big>,  <br />Editor <i>Ex Libris Journal</i>.</p> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p> - -<div class="chapter"><h2 class="no-break">CONTENTS.</h2></div> -<table border="0" cellspacing="0" summary="TOC" cellpadding="0" > - <tbody><tr> - <td class="tdl"> </td> - <td class="tdr">  <i>Page</i></td> - </tr><tr> - <td class="tdl"><span class="smcap">Preface</span></td> - <td class="tdr"><a href="#Page_v">v.</a></td> - </tr><tr> - <td class="tdl"><span class="smcap">Introduction</span></td> - <td class="tdr"><a href="#Page_1"> 1</a></td> - </tr><tr> - <td class="tdl"><span class="smcap">Wood Engraving</span></td> - <td class="tdr"><a href="#Page_9">9</a></td> - </tr><tr> - <td class="tdl"><span class="smcap">Engraving on Copper and Steel</span></td> - <td class="tdr"><a href="#Page_27">27</a></td> - </tr><tr> - <td class="tdl"><span class="smcap">Lithography</span></td> - <td class="tdr"><a href="#Page_58">58</a></td> - </tr><tr> - <td class="tdl"><span class="smcap">Chromo-Lithography</span></td> - <td class="tdr"><a href="#Page_65">65</a></td> - </tr><tr> - <td class="tdl"><span class="smcap">Photo-Lithography</span></td> - <td class="tdr"><a href="#PHOTO_LITH">65</a></td> - </tr><tr> - <td class="tdl"><span class="smcap">Drawing for Photo-Litho. and Process Work</span></td> - <td class="tdr"><a href="#Page_67">67</a></td> - </tr><tr> - <td class="tdl"><span class="smcap">Process Blocks</span>—Line Work</td> - <td class="tdr"><a href="#Page_69">69</a></td> - </tr><tr> - <td class="tdl"><span class="ws3">”</span><span class="ws4"> Half-tone Blocks</span></td> - <td class="tdr"><a href="#Page_83">83</a></td> - </tr><tr> - <td class="tdl"><span class="smcap">Hints to Collectors of Ex Libris</span></td> - <td class="tdr"><a href="#Page_91">91</a></td> - </tr><tr> - <td class="tdl">“<span class="smcap">Au Revoir</span>”</td> - <td class="tdr"><a href="#Page_95">95</a></td> - </tr> - </tbody> -</table> - -<div class="figcenter"> - <img src="images/logo02.jpg" alt="" width="100" height="99" /> -</div> -<p><span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span></p> - -<p class="f150"><b>EX LIBRIS ILLUSTRATIONS.</b></p> -<hr class="r5" /> -<table border="0" cellspacing="0" summary="LOI" cellpadding="0" > - <tbody><tr> - <td class="tdl" colspan="5">R. S. Mansergh—Armorial, printed in tinctures</td> - <td class="tdr"> </td> - </tr><tr> - <td class="tdl_ws1" colspan="5">by Chromo-Lithography</td> - <td class="tdr"><a href="#FRONTIS01"><i>Frontispiece</i></a></td> - </tr><tr> - <td class="tdl_space-above1" colspan="5"><span class="smcap">Modern Engraved Plates</span>—</td> - <td class="tdr_space-above1"><i>Facing<br />Page</i></td> - </tr><tr> - <td class="tdl" colspan="5">R. Day, <span class="smfont">F.S.A.</span>, engraved by C. W. Sherborn,</td> - <td class="tdr"> </td> - </tr><tr> - <td class="tdl_ws1" colspan="5">printed from the copper-plate</td> - <td class="tdr"><a href="#P026">27</a></td> - </tr><tr> - <td class="tdl" rowspan="2" colspan="2">R. Day, <span class="smfont">F.S.A.</span>—Vesica Armorial</td> - <td class="tdc" rowspan="2"><img src="images/cbl-2.jpg" alt="" width="9" height="32" /></td> - <td class="tdc">printed by</td> - <td class="tdc" rowspan="2"><img src="images/cbr-2.jpg" alt="" width="9" height="32" /></td> - <td class="tdr" rowspan="2"><a href="#F014"> 1</a></td> - </tr><tr> - <td class="tdc">lithography</td> - </tr><tr> - <td class="tdl_space-above1" colspan="3">R. S. Mansergh—Armorial</td> - <td class="tdc_space-above1">”</td> - <td class="tdr_space-above1" colspan="2"><a href="#P041">42</a></td> - </tr><tr> - <td class="tdl" colspan="3">Edward Cox—Circular Armorial</td> - <td class="tdc">”</td> - <td class="tdr" colspan="2"><a href="#P044B">45</a></td> - </tr><tr> - <td class="tdl" colspan="2">W. H. K. Wright, <span class="smfont">F.R.HIST.SOC.</span></td> - <td class="tdc" rowspan="2"><img src="images/cbr-2.jpg" alt="" width="9" height="32" /></td> - <td class="tdc" rowspan="2">”</td> - <td class="tdr" colspan="2"> </td> - </tr><tr> - <td class="tdl_ws1" colspan="3">—Library Interior</td> - <td class="tdr" colspan="2"><a href="#P046B">47</a></td> - </tr><tr> - <td class="tdl" colspan="3">R. Day, <span class="smfont">F.S.A.</span>—Pictorial, Etching</td> - <td class="tdc">”</td> - <td class="tdr" colspan="2"><a href="#P048">48</a></td> - </tr><tr> - <td class="tdl" colspan="2">R. J. Welland, Bishop of Down and Connor</td> - <td class="tdc" rowspan="2"><img src="images/cbr-2.jpg" alt="" width="9" height="32" /></td> - <td class="tdc" rowspan="2">”</td> - <td class="tdr" colspan="2"> </td> - </tr><tr> - <td class="tdl_ws1" colspan="3">and Dromore</td> - <td class="tdr" colspan="2"><a href="#P052">52</a></td> - </tr><tr> - <td class="tdl" colspan="3">J. F. Wilson—Circular Armorial</td> - <td class="tdc">”</td> - <td class="tdr" colspan="2"><a href="#P054">54</a></td> - </tr><tr> - <td class="tdl" colspan="3">J. Neville Cross—Circular Seal Armorial</td> - <td class="tdc">”</td> - <td class="tdr" colspan="2"><a href="#P056">56</a></td> - </tr> - </tbody> -</table> - -<p class="f150 space-above2"><b><span class="smcap">Lithographed and Photo-Lithographed Examples</span>—</b></p> -<hr class="r5" /> -<table border="0" cellspacing="0" summary="LOI" cellpadding="0" > - <tbody><tr> - <td class="tdl">Joseph McChesney—Pictorial</td> - <td class="tdr"><a href="#P058B">58</a></td> - </tr><tr> - <td class="tdl">Robert Day, <span class="smfont">F.S.A.</span>—Library Interior</td> - <td class="tdr"><a href="#P060">60</a></td> - </tr><tr> - <td class="tdl">Fredk. Arthur Beale—Armorial</td> - <td class="tdr"><a href="#P062">62</a></td> - </tr><tr> - <td class="tdl">Wood Institute, Rugby—Decorative</td> - <td class="tdr"><a href="#P064">64</a></td> - </tr><tr> - <td class="tdl">Robert Day, <span class="smfont">F.S.A.</span>—Ogham, Landscape, etc.</td> - <td class="tdr"><a href="#P066">66</a></td> - </tr><tr> - <td class="tdl">Free Public Library, Belfast—Decorative Arm.</td> - <td class="tdr"><a href="#P070B">70</a></td> - </tr><tr> - <td class="tdl">Rev. J. H. Bibby—Library Interior</td> - <td class="tdr"><a href="#P072B">72</a></td> - </tr><tr> - <td class="tdl">Robert Cochrane, <span class="smfont">C.E., F.R.I.B.A., F.S.A.</span>, etc.—Armorial  </td> - <td class="tdr"><a href="#P080B">80</a> - <span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></td> - </tr> - </tbody> -</table> - -<p class="f150 space-above2"><b>EX LIBRIS ILLUSTRATIONS IN THE TEXT,</b></p> -<p class="center"><i>Reproduced by Process Blocks</i>.</p> -<hr class="r5" /> -<table border="0" cellspacing="0" summary="LOI" cellpadding="0" > - <tbody><tr> - <td class="tdl" colspan="3"> </td> - <td class="tdr"><i>Page</i></td> - </tr><tr> - <td class="tdl" colspan="3">J. H. Fryer—Etching, Landscape, by Lambert, Newcastle</td> - <td class="tdr"><a href="#P001"> 1</a></td> - </tr><tr> - <td class="tdl" colspan="3">Brandenburg or Buxheim plate—Early wood engraving</td> - <td class="tdr"><a href="#P008"> 8</a></td> - </tr><tr> - <td class="tdl" colspan="3">Hans Igler plate—Early wood engraving (double-page)</td> - <td class="tdr"><a href="#P014A">14</a></td> - </tr><tr> - <td class="tdl" colspan="3">Kress of Kressenstein, by Albert Dürer</td> - <td class="tdr"><a href="#P017">17</a></td> - </tr><tr> - <td class="tdl" colspan="3">Wm. Taylor, by Bewick—Wood engraving</td> - <td class="tdr"><a href="#P019">19</a></td> - </tr><tr> - <td class="tdl" colspan="3">(No name)<span class="ws4">”</span><span class="ws5">”</span></td> - <td class="tdr"><a href="#P021">21</a></td> - </tr><tr> - <td class="tdl" colspan="3">Kress of Kressenstein, by Hans Troschel, engraved on copper</td> - <td class="tdr"><a href="#P028">28</a></td> - </tr><tr> - <td class="tdl" colspan="3">Samuel Pepys—Portrait plate by R. White, engraved on copper</td> - <td class="tdr"><a href="#P031">31</a></td> - </tr><tr> - <td class="tdl" colspan="3">Henʸ. Jaˢ. Pye—Chippendale plate by Playner</td> - <td class="tdr"><a href="#P033">33</a></td> - </tr><tr> - <td class="tdl" colspan="3">—— Barrow—Armorial Book-pile, by Lightboune, engraved on copper</td> - <td class="tdr"><a href="#P036">36</a></td> - </tr><tr> - <td class="tdl" colspan="3">William Cowper—Decorative Armorial, engraved on copper</td> - <td class="tdr"><a href="#P039">39</a></td> - </tr><tr> - <td class="tdl" colspan="3">Ellis Gamble—Decorative Armorial, by William Hogarth, engraved on copper</td> - <td class="tdr"><a href="#P040">40</a></td> - </tr><tr> - <td class="tdl" colspan="3">William Hogarth—Decorative Monogram plate, engraved on copper</td> - <td class="tdr"><a href="#P041">41</a></td> - </tr><tr> - <td class="tdl" colspan="3">Edw. Loveden Loveden—Engraved on copper</td> - <td class="tdr"><a href="#P044A">44</a></td> - </tr><tr> - <td class="tdl" colspan="3">H. Stamford—Pictorial, etching on copper</td> - <td class="tdr"><a href="#P049">49</a></td> - </tr><tr> - <td class="tdl">James Neild</td> - <td class="tdc" rowspan="2"><img src="images/cbr-2.jpg" alt="" width="9" height="32" /></td> - <td class="tdl_ws1" rowspan="2">Two Pictorial Etchings by Bewick</td> - <td class="tdr" rowspan="2"><a href="#P051">51</a></td> - </tr><tr> - <td class="tdl">—— Spence</td> - </tr><tr> - <td class="tdl">Joseph Pollard</td> - <td class="tdc" rowspan="2"><img src="images/cbr-2.jpg" alt="" width="9" height="32" /></td> - <td class="tdl_ws1" rowspan="2"><span class="ws4">”</span><span class="ws5">”</span></td> - <td class="tdr" rowspan="2"><a href="#P053">53</a></td> - </tr><tr> - <td class="tdl">Chas. Fenwick</td> - </tr><tr> - <td class="tdl" colspan="3">Charles Bragge—Urn Armorial, etching</td> - <td class="tdr"><a href="#P057">57</a></td> - </tr><tr> - <td class="tdl" colspan="3">Arthur Vicars, <span class="smfont">F.S.A.</span>, <i>Ulster King of Arms</i>—Pen and ink, by Rev. W. FitzGerald</td> - <td class="tdr"><a href="#P068">68</a> - <span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg xii]</a></span></td> - </tr><tr> - <td class="tdl" colspan="3">Francis Joseph Bigger, <span class="smfont">M.R.I.A.</span>—(Old Belfast) Pen and ink</td> - <td class="tdr"><a href="#P070A">70</a></td> - </tr><tr> - <td class="tdl" colspan="3">Robert Day, <span class="smfont">F.S.A.</span>—Armorial Masonic</td> - <td class="tdr"><a href="#P072A">72</a></td> - </tr><tr> - <td class="tdl" colspan="3">Walter Besant, <span class="smfont">M.A.</span>—Library Interior</td> - <td class="tdr"><a href="#P074">74</a></td> - </tr><tr> - <td class="tdl" colspan="3">Francis Joseph Bigger—Armorial</td> - <td class="tdr"><a href="#P076">76</a></td> - </tr><tr> - <td class="tdl" colspan="3">George Rollo—Smithy Interior</td> - <td class="tdr"><a href="#P078">78</a></td> - </tr><tr> - <td class="tdl" colspan="3">F. D. Ward, <span class="smfont">J.P., M.R.I.A., CH.L.H.</span>—Armorial</td> - <td class="tdr"><a href="#P080A">80</a></td> - </tr><tr> - <td class="tdl" colspan="3">I. M. F. H. Stone, <span class="smfont">M.A., F.L.S., F.C.S.</span>—Armorial</td> - <td class="tdr"><a href="#P082A">82</a></td> - </tr><tr> - <td class="tdl" colspan="3">Arthur Acton—Emblematic</td> - <td class="tdr"><a href="#P084">84</a></td> - </tr><tr> - <td class="tdl" colspan="3">Belfast Art Society, 3 sizes—Emblematic</td> - <td class="tdr"><a href="#P086">86</a></td> - </tr><tr> - <td class="tdl" colspan="3">Dublin Naturalists’ Field Club</td> - <td class="tdr"><a href="#P088A">88</a></td> - </tr><tr> - <td class="tdl" colspan="3">Masonic Province of Down—Armorial Masonic</td> - <td class="tdr"><a href="#P090">90</a></td> - </tr><tr> - <td class="tdl" colspan="3">John Vinycomb, <span class="smfont">M.R.I.A.</span>—Armorial</td> - <td class="tdr"><a href="#P096">96</a></td> - </tr><tr> - <td class="tdc_space-above1" colspan="3"><big><b><span class="smcap">Fine Half-tone Process Blocks</span>—</b></big></td> - <td class="tdr_space-above1"><i>Facing<br />Page</i></td> - </tr><tr> - <td class="tdl" colspan="3">Antiquarian subject, reproduced from Mono-tint Drawing</td> - <td class="tdr"><a href="#P082B">83</a></td> - </tr><tr> - <td class="tdl" colspan="3">Virgin and Child, reproduced by Aquatint Engraving</td> - <td class="tdr"><a href="#P088B">89</a></td> - </tr><tr> - <td class="tdl" colspan="3">George G. Ward, reproduced from Design in Colours for Stained Glass</td> - <td class="tdr"><a href="#P092">93</a></td> - </tr><tr> - <td class="tdl" colspan="3">Vinicombe Bey, reproduced from Soft-ground Etching</td> - <td class="tdr"><a href="#P094">94</a></td> - </tr> - </tbody> -</table> -<hr class="r25" /> -<table border="0" cellspacing="0" summary="LOI" cellpadding="0" > - <tbody><tr> - <td class="tdc" colspan="2"><big><b>ILLUSTRATIVE CUTS IN TEXT.</b></big></td> - </tr><tr> - <td class="tdc" colspan="2"> </td> - </tr><tr> - <td class="tdl">Franklin Press, now at Philadelphia</td> - <td class="tdr"><a href="#FRONTIS02">iv.</a></td> - </tr><tr> - <td class="tdl">Caxton’s “Printer’s Mark”</td> - <td class="tdr"><a href="#P009">9</a></td> - </tr><tr> - <td class="tdl">Form-Schneider at Work</td> - <td class="tdr"><a href="#P013">13</a></td> - </tr><tr> - <td class="tdl">Engraver’s Knife, from Papillon’s Treatise, 1766  </td> - <td class="tdr"><a href="#P015">15</a></td> - </tr><tr> - <td class="tdl">Press of Ascensius</td> - <td class="tdr"><a href="#P016">16</a></td> - </tr><tr> - <td class="tdl">Engraver’s Tools</td> - <td class="tdr"><a href="#P024">24</a></td> - </tr><tr> - <td class="tdl">Mode of Engraving</td> - <td class="tdr"><a href="#P025">25</a></td> - </tr><tr> - <td class="tdl">Copper-plate Printing Press</td> - <td class="tdr"><a href="#P046A">46</a></td> - </tr><tr> - <td class="tdl">Lithographic Printing Press</td> - <td class="tdr"><a href="#P058A">58</a></td> - </tr> - </tbody> -</table> -<p><span class="pagenum"><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span></p> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span></p> - -<div class="figcenter"> - <a name="F014" id="F014"> - <img src="images/i_f014.jpg" alt="" width="450" height="597" /></a> - <p class="f90">Transfer, direct from Engraved plate to stone.</p> -</div> -<hr class="chap" /> -<div class="figcenter"> - <a name="P001" id="P001"> - <img src="images/i_p001.jpg" alt="" width="500" height="257" /></a> - <p class="f90">Etching on copper by Lambert, Newcastle, reproduced by process block.</p> - <p class="f90">From the collection of W. H. K. Wright.</p> -</div> - -<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> -<div class="chapter"><h2 class="no-break">ON THE PROCESSES FOR THE<br />PRODUCTION OF EX LIBRIS.</h2></div> - -<p class="f150"><i>By John Vinycomb</i>, <span class="smfont">M.R.I.A.</span></p> - -<h3><span class="smcap">Introductory.</span></h3> - -<p class="drop-cap"><span class="smcap">The</span> production of -book-plates, by whatever means, is but a side branch of the Art -by which pictorial and decorative illustrations of every kind are -<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> -executed, and copies multiplied by some of the ordinary processes of -printing. Without, at this stage, going minutely into the history -of pictorial illustration and printing, it may be briefly stated -that in times past, the only available modes of reproduction were -either by engraved wood blocks with the lines in relief to print with -letterpress, or by engraved copper-plates having the lines cut into the -polished surface of the metal and printed by the copper-plate press -(the <i>modus operandi</i> in each method will be explained later on).</p> - -<p>The processes for the production of Ex Libris—as it is now the -fashion to term these dainty little works of art we so delight to -collect and preserve—are to-day so numerous and so varied in their -style and character of work as to be wholly dissimilar, yet in very -many instances we find the results to be so nearly alike that only a -practical expert can, with any degree of certainty, state how and by -what means they have been executed. It is not therefore surprising that -<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> -the collector—that picker-up of unconsidered trifles—however deeply -versed he may be in the literature of the subject, for want of some -technical knowledge should sometimes be mystified and unable to declare -how a particular specimen has been produced. In the older examples -there is little or no difficulty in distinguishing the difference -between a woodcut and a print from a copper-plate; to one or the -other of these two methods it must of necessity belong. The advance -of modern science has, however, changed all that, and we may now -possess a charming book-plate, which is neither engraved on wood nor -on copper, and yet may pass for either the one or the other, or have -characteristics entirely its own.</p> - -<p>Some account of these two older methods and their later developments, -as well as a sketch of some of the modern processes arising out of -the invention of lithography and photography, will be of interest to -collectors of Ex Libris; particularly the process blocks so much in -<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> -vogue at the present time for high-class book illustrations, magazines, -the illustrated weeklies, etc., by means of which the artist’s drawing, -through a happy union of these later arts and chemical science, may -be translated into a printing surface of metal or other material for -giving off impressions by the type press, the copper-plate press, by -lithography, or by one of the photo-mechanical processes, such as -calotype, etc. By reference to representative examples, it is hoped -to enable the collector to form a pretty accurate idea of the mode of -execution of similar works.</p> - -<p>Whatever merit of originality or of fancy the earlier examples may -possess, it is interesting to observe how largely book-plates partake -of the prevailing style or fashion of the times. By this test alone, -collectors are led almost to a certainty to fix an approximate date -when they were designed and engraved. Again, how clearly the character -<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> -of the artist appears upon the face of each example, whether he was a -“base mechanick” at his trade, or a true artist, who lent his thought -and skilful hand to embellish the library of his friend or client. The -artist himself, in old times, generally a versatile many-sided man, -adapted himself to his work and wrought out his ideas <i>con amore</i> -in whatever direction he might be called upon, whether it was to paint -some great picture, to draw and perhaps engrave on wood or copper some -of his immortal conceptions, or it may be only a simple book-plate for -his friend and patron. Such a man was Albrecht Dürer. A book-plate by -him, cut on wood, for his friend, Bilibaldi Pirckheimer, forms the -frontispiece to the Hon. Leicester Warren’s book on “The Study of -Book-plates.” Men like Michael Angelo, who could vary his occupation to -every phase of Art, now as an architect, conceiving and carrying out -the erection of the great Church of St. Peter’s at Rome, painting the -<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> -grandest and most sublime pictures, and in sculpture without a rival, -but who could also bring his lofty mind to the consideration of works -of less importance. To him, to Hans Holbein, and others of highest rank -as artists, we are indebted for the immense advancement of the fine -arts at this period, which, starting with the Renaissance of Literature -and Art in the 15th and 16th centuries, gradually dispersed the -darkness of the middle ages. Drawing and engraving on wood were brought -to a high degree of perfection, and a race of artists was educated, who -devoted themselves exclusively to illustrating books which the recently -invented art of printing had called into requisition.</p> - -<p>Wood engraving, as an adjunct to printed books, was the earliest -form in which good art became popularised: book illustration by -engraved copper-plates was a later development, though the art was not -unknown: at a later period, copper-plate illustrations almost entirely -superseded wood for the purpose. -<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span></p> - -<p>One who has carefully studied the illustrations in early-printed -books—from printer’s mark on title-page to colophon—cannot fail to -be struck with the manly and vigorous style of drawing in the cuts, -shewing a real grasp of the subject and mastery of detail, and while -we may be amused at the quaint conceits, and somewhat crude lines, -we cannot but be charmed with the natural simplicity of the drawing, -though lacking almost entirely in local colour. In the infancy of the -art of engraving on wood, it necessarily followed that there should -be some want of refinement in the execution. The engraver on wood -was born very young, and had to grope his way by tedious practice to -acquire skill and knowledge for his work. The artist, on the contrary, -like Minerva, came into being fully equipped, or, to be literal, he -already existed; with mature experience he adapted his skill to the -requirements of the new art, the first and most important being that, -<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> -as the tools of the engraver and the wood he used were unfitted for -small details, the lines to be drawn by the artist on the wood must -necessarily be <i>few</i> and <i>well chosen</i>.</p> - -<div class="figcenter"> - <a name="P008" id="P008"> - <img src="images/i_p008.jpg" alt="" width="500" height="407" /></a> - <p class="f90">The Brandenburg, or Buxheim plate, <i>circa</i> 1480.</p> - <p class="f90">[The oldest Ex Libris actually connected with a printed book.<br /> - See <i>Ex Libris Journal</i>, Vol. II., p. 71.]</p> -</div> -<hr class="chap" /> - -<div class="figcenter"> - <a name="P009" id="P009"> - <img src="images/i_p009.jpg" alt="" width="400" height="192" /></a> - <p class="f90">Fig. 4.—DEVICE COMMONLY ATTRIBUTED TO CAXTON.</p> - <p class="f150 space-below2"><span class="smcap">Caxton’s Mark.</span></p> -</div> - -<p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p> -<div class="chapter"><h2 class="no-break">WOOD ENGRAVING.</h2></div> - -<p class="drop-cap"><span class="smcap">Beyond</span> giving some idea -of what wood engraving is and how it is produced, it is not intended to -do more than refer to the early history of the art—a subject on which -bulky volumes have been written—or to enter minutely into the details -and modes of execution of modern work. To those who desire further -information, special works on the subject may be -consulted.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p> - -<p><span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span></p> - -<h3>WOOD ENGRAVING AND COPPER-PLATE<br />ENGRAVING—THE DIFFERENCE.</h3> - -<p>Copper-plate engraving, which almost entirely superseded wood in -the seventeenth and eighteenth centuries, differs in principle from -wood engraving in this—that a woodcut has the lines of the design -standing up in relief, the wood between the lines incised or cut away, -so that when the surface is inked the lines so charged will give off -an impression upon paper by rubbing the back, or by the use of the -type press. In the copper-plate the lines are cut <i>into</i> the polished -surface of the metal, which, when smeared over with printing ink, and -the surface wiped clean, leaves the incised lines filled with ink; an -impression is taken by the use of a press specially adapted to the purpose.</p> - -<p>It will be seen that <i>surface printing</i> is the necessity and -characteristic of wood engraving. Simple and crude in its beginnings, -<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> -owing chiefly to the imperfect mechanical means of cutting the wood -in sufficiently fine or exact lines; it was employed first in the -production of playing cards, the outlines of which were formed by -impressions from wood blocks, and the colouring filled in by hand or -stencil. In Europe the earliest application of the art to pictorial -illustration took place in Germany about the close of the fourteenth -or beginning of the fifteenth century. The oldest woodcut with a -date known is of 1423. It represents St. Christopher carrying our -Saviour on his shoulders across a river. Other specimens, though -undated, from their greater rudeness, have been held to have superior -claims to antiquity. With the invention of printing the art soon made -rapid strides, and on the introduction of moveable types to print -in conjunction with engraved blocks, a new impetus was given to the -production of engraved wood blocks. In the early part of the sixteenth -century, several artists of celebrity were either designers on wood or -<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> -engravers. Books at this period were profusely illustrated. Among the -most distinguished in this line was Albert Dürer, whose productions -as a painter and an engraver on copper and wood are so numerous that -he could not possibly have engraved a tithe of the wood engravings -attributed to him; probably he only put the design on the blocks, -leaving them to others to execute.</p> - -<p>The art was chiefly practised in Germany, where it was patronised by -the Emperor Maximilian, for whom Burgmair produced the great work, “The -Triumphs of Maximilian.” The next great name in the annals of wood -engraving is that of Hans Holbein, whose “Dance of Death” was printed -in Lyons in 1538.</p> - -<p>In England Caxton brought out his “Game and Playe of Chesse” in 1476, -with cuts. There are woodcuts also in the “Golden Legend,” 1483; -“Fables of Æsop,” 1484; Chaucer’s “Canterbury Tales,” and other books of -<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span> -his printing—all scarce and poor in execution, but noticeable in the -history of Art. From 1545 to 1580 wood engraving continued to be much -used for illustrating books in England, chiefly by John Daye. From this -period there is little to be recorded of essential importance till the -appearance of Bewick, to whom the revival of wood engraving is chiefly -to be attributed.</p> - -<div class="figcenter"> - <a name="P013" id="P013"> - <img src="images/i_p013.jpg" alt="" width="400" height="463" /></a> - <p class="f90"><span class="smcap">Form-schneider.</span></p> -</div> - -<p><span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span></p> - -<h3>EARLY METHOD OF ENGRAVING ON THE SIDE<br />OF THE WOOD WITH KNIVES.</h3> - -<p>In early days of wood engraving a close-grained slab of wood of a -suitable thickness to print with type was used for the purpose by the -engraver—cut the long way of the tree, and not upon the end or section -of the wood as in modern work; and the cutting was necessarily executed -with the knife. The quaint and rude cut on the accompanying double page -is a fair example of the earliest species of woodcut, and is the most -ancient Ex Libris known.</p> - -<p>Regarding the knife as a cutting instrument, Mr. W. J. Linton, in his -“Manual of Wood Engraving,” p. 28, says: “As far as I have been able -to ascertain, with the one possible exception of the cuts to Croxall’s -Fables, 1722, all engravings on wood from the earliest time to the time -of Bewick were done with the knife instead of gravers.”</p> - -<div class="figcontainer"> - <div class="figsub"> - <a name="P014A" id="P014A"> </a> - <img src="images/i_14_left.jpg" alt="" width="294" height="443" /> - </div> - <div class="figsub"> - <img src="images/i_14_right.jpg" alt="" width="300" height="443" /> - </div> - <p class="f90">Rude Early Woodcut. (Actual size.)</p> -</div> - -<p class="blockquot">The most ancient Ex Libris known. It is Jean Knabensberg, -called Igler, chaplain to the family of Schönstett. It represents a hedgehog -with a flower in its mouth. In the banderole we read, “Hanns Igler -das dich ein Igel Kuss.” Its approximate date is 1450. Herr Ludwig -Rosenthal, antiquariat, Munich, has a copy of this rare plate in his -possession, which he values at 600 marks. See Warnecke’s “Die deutschen -Bücherzeichen” (Ex Libris), 1890.</p> - -<p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p> - -<div class="figcenter"> - <a name="P015" id="P015"> - <img src="images/i_p015.jpg" alt="" width="600" height="136" /></a> - <p class="f90">From Papillon’s Treatise, 1766.</p> -</div> - -<p>We can to some extent realise the difficulties the early wood -engravers laboured under in this respect in producing fine work, but -when we examine the later works of the German engravers, and observe -the gradual improvement from crudeness to really excellent work, we -are amazed that with such disabilities such splendid results were -attainable by the knife. The <a href="#P013"><i>Form-schneider</i></a>, -as the engraver of block pictures was termed, increased in skill and -dexterity in deftly cutting the design exactly as it was drawn on the -wood, and with exceeding truthfulness; using a finer grained and harder -wood and tools more perfectly adapted for the work, so would the art -<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> -advance by leaps and bounds, until in the time of Dürer and Holbein -it had reached its high-water mark of excellence. Boxwood was then, -as now, in use, but for delicate work only, and cut plank-wise. For -larger work softer woods were good enough: pear and apple woods, -privet, sycamore, and any white wood upon which a drawing could be -<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> -seen—everything being drawn line for line on the plank; the engraver’s -business simply to cut away the white spaces between the lines, -cutting, as before said, with knives in the smaller spaces, and with -chisels and gouges clearing away the larger to a sufficient depth to -escape the ink in printing.</p> - -<div class="figcenter"> - <a name="P016" id="P016"> - <img src="images/i_p016.jpg" alt="" width="300" height="385" /></a> - <p class="f90"><span class="smcap">Press of Ascensius.</span></p> -</div> -<hr class="r5" /> -<div class="figcenter"> - <a name="P017" id="P017"> - <img src="images/i_p017.jpg" alt="" width="500" height="415" /></a> - <p class="f90">Small <span class="smcap">Dürer</span> Woodcut, of the - Nuremberg family of Kress of Kressenstein.</p> -</div> - -<p><span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> -At the present day, in the skilfully drawn and engraved block books -of the Japanese, the illustrations will be found to be drawn with the -brush upon <i>the side</i> of the wood, and cut with a knife; but we are -not now astonished at anything done by this wonderful people, who have -knocked the wind out of us in so many forms of art.</p> - -<h3>MODERN WOOD ENGRAVING.</h3> - -<p>To understand the scope and practice of wood engraving, it will be -necessary to glance through the illustrated publications of a few years -ago, before process blocks had to so large extent superseded the work -of the graver. The immense popularity the art has obtained in this -country owing to the establishment of the <i>Illustrated London News</i>, -<i>Graphic</i>, <i>Art Journal</i>, <i>Magazine of Art</i>, and similar publications, -not to speak of book illustrations, has been remarkable. The excellence -of the work and the infinite variety of style introduced by the best -<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> -artists and engravers show it to be capable of representing every -artistic quality supposed to be peculiar to copper and steel engraving; -<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> -other qualities it has, such as power and force in the darker portions, -and the use of white-line work on tint, or solid ground—effects -obtained with extreme difficulty upon the metal plate.</p> - -<div class="figcenter"> - <a name="P019" id="P019"> - <img src="images/i_p019.jpg" alt="" width="600" height="548" /></a> - <p class="f90 space-below2">Ex Libris engraved on wood by Bewick, - reproduced by process block.</p> -</div> - -<p>Wood engraving for pictorial work may be divided into two kinds:—</p> - -<p>I.—<span class="smcap">Black-Line</span> or <span -class="smcap">Fac-simile Work</span>.—The drawing on wood is engraved -exactly as it is drawn, line for line. All examples up to the time of -Bewick, and a great many since, are of this kind. As illustrating the -best qualities of this style of wood engraving, no more apt examples -could be named than the cartoons and drawings in <i>Punch</i> by Tenniel, -Doyle, Leech, and others, before the introduction of photo-etched -process blocks. (Bewick himself, an artist as well as an engraver, made -a departure from the old crude manner of wood engraving by introducing -a new style of work, imitating more truly the local colour and the -<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> -textures of nature: drawing the subject of the design on wood in -pencil and afterwards <i>tinting</i> in the masses of shade and local -colour with washes of china ink; and <i>with the graver</i> giving all -the characteristic markings and minuter details by white lines upon -the dark ground. In his Natural History Cuts he imitated in the most -marvellous manner the textures of trees, grass, and natural scenery, -<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> -the plumage of birds, the shaggy or smooth coats of animals, -etc. A number of Ex Libris executed by him on wood have the same -characteristic handling). The <a href="#P021">two wood engravings by Bewick</a> -are reproduced by process blocks. Though inferior to many of his Natural -History Cuts, they fairly show the style and character of his -handiwork—the careful execution of details and the use of white-line -work upon solid black ground.</p> - -<div class="figcenter"> - <a name="P021" id="P021"> - <img src="images/i_p021.jpg" alt="" width="600" height="320" /></a> - <p class="f90">(<i>From the Collection of W. H. K. Wright, Esq.</i>).</p> - <p class="f90 space-below2">Wood Engraving by Bewick.</p> -</div> - -<p>II.—<span class="smcap">Tinted Work.</span>—In this mode the subject is drawn in -<span class="smcap">TINTS OR WASHES</span>, and partly with the pencil. To be successful -in work of this kind, to interpret the artist’s ideas truly, the -engraver must himself be an artist of considerable ability, as he has -to adapt the lines to the work, and in this lies rare judgment and -discretion, as not only the direction of the line most conducive to -develop the form, but the width and thickness of the lines and spaces -must be accurately judged; the various qualities of surfaces must -likewise be suggested by the engraved lines. -<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> - -<h3>MATERIALS AND MODE OF PROCEEDING.</h3> - -<p>The wood used by engravers is boxwood, on account of its close -grain and firm texture; it is principally imported from Turkey, cut -transversely or across the grain (so that the engraving is done upon -the end way of the wood). It is made seven-eighths of an inch in -thickness (type height). It takes a beautifully smooth surface, and -cuts under the graver with the utmost clearness and fineness. The -polished surface of the wood being unsuitable for drawing on, a slight -“tooth” is given to it by a little water-colour white rubbed over the -face of the block with the ball of the thumb until nearly dry, when it -presents a pleasant surface for the pencil.</p> - -<p>The drawing or design having been sketched out and perfected on paper, -it is then traced the reverse way upon the wood block, and the drawing -then worked out, either in black-line fac-simile or in tints, as may be -intended. The <i>black lead pencil</i>, of sufficient hardness of lead -<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> -to stand the pressure upon the solid surface, is the favourite -instrument for drawing. For tinting, either the pencil or the brush -with washes of china ink can be used.</p> - -<div class="figcenter"> - <a name="P024" id="P024"> - <img src="images/i_p024.jpg" alt="" width="600" height="260" /></a> -</div> - -<p>The tools used are <i>gravers</i>, <i>tint-tools</i>, and <i>scoopers</i>, or cutting -out tools—in all about a dozen different sizes; the several kinds -are here indicated. With the gravers the outline and all the details -are cut; the tints, by which the proper tones or light and shade are -obtained, can best be rendered with tint-tools of various widths of -<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> -cut. The parts not required to be printed are hollowed out with -scoopers. It will be understood that all the blanks or white parts of -an engraving have been cut away in the block.</p> - -<div class="figcenter"> - <a name="P025" id="P025"> - <img src="images/i_p025.jpg" alt="" width="600" height="474" /></a> - <p class="f90">Mode of Engraving on Wood.</p> -</div> - -<p>There are several <i>et ceteras</i> also required by the engraver, as, an -oil-stone to sharpen his gravers; an eye-glass, when engraving very -<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> -fine work; a small circular sand-bag, on which the block is held while -being engraved; an instrument called a burnisher, with which to take -proofs. A glass globe filled with water, to concentrate the light from -lamp or gas jet upon the block, is used at night.</p> - -<p>The engraving being completed, the surface of the block is inked very -lightly with printing ink, and a piece of India paper, or any fine -paper of similar quality, being laid upon it, an impression is taken by -rubbing the paper with the burnisher until it is fully printed. From -this proof the engraver can judge whether any alterations are required -and what improvements can be effected.</p> - -<p>The revival of wood engraving by Bewick and others, and the high state -of perfection to which it had been brought by his immediate successors, -to a very great extent superseded copper-plate engraving for book -illustrations, though for Ex Libris, copper-plate held, and still holds -its place as the chief and deservedly favourite style.</p> - -<div class="figcenter"> - <a name="P026" id="P026"> - <img src="images/i_p026.jpg" alt="" width="600" height="453" /></a> - <p class="f120"><i>Crest Ex Libris of R. Day</i>, <span class="smfont">F.S.A.</span>, <i>Cork</i>.</p> - <p class="f90">Engraved by C. W. Sherborn, and printed direct from the Copper-Plate.</p> -</div> - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span></p> - -<div class="chapter"><h2 class="no-break">ENGRAVING ON COPPER<br />AND STEEL.</h2></div> - -<p class="drop-cap"><span class="smcap">Where</span> be the equal now -of those glorious editions of the poets, the “Annuals,” “Keepsakes,” -“Books of Beauty,” and other delightful volumes that still charm the -eyes and glad the hearts of those who have the taste and the wit to -possess them? As works of the highest art quality, they have never -since been equalled for beauty of work, with their engraved titles, -frontispieces, and illustrations in the text, drawn by Stothard, -Turner, Creswick, Stanfield, Harding, and a host of the first names in -British Art, and engraved in the rarest and most exquisite manner by -men equally eminent in their line. “Woodcuts,” however, cut them out -for the time, owing to the excellence to which the art had attained, -and the greater rapidity and cheapness in printing. -<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span></p> - -<div class="figcenter"> - <a name="P028" id="P028"> - <img src="images/i_p028.jpg" alt="" width="400" height="664" /></a> - <p class="f120"><span class="smcap">Kress Book-plate.</span><br /> - (See <i>Ex Libris Journal</i>, Vol. IV., p. 9.)</p> - <p class="f90">Engraved on Copper by Hans Troschel, 1699.<br /> - Reproduced by process block.</p> -</div> - -<p><span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> -In all the changes and inventions in the modes of art reproduction -the engraved plate has steadily held its own as the most finished -and perfect. For Ex Libris it is particularly suitable; it is <i>par -excellence</i> <span class="smfont">THE STYLE</span> for the attainment -of the highest art quality.</p> - -<p><i>The Art Journal</i>, supported by one or two similar publications, has -heroically endeavoured to maintain the traditions of the best period of -the Art in its steel-plate illustrations, but, except for pictures of -this kind, and of larger size for framing, illustrations on steel and -copper for books may be said to be practically extinct.</p> - -<p>Time, however, has its revenges: wood engraving, in its turn, is being -rapidly displaced by “<i>process blocks</i>” (of which more anon), and now, -if we take up any recent illustrated book or journal, we find the bulk -<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> -of the pictures and designs not wood engravings but process blocks.</p> - -<p>In every good collection of Ex Libris the majority of examples will be -found to be printed from engraved plates, very few relatively being -from wood blocks. The reason is not far to seek. The wood engraving as -practised in England previous to the opening of the present century was -poor in execution, and did not lend itself sufficiently to working out -minute details with the same ease and readiness with which they can be -executed on copper.</p> - -<div class="figcenter"> - <a name="P031" id="P031"> - <img src="images/i_p031.jpg" alt="" width="500" height="696" /></a> - <p class="center">Pure Line Engraving by Robert White,<br /> - from a Painting by Sir Godfrey Kneller.</p> - <p class="f90">Reproduced by process block.</p> -</div> - -<p>That it was the favourite mode of producing these dainty little -works is evident also from the fact that copper-plate pictures for -book illustrations of every kind had almost entirely superseded wood -engraving, which had indeed fallen completely into disfavour. Until the -beginning of the present century, when Bewick and others had elevated -it into a fine art, wood engraving was in an exceedingly rude condition, -<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a> -<br /><a name="Page_32" id="Page_32">[Pg 32]</a></span> -and little fitted for small works. Copper-plate engraving, on the -contrary, had for several centuries flourished successfully; every -goldsmith was able to “<i>chase</i>” and engrave the decorative and heraldic -work upon silver plate and goldsmiths’ work, or upon metal of any -kind, in relief, or intaglio, as in medals, coins, etc. That this is -no mere assumption we know from historical evidence, as well as from a -careful comparison of the “<i>handling</i>,” or the manner of cutting the -lines upon silver work, which is identical with the style of cutting -the lines in so very many engraved book-plates of the last and early -part of the present century. Whatever may be thought of the vagaries -of the accessories in the Jacobean, <a href="#P033">Chippendale</a>, and other kindred -styles—which are essentially silver engraving patterns—much of this class -of work shows at least a true heraldic spirit in the treatment of the charges. -<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span></p> - -<div class="figcenter"> - <a name="P033" id="P033"> - <img src="images/i_p033.jpg" alt="" width="400" height="511" /></a> - <p class="center">A Chippendale pattern. Silver Engraver’s style of work,</p> - <p class="f90">reproduced by process block.</p> -</div> - -<p><span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> -Benvenuto Cellini, whose works now bring fabulous prices in goldsmith -work, was an expert engraver as well, as were probably most of the -workers in the precious metals of his time. Hogarth, in the earlier -part of his career, did much in the way of engraving arms, crests, -etc., for the silversmiths; so did Bewick, who worked on wood and -on metal indifferently. The writer has done a fair share of similar -work in his younger days; and to his knowledge it was the custom in -many establishments for the engravers to do both, as the exigencies -of business required, though the tendency when work was plentiful was -to specialise, each man doing that part for which he seemed to have -an aptitude. This refers particularly to graver work; the pictorial -engraver executing his work principally by means of the etching -process, and only finishing up with the graver.</p> - -<p>No doubt a life-long practice in one particular class of work of this -<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> -kind is calculated to engender a stiff and formal manner, and set -patterns to become stereotyped, were it not for the capricious changes -of fashion; sometimes slowly developed, at other times, a new fashion -suddenly sets in and changes all; the later chasing the earlier out of -the field, only to be elbowed aside in its turn. Styles of ornament, as -they course each other down the stream of time, invariably leave their -high-water marks on the margin, which serve as valuable data for the -student; the prevailing styles of decorative and heraldic art, having, -like all mundane things, their periods of development, full-blossoming, -and decadence, the dates of which, book-plate collectors, aided by -dated specimens, arrive at with tolerable certainty.</p> - -<p>The prevalence of a particular style, its vogue and duration, will -account in a great measure for the family likeness observable in so -many book-plates; the chief factors, however, may be set down to the -general low state of the art, the paucity of designers and engravers of merit, -and the ample supply of the ordinary article—the mechanical craftsman. -<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span></p> - -<div class="figcenter"> - <a name="P036" id="P036"> - <img src="images/i_p036.jpg" alt="" width="450" height="471" /></a> - <p class="f90">Pure Line Engraving, reproduced by process block.</p> -</div> - -<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> -As to the history and development of styles in Ex Libris, a reference -to the works of the Hon. J. Leicester Warren, J. Paul Rylands, -<span class="smfont">F.S.A.</span>, Egerton Castle, <span class="smfont">M.A.</span>, -<span class="smfont">F.S.A.</span>, W. J. Hardy, and the pages of the -<i>Ex Libris Journal</i>, will find the subject fully and plainly set forth.</p> - -<p>A word as to the origin and history of Copper-Plate Engraving. The art -of engraving on metal plates, for taking impressions on paper, was -first practised by Tommaso Fineguerra, a Florentine goldsmith, about -the year 1460. Some writers have claimed the invention for Germany, but -it is generally considered that the art was first practised in Italy, -and had its origin in the workshops of the goldsmith. An assistant -is said to have suggested to Fineguerra the possibility of taking an -<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> -impression from an engraved design with ink on moistened paper. <i>The -first book printed at Rome</i> was illustrated by <i>the first plate -engraving</i>. This work is dated 1478, but was commenced in 1472. -Engraving made rapid strides towards excellence in Germany. Albert -Dürer was a man whose universality of talent extended the boundaries -of every department of art, and carried all to a degree of perfection -previously unknown. He had great command of the graver, and carried his -plates to a higher state of finish than his Italian contemporaries. He -is also believed to have invented the art of etching by corrosion: on -examining his etchings, we see that they have all been corroded at one -“<i>biting-in</i>,” which sufficiently explains their monotonous appearance, -and proves that “<i>stopping-out</i>” was not then understood. To the Dutch -and Flemish schools we owe many improvements in the art. The celebrity -of the French school dates from the time of Louis XIV. Gerard Audran was -<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> -the first engraver who successfully united to any extent the use of the -graver and the etching point. The English school of engraving dates -<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> -only from the middle of the eighteenth century, previous to which those -who practised the art in England were chiefly foreigners. Hogarth -<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span> -engraved many of his own designs. Francis Vivares introduced the art -of landscape etching: he, Woollet, and Brown produced some of the -<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> -first landscape engravings extant. Sir Robert Strange excelled in -portrait engraving. Of the moderns who have attained eminence in the -various branches of the art, the very enumeration of them would lead -to needless length, the present purpose being chiefly to describe the -processes.</p> - -<div class="figcenter"> - <a name="P039" id="P039"> - <img src="images/i_p039.jpg" alt="" width="450" height="541" /></a> - <p class="f90">Pure Line Engraving, reproduced by process block.</p> -</div> -<hr class="r5" /> -<div class="figcenter"> - <a name="P040" id="P040"> - <img src="images/i_p040.jpg" alt="" width="400" height="473" /></a> - <p class="f90">Line Engraving by William Hogarth,<br />reproduced by process block.</p> -</div> -<hr class="r5" /> -<div class="figcenter"> - <a name="P041" id="P041"> - <img src="images/i_p041.jpg" alt="" width="400" height="569" /></a> - <p class="f90 space-below2">William Hogarth’s own book-plate.<br /> - Line Engraving, reproduced by process block.</p> -</div> - -<h3>THE VARIOUS MODES OF ENGRAVING ON<br />COPPER AND STEEL-PLATE.</h3> - -<p>There are many kinds of engraving on steel and copper for the -purpose of printing by the copper-plate press. We will specify -those principally in use and indicate their chief characteristics; -afterwards, some further explanation may be necessary. It may be here -stated that the various processes are of such a technical nature that -it would be impossible in a short compass to explain all the details of -<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> -execution; we may, however, refer those who desire to pursue the -subject further to an excellent little handbook (price one shilling) -published by Winsor and Newton,<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> -which, as stated in the preface, will, by means of any of the modes -of engraving on copper therein treated of, enable anyone “skilled in -pen and ink drawing to reproduce their designs with greater delicacy -and added depth of effect.” Other books on the subject there are, of -greater cost, as Hamerton’s splendid work, but for the amateur the -handy little manual just named is an admirable guide.</p> - -<div class="figcenter"> - <a name="P042" id="P042"> - <img src="images/i_p042.jpg" alt="" width="400" height="615" /></a> - <p class="f90">Transfer, direct from Engraved plate to stone.</p> -</div> -<hr class="r5" /> -<p><span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span></p> - -<div class="figcenter"> - <a name="P044A" id="P044A"> - <img src="images/i_p044a.jpg" alt="" width="400" height="557" /></a> - <p class="f90 space-below2">Pure Line Engraving, reproduced by process block.</p> -</div> -<hr class="r5" /> -<div class="figcenter"> - <a name="P044B" id="P044B"> - <img src="images/i_p044b.jpg" alt="" width="500" height="424" /></a> - <p class="f90 space-below2">Transfer, direct from Engraved plate to stone.</p> -</div> - -<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> -To one skilled in drawing, and with some leisure and enthusiasm for the -work, <span class="smcap">Etching</span> offers a delightful field for the exercise -of the artistic mind. There are no technical difficulties that may not be -surmounted by care and patience. The few tools and necessary appliances -are not of a costly nature, if we except the copper-plate printing press.</p> - -<p>There are different kinds or methods of engraving, the six principal -varieties of which need only be considered, namely:—</p> - -<ul class="index"> -<li class="isub2">(1) <span class="smcap">Line Engraving.</span></li> -<li class="isub2">(2) <span class="smcap">Etching.</span></li> -<li class="isub2">(3) <span class="smcap">Soft-ground Etching.</span></li> -<li class="isub2">(4) <span class="smcap">Aquatint Engraving.</span></li> -<li class="isub2">(5) <span class="smcap">Mezzotint Engraving.</span></li> -<li class="isub2">(6) <span class="smcap">Stipple Engraving.</span></li> -</ul> - -<p>The distinctive features of all copper-plate and steel-plate engraving -consist in this, that the lines or strokes composing the design are cut -or ploughed into the surface of the metal with a fine tool termed a -graver, etched or corroded out with acid or by other means. A <i>Print</i> -is obtained by filling the lines so made with a special ink composed of -<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> -a drying oil and colour-pigment. During the process of inking the plate -is kept warm, the superfluous ink being wiped off with a coarse muslin -rag, and made perfectly clean. The plate, placed in the travelling bed -of the copper-plate press, is covered with a sheet of paper slightly -damp; on turning the press, it is subjected to such pressure as forces -the paper into the lines; by this means the ink is transferred to the -paper, and the result is an impression or <i>proof</i>.</p> - -<div class="figcenter"> - <a name="P046A" id="P046A"> - <img src="images/i_p046a.jpg" alt="" width="400" height="371" /></a> - <p class="center"><span class="smcap">Copper-plate Printing Press.</span></p> -</div> -<hr class="r5" /> -<div class="figcenter"> - <a name="P046B" id="P046B"> - <img src="images/i_p046b.jpg" alt="" width="400" height="617" /></a> - <p class="f90 space-below2">Transfer, direct from Engraved plate to stone.</p> -</div> -<p><span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span></p> - -<h3>1.—LINE ENGRAVING.</h3> - -<p>The majority of the earlier book-plates are engraved, or cut into -the plate entirely with the graver, and may properly be termed <i>line -engraving par excellence</i>.</p> - -<p>As early examples of this style of work we are enabled to give -reproductions of several book-plates, viz., <a href="#P028">Kress of Kressenstein, by -Hans Troschel, 1699</a>, p. 28; <a href="#P031">the portrait plate of Samuel Pepys</a>, by -Robert White, p. 31; <a href="#P040">two plates engraved by Hogarth</a>, pp. 40-41. The Ex -Libris of <a href="#P039"><span class="smcap">William Cowper</span>, Clerk of the Parliaments</a>; -<span class="smcap">Edward Loveden Loveden</span>; —— <span class="smcap">Barrow</span>; -and <span class="smcap">Henʸ Jamˢ Pye</span>, also illustrate the quality of <i>line</i> -or <i>graver work</i> alone. The examples interspersed in the text carry their own explanation.</p> - -<p>As modern examples of this style we are enabled to give several -characteristic varieties—the library interior of W. H. K. Wright, -by J. E. Wood, of Plymouth, and a number designed by the writer and -<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> -engraved by Marcus Ward & Co., Limited, printed by lithography—all of -which will be found useful as keys to the style of handling of graver -work alone, and in combination with etching.</p> - -<p>Among the chief exponents of the art may be mentioned the name of C. W. -Sherborn, who is <i>facile princeps</i> as an engraver of heraldic subjects. -One of his smaller works, engraved in pure line, appears facing page -27, the dainty <a href="#P026">crest plate of R. Day, <span class="smfont">F.S.A.</span></a>, -<i>printed direct from the copper-plate</i>; a favourite old toast, in playful -allusion to the wings in the crest, doing duty as a motto.</p> - -<h3>2.—ETCHING.</h3> - -<p>This method admits greater freedom of handling than graver work. The -design is drawn through a resisting ground with the etching point, -and the exposed lines on the surface of the copper corroded to the -requisite depth with aquafortis, the finishing of the work being -usually done with the graver.</p> - -<div class="figcenter"> - <a name="P048" id="P048"> - <img src="images/i_p048.jpg" alt="" width="400" height="458" /></a> - <p class="f90">Transfer, direct from Engraved plate to stone.</p> -</div> -<hr class="r5" /> -<p><span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span></p> -<div class="figcenter"> - <a name="P049" id="P049"> - <img src="images/i_p049.jpg" alt="" width="600" height="475" /></a> - <p class="f90">Etching on Copper reproduced by process block.</p> - <p class="center">From the collection of W. H. K. Wright.</p> -</div> - -<p><span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> -<i>Machine ruling</i> or <i>tinting</i> is now much used in conjunction with line -engraving and etching, for the even tints of skies and level surfaces -in pictorial work, and for the symbolical lines denoting tinctures in -heraldry, of which several examples are given.</p> - -<p><i>Steel-plates</i> were used for engraving very fine work, or when large -numbers of copies were required to be printed from the plate. Any -advantage over copper which steel formerly possessed is now neutralised -by the process known as <i>steel facing</i>, that is, coating the copper -plate with an electro deposit of iron.</p> - -<p>Copper-plate printing, as it is termed, though giving the most perfect -result, is slow and tedious, and necessarily costly. A much speedier -method of printing—by Lithography—is now much used instead, transfers -from the engraved plate being put on the lithographic stone and printed -therefrom, the original plate being retained intact. <a href="#Page_58">(See examples under Lithography)</a>. -<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p> - -<div class="figcenter"> - <a name="P051" id="P051"> - <img src="images/i_p051a.jpg" alt="" width="500" height="423" /></a> - <img src="images/i_p051b.jpg" alt="" width="500" height="281" /> - <p class="f90">Two Etchings on Copper by Bewick, reproduced by process block.</p> - <p class="center">From the collection of W. H. K. Wright.</p> -</div> - -<p><span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> -Some early examples of etched plates are given. The <a href="#P057">urn design -of Charles Bragge</a>, <a href="#P066">Armorial Landscape</a>, and -<a href="#P053">Bewickian Landscape</a> show the character and -handling of etched work as distinguished from line engraving. Other -examples illustrate the combination of <i>Line</i>, <i>Etching</i>, and -<i>Machine Ruling work</i>.</p> - -<h3>3.—SOFT-GROUND ETCHING.</h3> - -<p>A very charming style of work which was much used by Bartolozzi and -other engravers of his time, but now gone entirely out of use. A -suitable book-plate engraved in this manner not turning up in time, -the present fine example of the style was selected to illustrate the -character of the work, which bears a close resemblance to a chalk -drawing, and on that account offers considerable difficulties in the -way of reproduction by the half-tone process. The result is, however, -successful in a remarkable degree in translating the peculiar texture -of the original.</p> - -<div class="figcenter"> - <a name="P052" id="P052"> - <img src="images/i_p052.jpg" alt="" width="400" height="485" /></a> - <p class="f90">Transfer, direct from Engraved plate to stone.</p> -</div> -<p><span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span></p> -<hr class="r5" /> -<div class="figcenter"> - <a name="P053" id="P053"> - <img src="images/i_p053a.jpg" alt="" width="500" height="334" /></a> - <img src="images/i_p053b.jpg" alt="" width="500" height="440" /> - <p class="f90">Two Etchings on Copper by Bewick, reproduced by process block.</p> - <p class="center">From the Collection of W. H. K. Wright.</p> -</div> - -<p><span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> -The allegorical device represents the turret-crowned goddess Cybele, -“mother of a hundred gods,” standing upon an isolated rock in the sea, -holding out an olive-branch, and with her attribute, the rudder, as -guide and director of the destinies of cities and states; youthful -figures representing the Arts and Sciences—which are the glory of a -State—are disporting themselves in the clouds.</p> - -<p>Though not originally intended for a book-plate, a friend is desirous -of adopting it, with the motto from Virgil, “<a href="#P094"><i>Fato prudentia major</i></a>”—to -intimate that, in his opinion, prudence is greater than fate.</p> - -<h3>4.—AQUATINT ENGRAVING.</h3> - -<p>A style of work having all the appearance of a china ink drawing, and -frequently used by artists in conjunction with etching, to give body -and consistency to the tints. An admirable example of this combination -of etching and aquatint is the charming book-plate of the Hon. -Leicester Warren, by W. Bell Scott, well known to collectors. It does -not, however, lend itself well to reproduction.</p> - -<div class="figcenter"> - <a name="P054" id="P054"> - <img src="images/i_p054.jpg" alt="" width="500" height="477" /></a> - <p class="f90">Transfer, direct from Engraved plate to stone.</p> -</div> - -<p><span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span> -The texture, which may be of various degrees of fineness, is produced -on the plate by a solution of resin (dissolved in pure spirit), which -is poured over the surface; as the spirit evaporates it leaves the -resin in minute isolated particles adhering to the plate. The design -is traced or transferred upon it, the highest lights “<i>stopped out</i>” -with engravers’ varnish. The etching (or biting-in with acid) is then -proceeded with; repeated stoppings out and etchings are made as the -deeper shades are attained.</p> - -<h3>5.—MEZZOTINT ENGRAVING.</h3> - -<p>Produced by roughening the surface of the plate by a rocking tool, and -the lights and shades attained by scraping and burnishing. Seldom used -for small work, but largely used combined with Nos. 1 and 2 for prints -<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span> -and pictures. The small French print of the Virgin and Child, -reproduced by half-tone process block, represents fairly well the -character of the work. (<a href="#Page_83">See example under “Half-tone Process Blocks.”</a>)</p> - -<h3>6.—STIPPLE ENGRAVING.</h3> - -<p>Performed with the graver or other tool, which is so managed as to -produce the tints by small dots. This method is much used for statuary -and for portraits particularly, the rest of the picture being generally -executed by some of the other methods, Nos. 1 and 2 especially.</p> - -<div class="figcenter"> - <a name="P056" id="P056"> - <img src="images/i_p056.jpg" alt="" width="350" height="530" /></a> - <p class="f90">Transfer, direct from Engraved plate to stone.</p> -</div> -<hr class="r5" /> -<p><span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p> - -<div class="figcenter"> - <a name="P057" id="P057"> - <img src="images/i_p057.jpg" alt="" width="400" height="522" /></a> - <p class="f90">Etching on Copper, reproduced by process block.</p> -</div> -<hr class="chap" /> - -<div class="figcenter"> - <a name="P058A" id="P058A"> - <img src="images/i_p058a.jpg" alt="" width="400" height="266" /></a> - <p class="center"><span class="smcap">Lithographic Printing Press.</span></p> -</div> - -<p><span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span></p> -<div class="chapter"><h2 class="no-break">LITHOGRAPHY.</h2></div> - -<p class="drop-cap"><span class="smcap">Lithography</span>, as one of -the modern arts, dates only from about the end of the last century. The -inventor, <span class="smcap">Aloys Senefelder</span>, the son of an -actor, was born at Munich in 1771, and died there on the 26th February, -1834. Intended for the profession of the Law, he, on the death of his -father, was obliged to retire from the University.</p> - -<div class="figcenter"> - <a name="P058B" id="P058B"> - <img src="images/i_p058b.jpg" alt="" width="500" height="558" /></a> - <p class="center">Drawn on transfer paper and transferred to stone direct.</p> -</div> - -<p><span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span> -Thrown on his own resources at the age of eighteen, he turned to his -father’s profession, but met with little success. Writing for the -stage, he found difficulty, owing to his poverty, in getting his -writings published, and it was in trying to find out some ready process -to attain this end that he arrived at what we now term the Art of -Lithography. Senefelder lived to perfect his art to a high degree, -and to see it brought into general use, but without bringing much -profit to himself. Since his time many advances have taken place, and -new developments in various directions, as in the beautiful art of -chromo-lithography and photo-lithography.</p> - -<p>The term Lithography is derived from the Greek, <i>lithos</i>, a stone, and -<i>grapho</i>, to write. Lithographic stone is a species of limestone, the -best qualities of which are obtained from the quarries at Solenhofen, -near Munich, and from Papenheim, on the Danube. The stones are cut into -slabs or blocks of various sizes to suit the work required; to print -an octavo page, quarto, etc., up to sixty inches by forty, and even -<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> -larger. The thickness varies from an inch and a half in the smaller, -to four or five inches in the larger sizes. The stones are ground -perfectly level with sand and water, and finished off with a fine stone -until a perfectly smooth polished surface is produced, when it is ready -to receive the drawing, or to have transferred to its surface a drawing -or writing made upon specially prepared paper (<i>lithographic transfer -paper</i>). For chalk or crayon drawings, the smooth surface of the stone -is <i>grained</i> with sifted silver sand, which gives a beautifully even -granular texture, and the drawing is made upon it with <i>lithographic -chalk</i>. For drawing upon the smooth stone, or upon transfer paper, -<i>lithographic ink</i> is used.</p> - -<p><span class="smcap">The principle underlying the process of Lithography</span> -is simply this:—The nature of the stone is such that it retains with great -tenacity the resinous and oily substances contained in the ink or -the crayon employed to form the design. The lithographic stone also -absorbs water freely; this, combined with the peculiar affinity between -resinous substances and their mutual power of repelling water, causes -the ink on the printing roller to adhere to the design and to leave -untouched the damp surface of the stone.</p> - -<div class="figcenter"> - <a name="P060" id="P060"> - <img src="images/i_p060.jpg" alt="" width="400" height="552" /></a> - <p class="center">Drawn on transfer paper and transferred to stone direct.</p> -</div> - -<p><span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> -<span class="smcap">The process of Lithographic Printing</span> is as follows:—After -the drawing on the litho. stone is completed, it receives a wash of -dilute acid and gum arabic, and this, by removing the alkali from the -ink, leaves the design on it in a permanent form, at the same time -that it etches away a minute portion of the surface of the stone, and -renders it more absorbent of water. After <i>etching</i>, all trace of the -acid is removed with a sponge and water, the stone is rubbed over with -a <i>damp muslin cloth</i> to equalise the moisture upon the surface, the -<i>lithographic roller</i> charged with <i>printing ink</i> is passed over -the surface, the lines of the design alone taking ink; the paper is then -<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> -laid upon the stone, and a copy is obtained by means of the -<i>lithographic press</i>. The damping of the stone and inking is repeated -for every impression.</p> - -<p><span class="smcap">Lithographic Writing and Drawing Ink</span> and -<span class="smcap">Lithographic Crayons</span> for chalk drawing on stone, -are similar in composition, but different in proportions, suited to -the particular kind of work, <i>white wax</i>, <i>shell-lac</i>, <i>hard soap</i>, -<i>tallow</i>, and <i>lamp black</i> being the chief ingredients. For writing and -drawing all kinds of line work on stone or transfer paper, the ink is -made in sticks, and rubbed down with water to a proper consistency for -use, and used with a <i>pen</i> or <i>sable pencil</i>. For chalk drawings upon -a grained stone, the ink is cast into the form of crayons, and used in a -port-crayon for convenience in drawing, sharpening the point as required.</p> - -<p><span class="smcap">Chalk Drawing on Stone</span> is rarely used for such -small work as book-plates. We need not therefore more particularly refer to -it, than to say that excellence in this department of Lithography -may be attained more readily than in <i>fine-line work</i>, for which -constant practice, and a very delicate handling of the implements, the -lithographic pen and fine sable pencil, is required.</p> - -<div class="figcenter"> - <a name="P062" id="P062"> - <img src="images/i_p062.jpg" alt="" width="400" height="573" /></a> - <p class="center">Drawn on transfer paper and transferred to stone direct.</p> -</div> - -<p><span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span> -The technical difficulties to be overcome in Lithography are very -great; to the unpractised they seem insuperable: the magic of handling -acquired by long-continued practice in the use of the materials, as -seen in good examples, exhibits a degree of technical skill which the -amateur may not hope to rival. To draw with the <i>pen</i> or <i>small sable -pencil</i> with the requisite degree of fineness of line of the expert, -and with the precision and apparent freedom of the accomplished artist, -is a thing of difficult attainment. This is a disadvantage to artists -generally, who are obliged to entrust the translation of their drawings -to the professional lithographer—not always with a satisfactory result(!) -<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span></p> - -<p><span class="smcap">Grained or Textured Paper</span>, of which there are many -varieties specially made with a chalky surface for <i>photo-lithography</i>, -are now much used, on which the artist makes his drawing in litho-chalk or -suitable black lead pencil. As the knife point may be used to scrape -out lights on the chalky surface, it admits of very effective work -for pictorial illustrations. A photo-litho transfer is then put to -stone, or a <i>process block</i> made from it, as may be required. Drawings -made on this prepared textured paper with lithographic chalk may also -be transferred to stone direct, and printed from. Extreme beauty and -fineness are, however, gained by the photo-reduction.</p> - -<p>Very beautiful Pictorial and Heraldic Ex Libris have been executed by the -lithographic process, hardly to be distinguished from plate engraving.</p> - -<p><span class="smcap">Engraved Plates</span> may have transfers taken from them and -printed from stone. A number of examples, with explanatory titles, are given of -the various modes of <i>lithographic and photo-lithographic reproduction</i>.</p> - -<div class="figcenter"> - <a name="P064" id="P064"> - <img src="images/i_p064.jpg" alt="" width="400" height="572" /></a> - <p class="center space-below2">Drawn on transfer paper and transferred to stone direct.</p> -</div> - -<p><span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span></p> -<h3>CHROMO-LITHOGRAPHY.</h3> - -<p>Some very dainty examples of Ex Libris emblazoned in heraldic tinctures -are met with, very charming in their way, principally German ones. -Colour in the heraldry of book-plates has not found the same favour -in this country as on the Continent; for what reason it is hard to -understand. Through the courtesy of Mr. R. S. Mansergh, Friarsfield, -co. Tipperary, we are enabled to print as a <a href="#FRONTIS01">frontispiece</a> -the plate newly designed by the writer, and executed by Messrs. Marcus Ward & -Co., of Belfast.</p> - -<div><a name="PHOTO_LITH" id="PHOTO_LITH"> </a> - <h3>PHOTO-LITHOGRAPHY.</h3> -</div> - -<p>Photo-lithography is now so largely employed for the reproduction -of all classes of work that a few words in explanation of it may -be very desirable. The process is of a somewhat technical nature, -but simplicity itself when understood! It is founded upon the fact -that <i>gelatine</i>, by the addition of a certain chemical, is rendered -insoluble on exposure to light. -<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span></p> - -<p>A negative photograph from the original drawing in black lines having -been taken by the <i>wet</i> or collodion plate, it is intensified to the -required degree, so that the lines of the design appear perfectly clear -upon a dense, opaque, black film. It is then “exposed” in the printing -frame, upon paper that has been coated (in the dark) with the prepared -gelatine—now extremely sensitive to light. Taken out of the printing -frame in the dark room, the exposed print (which barely shows any -trace of the design at this stage) is then covered with a thin film -or coating of printers’ transfer ink. <i>The lines exposed to the light -have been rendered insoluble</i>, while the white ground of the design -protected by the negative is still in a soluble condition. Floated -in a bath of warm water, the soluble gelatine (not acted on by the -light), with its coating of ink, is washed away—the insoluble lines of -the design alone remaining, coated with printers’ transfer ink. This -“<i>photo-transfer</i>” is then ready to be put down to the lithographic -stone and printed from, or it may be transferred to a polished zinc -plate, and etched to the requisite depth as a block for type printing.</p> - -<div class="figcenter"> - <a name="P066" id="P066"> - <img src="images/i_p066.jpg" alt="" width="500" height="576" /></a> - <p class="center space-below2">Drawn on stone direct, with mechanical ruling added.</p> -</div> -<p><span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span></p> - -<h3>DRAWING FOR PHOTO-LITHO, AND FOR<br />PROCESS LINE-BLOCKS.</h3> - -<p>The invention of photo-lithography enables the artist to make -his own drawings or designs in black and white on a larger scale -(usually one-third or one-half larger than required), which will be -photo-litho’d down to the size required, thus preserving intact every -touch and flexture of line in the original, and, by the reduction, -gaining a fineness of line and beauty of finish which the artist could -not himself produce on the reduced size. <span class="smcap">Machine Ruling</span> -may afterwards be transferred into the design when it is upon the stone, as -in some of the designs in the accompanying examples.</p> - -<p>“<i>Process blocks</i>,” which reproduce so admirably all kinds of drawings -and engravings, are, when carefully printed, sometimes very difficult -to detect from direct lithographs. -<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span></p> - -<div class="figcenter"> - <a name="P068" id="P068"> - <img src="images/i_p068.jpg" alt="" width="400" height="569" /></a> - <p class="f150"><b><i>Ulster King of Arms.</i></b></p> - <p class="f90">Pen and Ink Drawing by Rev. Wm. FitzGerald,<br /> - reproduced by process block. Much reduced.</p> -</div> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span></p> - -<div class="chapter"><h2 class="no-break">PROCESS BLOCKS.</h2></div> - -<h3>LINE WORK.</h3> - -<p class="drop-cap"><span class="smcap">There</span> are quite a -number of processes that have been brought into use with more or -less success, as Graphotype, Dallas-type, etc., to which it is not -necessary to refer, as for all practical purposes Zinc Etching holds -the field against all others, either for <span class="smcap">Half-tone -Blocks</span>, or for <span class="smcap">Line-Blocks</span> of every -kind, of which last a number of examples are here given, with an -explanatory title to each specimen.</p> - -<p>For work of the very finest kind, the Photogravure or Heliogravure, -printed by the copper-plate press, bears the palm, but it has the -disadvantage of being very expensive. Those desirous of knowing more -fully concerning the various processes in use may be referred to a very -excellent volume in the “Book Lovers’ Library”—“<span class="smcap">Modern Methods of -Illustrating Books</span>,” by H. Trueman Wood, <span class="smfont">M.A.</span>, Secretary -to the Society of Arts, and published by Elliot Stock. -<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span></p> - -<div class="figcenter"> - <a name="P070A" id="P070A"> - <img src="images/i_p070a.jpg" alt="" width="400" height="528" /></a> - <p class="f90">Pen and Ink Drawing, reproduced by process block.<br />Slightly reduced.</p> -</div> -<hr class="r5" /> -<div class="figcenter"> - <a name="P070B" id="P070B"> - <img src="images/i_p070b.jpg" alt="" width="400" height="567" /></a> - <p class="f90">Pen and Ink Drawing reproduced by<br />Photo-lithography.</p> -</div> - -<p><span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> -These modern methods provide a most important and valuable means of -producing illustrations for printing purposes. By their aid, any -photograph, drawing, design, or engraving of any kind can be translated -into a block, and with such success that, with suitable subjects, it is -often hardly possible to tell the original from the copy; and not only -do they enable surface blocks to be produced with great rapidity and at -slight cost, but they give blocks capable of producing effects which -could not be obtained at all by wood engravings, or, if at all, only at -great expense.</p> - -<p>Many artists have hailed with delight the process of Zinc Etching, as -by its means they obtain a perfect <i>fac-simile</i> of their work, more -especially pen and ink drawing, which could never be reproduced by -any other method with the same accuracy and delicacy of finish which -the zinc process gives, and which could not by wood engraving be an -absolute <i>fac-simile</i>. -<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span></p> - -<div class="figcenter"> - <a name="P072A" id="P072A"> - <img src="images/i_p072a.jpg" alt="" width="250" height="513" /></a> - <p class="f90">Pen and Ink Drawing,<br />reproduced by process block.<br />Slightly reduced.</p> -</div> -<hr class="r5" /> -<div class="figcenter"> - <a name="P072B" id="P072B"> - <img src="images/i_p072b.jpg" alt="" width="400" height="564" /></a> - <p class="f90">Pen and Ink Drawing reproduced by<br />Photo-lithography.</p> -</div> -<hr class="r5" /> -<p><span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span></p> - -<div class="figcenter"> - <a name="P074" id="P074"> - <img src="images/i_p074.jpg" alt="" width="400" height="524" /></a> - <p class="f90">Pen and Ink Drawing, reproduced by process block.<br />(Same size.)</p> -</div> - -<p>Mr. Carl Hentschel, head of an eminent firm of photo-etchers, to whom -we applied for information upon certain points in the manipulation of -his process, courteously offered some very interesting statements as to -the development of zinc etching. He says the process of Zinc Engraving -was introduced into England about thirty years ago, but really did not -“catch on,” as the Yankees would say, for twenty years after; nor was -<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span> -there any real value attached to it from a commercial point of view -until about twelve years ago, when, as Mr. Hentschel assures us, the -system he adopted rendered it possible to have blocks of all kinds -for newspapers, books, magazines, and journals of every description -produced in such time that their delivery could be relied upon for the -most urgent publication, and, only then, the vast possibilities of -the zinc process began to dawn upon publishers, and soon the method -was gradually adopted for all purposes of engraving. Some idea of the -extent to which it is made use of may be gathered from the fact that -<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span> -this firm alone delivers weekly about three thousand blocks for various -publications throughout the country, and even to far-off India, where -the plates of whole volumes of educational works have been despatched -by this enterprising firm. To keep pace with the requirements of the -times it has been found necessary recently to add largely to the -facilities for the execution of half-tone blocks, using engine power -to the extent of forty horse for the production of the electric light, -essential for this branch of the business, so that in this respect they -are practically independent of sunlight. In cases of emergency it is -no unusual thing to deliver half-tone blocks in five to seven hours, -and Line work, from transfers, one and half hours, and in the case of -having to photo the subject, two and half to three hours. This would -have been impossible under the old system, trusting to daylight, and -this fact, coupled with the cheaper rate of cost, has given an impetus -to illustrated journalism that could hardly have been dreamt of under -the old <i>regime</i>. -<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></p> - -<div class="figcenter"> - <a name="P076" id="P076"> - <img src="images/i_p076.jpg" alt="" width="400" height="546" /></a> - <p class="f90">Pen and Ink Drawing, reproduced by process block.<br />Slightly reduced.</p> -</div> - -<p><span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span> -Under the head of photo-lithography, the initiatory stage in the making -of what are termed “Process Blocks” was explained, namely, the making -of photo-transfer from the original drawing—in printer’s ink—for -transference to the lithographic stone and printed form. The metal Zinc -possesses the same or similar properties as lithographic stone, and may -be used to print from in the same way. The term Zincography is applied -to the process, though practically it is the same as lithography. -<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span></p> - -<div class="figcenter"> - <a name="P078" id="P078"> - <img src="images/i_p078.jpg" alt="" width="350" height="528" /></a> - <p class="f90">Drawn in pen and ink, reproduced by process block.</p> -</div> - -<p><span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span> -To convert the design upon the zinc plate into a relief block to print -with type is only one step farther—to so protect the lines of the -design on the zinc plate, as to resist the corrosive action of acid, -and by etching the plate, produce a relief block. For this purpose, a -resinous or bituminous substance is introduced into the composition of -the printing ink. Here, then, we have the lines of the design in an -acid-resisting material upon the surface of a metal plate exceedingly -susceptible to the action of acids. If the prepared plate is now placed -in an acid bath, the entire surface of the zinc, except the protected -lines, will become etched, or dissolved away, leaving the design in its -integrity, with the lines standing up in relief: the etched plate has -now only to be mounted upon wood to the height of type to be ready for -the printer’s use. -<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span></p> - -<div class="figcenter"> - <a name="P080A" id="P080A"> - <img src="images/i_p080a.jpg" alt="" width="400" height="533" /></a> - <p class="f90">Pen and Ink Drawing, reproduced by process block.</p> -</div> -<hr class="r5" /> -<div class="figcenter"> - <a name="P080B" id="P080B"> - <img src="images/i_p080b.jpg" alt="" width="350" height="563" /></a> - <p class="f90">Pen and Ink Drawing reproduced by Photo-lithography.</p> -</div> - -<p><span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> -Such is a brief outline of the process in the production of -<span class="smcap">Line Blocks</span>. The design may be put -on the metal plate in any of the following ways:—</p> - -<ul class="index"> -<li class="isub2">(<i>a</i>) By direct drawing on the zinc plate.</li> -<li class="isub2">(<i>b</i>) By a drawing on transfer paper to zinc or stone.</li> -<li class="isub2">(<i>c</i>) By transference of a photo-transfer.</li> -<li class="isub2">(<i>d</i>) By transfer from an engraved plate.</li> -<li class="isub2">(<i>e</i>) By transfer from a lithographic stone.</li> -<li class="isub2">(<i>f</i>) By direct photography upon zinc.</li> -</ul> - -<p>The most perfect work is said to be obtained by the latter method. -There are many technical difficulties to be encountered in working -the process, difficulties which for twenty years kept it at the -experimental stage, and of little practical utility, as, for instance, -after etching the plate for a short time the acid has a tendency to -bite laterally as well as vertically, and so undermine and weaken the -lines intended to be left standing. This is obviated by some photo -etchers in using certain chemicals, and others by an ingenious manner -in the working by etching in stages. This is done by re-inking and -dusting with bitumen, heating the plate after each “etching,” which -has the effect of melting and spreading the resinous or bituminous -ink on the face, and slightly down the sides of the lines. Successful -work is only attained by attention to the various delicate technical -manipulations, which only experience can give. -<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span></p> - -<div class="figcenter"> - <a name="P082A" id="P082A"> - <img src="images/i_p082a.jpg" alt="" width="400" height="532" /></a> - <p class="f90">Pen and Ink Drawing, reproduced by process block.</p> -</div> -<hr class="r5" /> -<div class="figcenter"> - <a name="P082B" id="P082B"> - <img src="images/i_p082b.jpg" alt="" width="400" height="360" /></a> - <p class="f90 space-below2">Reproduced by half-tone process block,<br />from a Monochrome - Sketch,<br />reduced in size.</p> -</div> -<p><span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span></p> - -<h3>HALF-TONE PROCESS BLOCKS.</h3> - -<p>The subject, whether it is a drawing, engraving, painting, or a photo -print, must in each case be photographed to obtain upon the negative -the texture which is the means of producing the gradations of light and -dark we find in the finished block. The theory is simple enough, but -the practice is extremely difficult, and one requiring great skill and -<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span> -care. A glass screen having cross lines ruled upon it, with perfect -mechanical regularity (about seventy lines to the inch for large work, -up to two hundred lines to the inch for very fine half-tone blocks, as -may be best suited to the subject in hand). The screen is fixed in the -camera between the lens and the negative to be exposed. The fine black -lines of the screen are reproduced upon the negative as white lines, -<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span> -breaking up the picture into a series of minute square dots, of varying -size according to the light and shade of the original picture. A -photo-transfer is then taken as previously explained. (In Hentschel’s -process the secret of the prepared transfer paper is in the possession -of Mr. Hentschel solely.) After being transferred to the zinc, and -manipulated with certain chemicals, the plate is gradually etched until -a sufficient depth has been obtained. It is then trimmed and mounted -type height ready for the printer.</p> - -<div class="figcenter"> - <a name="P084" id="P084"> - <img src="images/i_p084.jpg" alt="" width="400" height="506" /></a> - <p class="f90 space-below2">Pen and Ink Drawing, reproduced by process block.</p> -</div> -<hr class="r5" /> - -<p><span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span></p> -<div class="figcenter"> - <a name="P086" id="P086"> - <img src="images/i_p086a.jpg" alt="" width="400" height="480" /></a> - <p class="f150">Original size.</p> - <img src="images/i_p086b.jpg" alt="" width="400" height="227" /> - <p class="f90 space-below2">Pen and Ink Drawing,<br /> reproduced by process block in three sizes.</p> -</div> -<p><span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span></p> - -<h3>PEN AND INK DRAWING.</h3> - -<p>Drawings for reproduction by the modern processes of photo-lithography -and photo-etching may be prepared in a variety of ways. The most -frequently used is termed <span class="smcap">Pen and Ink Drawing</span> (often -mistakenly called “<i>etching</i>,” which is engraving by means of an acid). -This class of work is the most popular of all, and the most easily got at -by artists and amateurs; it is translated with much greater ease, -and at less cost, than photographs or shaded drawings of any kind. -As the term indicates, it is executed with <i>the pen</i>; many artists, -however, have a predilection for <i>the brush</i> (a fine sable pencil), -which, though it requires considerable practice to master its use, -becomes in masterly hands a valuable instrument, capable of greater -and more varied effects than the pen. Good <i>black ink</i>, and <i>smooth -white paper</i> or cardboard, are the essentials. Much may be said on the -style or modes of different artists in drawing, the kind or quality of -the ink, the pens and paper to be used. The relative values of thick -and<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> -thin, open and close lines, the direction of the lines, etc., in -producing the varied character and quality of good expressive drawing; -the various textures of surfaces—roughness, smoothness, etc.—have all -to be considered, more especially if the drawing is made upon a larger -scale, to be reduced in the photo-etching process of translation. We -heartily commend the shilling handbook on Pen and Ink drawing published -by Winsor and Newton. It is an excellent introduction to the art; it -gives full instructions on the best means of working, and the materials -to be used.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></p> - -<div class="figcenter"> - <a name="P088A" id="P088A"> - <img src="images/i_p088a.jpg" alt="" width="500" height="313" /></a> - <p class="f120"><span class="smcap">Club Device and Ex Libris.</span></p> - <p class="f90">Pen and Ink Drawing, reproduced by process block.</p> -</div> -<hr class="r5" /> -<div class="figcenter"> - <a name="P088B" id="P088B"> - <img src="images/i_p088b.jpg" alt="" width="400" height="419" /></a> - <p class="f90">Reproduced by half-tone process block,<br />from an Aqua-Tint engraving, same size.</p> -</div> - -<p><span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span> -For <span class="smcap">Half-tone Shaded Blocks</span> the design may be executed in -washes as a china ink drawing, or in any other way. The illustrations -are reproductions from various kinds of originals, as explained under -each example.</p> - -<p>Messrs. Carl Hentschel & Co., 182-3 Fleet Street, have been good enough -to prepare several examples to illustrate the half-tone process; each -block having been made from an original executed in a different way, as -indicated by the explanatory title; and may be considered rather severe -tests of what the process is capable. For these favours we are much -obliged; we tender also our thanks for their kindness and courtesy in -supplying much of the foregoing information. -<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span></p> - -<div class="figcenter"> - <a name="P090" id="P090"> - <img src="images/i_p090.jpg" alt="" width="500" height="501" /></a> - <p class="f90">Pen and Ink Drawing, reproduced by process block.</p> -</div> - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span></p> - -<div class="chapter"><h2 class="no-break">HINTS TO COLLECTORS<br />OF EX LIBRIS.</h2></div> - -<h3><i>To distinguish how a book-plate<br />may have been produced.</i></h3> - -<p>A lithograph or a photo-lithograph may be distinguished from -a woodcut, or from a copper engraving, by the following: By the -quality of the lines, whether <i>cut</i> with the graver or <i>etched</i> upon -copper; <i>drawn with the pen</i> or with <i>the fine sable pencil</i>. Each -has a character of handling and manner of its own by which it may be -recognised. A little observation of admitted examples with the aid of a -strong magnifying glass will generally resolve this. -<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span></p> - -<div class="figcenter"> - <a name="P092" id="P092"> </a> - <p class="f150 space-above2"><b>EX LIBRIS.</b></p> - <img src="images/i_p092.jpg" alt="" width="300" height="507" /> - <p class="f90 space-below2">Reproduced by half-tone process block, from<br /> - Coloured Design for Stained Glass Window.</p> -</div> -<p><span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span></p> - -<h3>THE DIFFERENCE IN ENGRAVED OR<br />CUT LINES, AND ETCHED LINES.</h3> - -<p>Lines cut with the graver are invariably smooth and even, and have a -clear silvery appearance; in isolated lines or cuts it will be observed -that the beginning of the lines are finer where the graver has entered -than where it stops. Etched lines, on the contrary, do not possess the -same smooth-edged rigid character as those cut with the graver; and -where greater strength of line is obtained it is by deeper etching with -the acid bath, and in this the difference in the quality of line is -more perceptible.</p> - -<h3>TO DISTINGUISH AN IMPRESSION<br />FROM PLATE.</h3> - -<p>In a <i>plate engraving</i> the lines are slightly <i>in relief</i> (and, -if strongly engraved, or the paper thin, observable on the back). -A sensitive finger will detect the stronger raised lines of the -engraving. <i>The mark of the plate</i>, unless cut off, also betrays it; -<a href="#P026">the engraved plate by Mr. Sherborn</a>, facing page 27, will illustrate this. -<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span></p> - -<h3>TO DISTINGUISH A WOODCUT,<br />OR LINE PROCESS BLOCK.</h3> - -<p>In a block the lines of the design are <i>indented</i> slightly into the -paper, which shows itself on the back of the print (unless thoroughly -rolled out under heavy pressure). Close observation with the magnifying -glass will show the edges of the lines to be slightly rough—by the -ink from the face of the line being squeezed over the edge; in good -printing this is not so apparent. A weakness with nearly all process -blocks is that the edges of fine tints and outlying fine lines are apt -to print heavier than they should, unless very carefully worked.</p> - -<h3>TO DISTINGUISH A LITHOGRAPH.</h3> - -<p>In a <i>lithograph</i> the surface of the paper is perfectly smooth, and -not indented in any way. The examples of engraved plates printed from -stone, and the litho. and photo-litho’s printed in brown ink, will -serve to illustrate the qualities of lithography. Unless well printed, -the fine lines are apt to show weak and rotten, or to have become thick -and blurred, either in transferring to the stone or by too much ink on -the printing roller.</p> - -<div class="figcenter"> - <a name="P094" id="P094"> </a> - <p class="f150 space-above2"><b>FATO PRUDENTIA MAJOR.</b></p> - <img src="images/i_p094.jpg" alt="" width="600" height="528" /> - <p class="f120"><span class="smcap">Ex Libris</span> VINICOMBE BEY,<br /> - <i>Colonel d’ Artillerie Tophané, Constantinople</i>.</p> - <p class="f90 space-below2">Example of soft-ground etching—Reproduced<br /> - by half-tone process block.</p> -</div> - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span></p> - -<div class="chapter"><h2 class="no-break">“AU REVOIR.”</h2></div> - -<p class="drop-cap"><span class="smcap">Having</span> now rehearsed, I -hope clearly and concisely, the various modes by which Ex Libris are -and have been produced, and having revealed as many trade secrets as -the limited space at command would allow, I beg to thank the Council -of the Ex Libris Society for permission to reprint from the pages -of the <i>Journal</i> the series of articles on the subject—now somewhat -expanded—and for the use of the blocks by which they were illustrated. -To Mr. W. H. K. Wright, <span class="smfont">F.R.Hist.Soc.</span>, -the able Editor and Secretary of the Ex Libris Society (to whom all -collectors are infinitely indebted), my thanks are due for his valued -aid and counsel; and on whose shoulders I have now laid the further -obligation of a preface. As a special favour I have requested his -“library interior” plate to appear. A similar favour I have desired -from Arthur Vicars, <span class="smfont">F.S.A.</span>, <a href="#P068"><i>Ulster King -of Arms</i></a>, to whom I dedicate this little book. With the exception of -these two “library interiors” and the <a href="#P026">crest plate of R. Day</a>, <span class="smfont">F.S.A.</span>, -<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span> -by Sherborn, all the modern Ex Libris designs here printed have been made -by, or under the superintendence of, the writer, and executed by Marcus Ward -& Co., Limited, whom I beg to thank most heartily for their kind -co-operation, particularly in printing the lithographed specimens, and -the use of additional blocks. I have also to thank several personal -friends who have been good enough to lend me their copper-plates and -process blocks.</p> - -<div class="figcenter"> - <a name="P096" id="P096"> - <img src="images/i_p096.jpg" alt="" width="300" height="399" /></a> - <p class="f150 space-below2"><b><span class="smcap">John Vinycomb, m.r.i.a.</span></b></p> -</div> -<hr class="chap" /> -<p class="f150"><span class="smcap">Riverside, Holywood, co. Down, 1894.</span></p> -<hr class="chap" /> - -<p class="center">THE</p> -<p class="f200"><b><i>Journal</i></b></p> -<p class="f90">OF THE</p> -<p class="f200"><b><i>Ex Libris Society</i></b>,</p> - -<p class="center space-above2 space-below2"><b><i>PUBLISHED MONTHLY</i></b>,</p> - -<p class="f120"><b>Price, 1s. 6d.  Post Free, 1s. 9d.</b></p> - -<div class="figcenter"> - <img src="images/logo02.jpg" alt="" width="100" height="99" /> -</div> - -<table border="0" cellspacing="0" summary=" " cellpadding="0" > - <tbody><tr> - <td class="tdl">  <i>ALSO</i>,</td> - <td class="tdc"> </td> - <td class="tdr"> </td> - </tr><tr> - <td class="tdl"><b>VOLUME I.</b></td> - <td class="tdc">—</td> - <td class="tdr"><b>Out of Print</b></td> - </tr><tr> - <td class="tdl"><b>VOLUME II.</b></td> - <td class="tdc">—</td> - <td class="tdr"><b>Out of Print</b></td> - </tr><tr> - <td class="tdl"><b>VOLUME III.</b></td> - <td class="tdc"><span class="ws2"><b>Price, 21<i>s.</i></b></span><span class="ws2"> </span></td> - <td class="tdr"><b>Post Free, 21<i>s.</i> 8<i>d.</i></b></td> - </tr> - </tbody> -</table> - -<p class="space-above2"><big><b>Cases for the above Volumes—</b></big></p> -<p class="f150"><b>Price, 1s. 6d.  Post Free, 1s. 9d.</b></p> -<hr class="r5" /> -<p class="f150"><b>ADAM AND CHARLES BLACK</b>,</p> -<p class="center"><i>SOHO SQUARE, LONDON</i>.</p> -<hr class="chap" /> - -<p class="f300"><b><span class="smcap">Dated Book-Plates</span></b></p> - -<p class="f150"><b>(<i>Ex Libris</i>)</b>,</p> - -<p class="f150"><b><i>With a Treatise on their Origin and Development</i>.</b></p> - -<p class="center space-above2"><small>BY</small><br /><big>WALTER HAMILTON</big>,</p> - -<p class="center"><i>Chairman of Council of the Ex Libris Society; Vice-President<br /> -of the Société Française des Collectionneurs d’Ex Libris.</i></p> -<hr class="r25" /> -<p class="f120"><b><span class="smcap">With Numerous Illustrations.</span></b></p> -<hr class="r25" /> - -<div class="blockquot"> -<p class="no-indent">A list of Dated Plates prior to 1700 appears in Part I., with -<i>fac-similes</i> of Ex Libris specially selected as typical -examples of early work.</p> - -<p class="indent">Part II. will contain Dated Plates of the 18th century.</p> - -<p class="indent">Part III. will contain Dated Plates of the 19th century.</p> - -<p>The work will be printed on paper of the same size as the -<i>Journal</i> of the Ex Libris Society, so as to range with it.</p> - -<p>The price of each part will be Seven Shillings and Sixpence -net. Post free, 7s. 11d.</p> - -<p>Part I. is now ready. Parts II. and III. will be issued very -shortly, as all the materials are ready for the press.</p> -</div> -<hr class="r5" /> - -<p class="f150"><b>ADAM AND CHARLES BLACK</b>,</p> -<p class="center"><i>SOHO SQUARE, LONDON</i>.</p> -<hr class="chap" /> - -<p class="f300"><b><i>Book-Plate Annual</i></b></p> -<p class="center">AND</p> -<p class="f150"><i>ARMORIAL YEAR BOOK</i>,</p> -<p class="f150"><b>1894.</b></p> - -<p class="f120">Edited by JOHN LEIGHTON, <span class="smfont">F.S.A.</span><br /> -<i>Price, 2s. 6d.   Post Free, 2s. 9d.</i></p> -<hr class="r25" /> -<p class="f120"><b><span class="smcap">Contents</span>—</b></p> - -<div class="blockquot"> -<p class="neg-indent">1.—Half Title, the Author, the Printer, the -Bookbinder, and the lover of Books.</p> - -<p class="neg-indent">2.—Memorandum Sheet for the entry of Loans and Exchanges.</p> - -<p class="neg-indent">3.—The Ex Libris of the Duke of York and -Princess. (By gracious permission.)</p> - -<p class="neg-indent">4.—Description of the Royal Wedding Book-plate. -By Arthur Jewers, <span class="smfont">F.S.A.</span></p> - -<p class="neg-indent">5.—Portrait of the Great Master of Symbolical -Heraldry, Albert Dürer.</p> - -<p class="neg-indent">6.—Should Wales have a place on the Royal -Standard of England.</p> - -<p class="neg-indent">7.—Suggestions for a Welsh Order of Knighthood. -The Collar and Jewel of St. David.</p> - -<p class="neg-indent">8.—Cambria upon the Currency in the fourth quarter.</p> - -<p class="neg-indent">9.—The Library, Books and Bindings. Their -Restoration and Preservation.</p> - -<p class="neg-indent">10.—How to keep Ex Libris under any -classification or arrangement.</p> - -<p class="neg-indent">11.—The Process of Binding. A Book from the -Sheets to the Volume.</p> - -<p class="neg-indent">12.—Taxes upon Vanity. Armorial, Servants, -Horses, and Carriages.</p> - -<p class="neg-indent">13.—Arms of Participation. An Economy in a high -Luxury.</p> - -<p class="neg-indent">14.—Rebinding Old Books of value; what should be done?</p> - -<p class="neg-indent">15.—The Find of the Year. The Virginian -Book-plate confirmed in America.</p> - -<p class="neg-indent">16.—Cut and come again. The Trimming of Books and -Cutting Down.</p> -</div> -<hr class="chap" /> -<p class="f120"><b>ADAM AND CHARLES BLACK, SOHO SQUARE, LONDON.</b></p> -<hr class="chap" /> - -<p class="f120"><b>THE</b></p> -<p class="f300"><b>DRYBURGH EDITION</b></p> -<p class="f120"><b>OF THE</b></p> -<p class="f300"><b><i>Waverley Novels</i>.</b></p> - -<p class="center"><i>With 250 Page Illustrations, specially Drawn for this Edition<br /> -by the well known Artists whose names are given below, and<br /> -engraved on wood by Mr. J. D. COOPER.<br /> -In Twenty-five Volumes.</i></p> -<p class="center"><i>Crown 8vo, Cloth. Price, 5s. each.</i></p> - -<table border="0" cellspacing="0" summary="List of Novels." cellpadding="0" > - <tbody><tr> - <td class="tdl">CHARLES GREEN</td> - <td class="tdc"> </td> - <td class="tdl">WAVERLEY.</td> - </tr><tr> - <td class="tdl">GORDON BROWNE</td> - <td class="tdc"> </td> - <td class="tdl">GUY MANNERING.</td> - </tr><tr> - <td class="tdl">PAUL HARDY</td> - <td class="tdc"> </td> - <td class="tdl">THE ANTIQUARY.</td> - </tr><tr> - <td class="tdl">LOCKHART BOGLE</td> - <td class="tdc"> </td> - <td class="tdl"> ROB ROY.</td> - </tr><tr> - <td class="tdl">WALTER PAGET</td> - <td class="tdc" rowspan="2"><img src="images/cbl-2.jpg" alt="" width="9" height="32" /> </td> - <td class="tdl">BLACK DWARF.</td> - </tr><tr> - <td class="tdl">LOCKHART BOGLE</td> - <td class="tdl">LEGEND OF MONTROSE.</td> - </tr><tr> - <td class="tdl">FRANK DADD, <span class="smfont">R.I.</span></td> - <td class="tdc"> </td> - <td class="tdl">OLD MORTALITY</td> - </tr><tr> - <td class="tdl">WILLIAM HOLE, <span class="smfont">R.S.A.</span></td> - <td class="tdc"> </td> - <td class="tdl">HEART OF MIDLOTHIAN.</td> - </tr><tr> - <td class="tdl">JOHN WILLIAMSON</td> - <td class="tdc"> </td> - <td class="tdl">BRIDE OF LAMMERMOOR.</td> - </tr><tr> - <td class="tdl">GORDON BROWNE</td> - <td class="tdc"> </td> - <td class="tdl">IVANHOE.</td> - </tr><tr> - <td class="tdl">JOHN WILLIAMSON</td> - <td class="tdc"> </td> - <td class="tdl">THE MONASTERY</td> - </tr><tr> - <td class="tdl">JOHN WILLIAMSON</td> - <td class="tdc"> </td> - <td class="tdl">THE ABBOT.</td> - </tr><tr> - <td class="tdl">H. M. PAGET</td> - <td class="tdc"> </td> - <td class="tdl">KENILWORTH.</td> - </tr><tr> - <td class="tdl">W. H. OVEREND</td> - <td class="tdc"> </td> - <td class="tdl">THE PIRATE.</td> - </tr><tr> - <td class="tdl">GODFREY C. HINDLEY</td> - <td class="tdc"> </td> - <td class="tdl">FORTUNES OF NIGEL.</td> - </tr><tr> - <td class="tdl">STANLEY BERKELEY</td> - <td class="tdc"> </td> - <td class="tdl">PEVERIL OF THE PEAK.</td> - </tr><tr> - <td class="tdl">H. M. PAGET</td> - <td class="tdc"> </td> - <td class="tdl">QUENTIN DURWARD.</td> - </tr><tr> - <td class="tdl">HUGH THOMSON</td> - <td class="tdc"> </td> - <td class="tdl">ST. RONAN’S WELL.</td> - </tr><tr> - <td class="tdl">GEORGE HAY, <span class="smfont">R.S.A.</span></td> - <td class="tdc"> </td> - <td class="tdl">REDGAUNTLET.</td> - </tr><tr> - <td class="tdl" rowspan="2">GODFREY C. HINDLEY  </td> - <td class="tdc" rowspan="2"><img src="images/cbl-2.jpg" alt="" width="9" height="32" /> </td> - <td class="tdl">THE BETROTHED.</td> - </tr><tr> - <td class="tdl">HIGHLAND WIDOW.</td> - </tr><tr> - <td class="tdl">GODFREY C. HINDLEY</td> - <td class="tdc"> </td> - <td class="tdl">THE TALISMAN.</td> - </tr><tr> - <td class="tdl">STANLEY BERKELEY</td> - <td class="tdc"> </td> - <td class="tdl">WOODSTOCK.</td> - </tr><tr> - <td class="tdl">C. M. HARDIE, <span class="smfont">A.R.S.A.</span></td> - <td class="tdc"> </td> - <td class="tdl">FAIR MAID OF PERTH.</td> - </tr><tr> - <td class="tdl">PAUL HARDY</td> - <td class="tdc"> </td> - <td class="tdl">ANNE OF GEIERSTEIN.</td> - </tr><tr> - <td class="tdl">GORDON BROWNE</td> - <td class="tdc"> </td> - <td class="tdl">COUNT ROBERT OF PARIS.</td> - </tr><tr> - <td class="tdl">PAUL HARDY</td> - <td class="tdc" rowspan="2"><img src="images/cbl-2.jpg" alt="" width="9" height="32" /> </td> - <td class="tdl">THE SURGEON’S DAUGHTER.</td> - </tr><tr> - <td class="tdl">WALTER PAGET</td> - <td class="tdl">CASTLE DANGEROUS.</td> - </tr><tr> - <td class="tdl"></td> - <td class="tdc"> </td> - <td class="tdl"></td> - </tr> - </tbody> -</table> -<hr class="chap" /> -<p class="f120"><b>ADAM AND CHARLES BLACK, SOHO SQUARE, LONDON.</b></p> -<hr class="chap" /> - -<div class="footnotes space-above2"> -<p class="f150 u"><b>Footnotes:</b></p> -<div class="footnote"><p class="no-indent"> -<a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> -Jackson’s “History and Practice of Wood Engraving”; Firmin -Didot’s “Essai sur l’Histoire de la Gravure sur Bois”; “The Book, -its Printers, Illustrators, and Binders,” by Henri Bouchot; “Wood -Engraving: a Manual of Instruction,” by W. J. Linton.</p></div> - -<div class="footnote"><p class="no-indent"> -<a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> -“The Art of Etching explained and illustrated, with remarks on the -allied processes of Dry-point, Mezzotint, and Aquatint.” By H. R. -Robertson, Fellow of the Society of Painter-Etchers; Author of “Life on -the Upper Thames,” etc. Winsor and Newton, Limited, 38 Rathbone Place, London.</p></div> - -<div class="footnote"><p class="no-indent"> -<a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> -“The Art of Pen and Ink Drawing, commonly called Etching.” By H. R. -Robertson, Fellow of the Society of Painter-Etchers, Author of “The Art -of Etching,” etc. Winsor & Newton, Limited, London.</p></div> -</div> -<hr class="r25" /> -<div class="transnote bbox"> -<p class="f120 space-above1">Transcriber’s Notes:</p> -<hr class="r5" /> -<p class="indent">Antiquated spellings were not preserved.</p> -<p class="indent">The illustrations have been moved so that they do not break up - paragraphs and so that they are next to the text they illustrate.</p> -<p class="indent">Typographical errors have been silently corrected.</p> -</div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of On the Processes for the Production of -Ex Libris (Book-Plates), by John Vinycomb - -*** END OF THIS PROJECT GUTENBERG EBOOK PRODUCTION OF BOOK-PLATES *** - -***** This file should be named 62127-h.htm or 62127-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/2/1/2/62127/ - -Produced by deaurider, Paul Marshall and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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