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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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