One of Switzerland's most accomplished engravers, Michele Rothen Rebetez, does the work.
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Artists drew intricate shape that engravers then carved out on the custom body panels.
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Daguerreotypomania, too, includes a gallows for engravers, whose career was seen to be rapidly ending.
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"You're all going to get wet," he yelled, shaking a magnum, then drenching onlookers and engravers alike.
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Fun fact: Both officials had to provide 10 sample signatures for to allow government engravers to choose official signature.
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Zeid's sister Aliye Berger was one of Turkey's first engravers, and her niece, Fureya Koral, was a ground-breaking ceramicist.
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There are hardly any portraits of engravers at work at all, and this is one of the most telling and beautiful.
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Today, he said, the only picture engravers in the United States are the handful working at the Bureau of Engraving and Printing.
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Pool has also noticed that some of the book plates are signed by their engravers, including one Adam Smith and a Caspar Phillips.
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The printing press created new work for the wood engravers in Augsburg, but they quickly discovered that it had become much more repetitive.
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When champagne came surging out of the bottle, Mr. Malek hosed down the room like a grand prix winner, drenching onlookers and engravers alike.
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WHEN the first printed books with illustrations started to appear in the 5003s in the German city of Augsburg, wood engravers rose up in protest.
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A device akin to a Spirograph enabled the engravers to produce the beautiful geometric scrollwork patterns that can still be found on American money today.
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The Lapsys are also glass engravers, and are aware that the day may come when their religious beliefs force them to turn away a gay couple.
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The company, which requires a five-year apprenticeship for its craftspeople, is a consumer-oriented subsidiary of R.H. Wilkins, engravers to the luxury giftware trade since 1971.
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Often, multiple engravers will attempt different versions of the portraits, usually based on paintings or photographs, and ultimately, the Treasury secretary chooses which one will appear on a note.
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Phinney's latest font case, the copyright suit brought against Justin Timberlake and others, doesn't hinge on such fine points, even though it involves a typeface—Engravers—originally designed in 1899.
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Dr. Charloux suspects the engravers were influenced by Nabatean art, which came from an ancient nomadic people in the area, as well as the Parthians from what is now Iran.
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Gunmaking in the seventeenth and eighteenth centuries connected craftsmen from multiple industries—woodworkers, lockmakers, engravers, to name a few—which meant that when new manufacturing techniques were developed, they spread quickly.
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For the first time, the Hollywood Foreign Press Association hosted its own viewing and after-party, in the Hilton's garden room, where a fleet of engravers personalized the Golden Globe statues.
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People familiar with the process say that engravers spend months working literally upside down and backward carving the portraits of historical figures into the steel plates that eventually help create cash.
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To accomplish this, the team had professional engravers laser-etch the various visuals in platinum on sapphire discs, resulting in delicate-looking objects that are works of art in their own right.
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Piaget has four in-house engravers who, for example, spent more than 26 hours working on the dozens of gold rods of just one Midnight Sun necklace for the recent Sunlight Escape high jewelry collection.
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Mr. Smith said that his team of nine engravers and one goldsmith had created pieces for clients from as far afield as the United States, Mongolia and India, and that frequently entire families purchase the same ring.
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The precise articulation of fighting techniques irked many Medieval and Renaissance era masters, but those who tackled the problem of enunciating their movements often employed artists or engravers to provide images to accompany their words, which helped in some cases.
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" The Times said a current department employee told the paper they "personally viewed a metal engraving plate and a digital image of a Tubman $20 bill while it was being reviewed by engravers and Secret Service officials as recently as May 2018.
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A current employee of the bureau, who asked not to be named because of the sensitivity of the matter, personally viewed a metal engraving plate and a digital image of a Tubman $203 bill while it was being reviewed by engravers and Secret Service officials as recently as May 2018.
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The Society of Canadian Painter-Etchers and Engravers (CPE) was a non-profit organization of Canadian etchers and engravers.
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Very few master engravers exist today who rely solely on "feel" and muscle memory to sharpen tools. These master engravers typically worked for many years as an apprentice, most often learning techniques decades before modern machinery was available for hand engravers. These engravers typically trained in such countries as Italy and Belgium, where hand engraving has a rich and long heritage of masters.
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The factory engravers of the period were Alvin Herbert, Earl Bieu, Dennis Kies, Robert Burt, Steve Kamyk and Leonard Francolini. One of the most sought-after engravers who have worked on Colt revolvers was Alvin White and the shop of A. A. White Engravers.
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The United Society of Engravers was a trade union representing engravers, principally in the cotton industry, but also in the paper printing industry, in the United Kingdom. The union was founded in 1889 in Manchester, as the Engravers to Calico Printers and Paper Stainers. Its membership was over 1,000 by 1898, and in 1909 the Scottish Engravers to Calico Printers and Paper Stainers merged in, the union renaming itself as the Amalgamated Union of Engravers to Calico Printers and Paper Stainers.Arthur Marsh, Victoria Ryan and John B. Smethurst, Historical Directory of Trade Unions, vol.
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She was a Fellow of the Royal Society of Painter-Etchers & Engravers, an Honorary Member of the Society of Wood Engravers, and a Member of the National Society of Painters, Sculptors and Engravers, and she showed work at their annual exhibitions. She also exhibited at the Royal Academy and at the Redfern Gallery.
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From the sixteenth century, the engravers, also, put their ciphers on the coins; among these engravers may be named Benvenuto Cellini, Francesco Raibolini, called il Francia (Bologna), the four Hamerani, Giulio Romano (trident), Cavaliere Lucenti, Andrea Perpenti etc. Until the time of Pius VI, the dies for the mint remained the property of the engravers.
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Some of his portraits were engraved by Dutch and French engravers.
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The artists and engravers of the food illustrations are not identified.
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Palmer featured in further exhibitions at the "LINE" Gallery, Linlithgow, Scotland in January 1996, and Twentieth Century Word Engineering, Exeter City Museums and Art Gallery, February 1997. In November 2012, the Society of Wood Engravers awarded its 75th Anniversary Prize to Palmer for his chef d'oeuvre, "Circular Forms", which exists in several editions. He is a Fellow of the Royal Society of Painter-Printmakers (retired), the Society of Wood Engravers associate of the Royal Engravers, the Royal Society of Painter-Etchers and Engravers (retired), and the Royal Society of Painter-Printmakers (retired).
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James Baylis Allen (1803–1876) was a British engraver. Allen, together with William and Edward Radclyffe and the Willmores, belonged to a school of landscape-engravers which arose in Birmingham, where there were numerous engravers working on iron and steel manufactures.
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J.W. Whymper was among the engravers and directed the other artists on the project.
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Vizetelly, Branston and co., 1834. Engravers: Thomas Holloway, pp.217-219\. On Google Books.
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He is considered among the most important and productive engravers of the sixteenth century.
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The firm employs designers, jewelers, lapidaries, setters, engravers, and a tool and die shop.
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Obverse: Queen Elizabeth II. Reverse: the royal monogram (4 double "L"s) surmounted by a crown with fleur de lis and the motto "CHRS REGN VINC IMP" (Christus regnat, vincit, et imperat. Latin > "Christ reigns, conquers and commands"). Engravers: Royal Canadian Mint engravers.
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Engravers and artists have included James Basire, Michael Burghers, J. M. W. Turner, and John Piper.
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Like ink-brush calligraphy, there are several styles of engraving. Some engraving styles emulate calligraphy styles, but many styles are so highly stylized that the characters represented on the seal are difficult for untrained readers to identify. Seal engravers are considered artists, and, in the past, several famous calligraphers also became famous as engravers. Some seals, carved by famous engravers, or owned by famous artists or political leaders, have become valuable as historical works of art.
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Nicolas-Henri and Marie-Anne Tardieu had many descendants who were noted artists, most of them engravers.
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Some of his pupils of Brooks worked as engravers in mezzotint, among them Michael Ford and James MacArdell.
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Mint master marks or privy marks are symbols representing directors, chief engravers or chief executive officers of mints.
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There appear to be two Roffe families of engravers in London, England in the 18th and 19th centuries.
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Illustrators and engravers who worked for La Belgique Horticole included Erin Corr, Jozef Linnig, Guillaume Severeyns and Michael Verzwyvel.
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Joanna Selborne, "The Society of Wood Engravers: the early years" in Craft History 1 (1988), published by Combined Arts.
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He owned a business known as LaPalme Engravers. He died at the age of 86 after a long illness.
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The illustrations were engraved (signed at lower right) by a variety of engravers including William Angus and Peter Mazell.
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In 1783, engravers Samuel and Nathaniel Buck drew their prospect of Rochester from the top of All Saints Church Tower.
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The Society of Lithographic Artists, Designers and Engravers (SLADE) was a British trade union representing workers in the printing industry.
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Very little is known about the life of Jan van Haelbeck. It is known he was active in Paris roughly between 1600 and 1630. In Paris, he was part of a group of émigré Flemish engravers who helped transform French engraving practices. The Flemish engravers popularized copper engraving as a technique in French printing.
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This helps the engraver produce curved or undulating lines with minimal manipulation of the cutting tool. Wood engravers use a range of specialized tools. The lozenge graver is similar to the burin used by copper engravers of Bewick's day, and comes in different sizes. Various sizes of V-shaped graver are used for hatching.
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Boydell wanted a spectacular print to demonstrate the capability of English engravers, and he paid Woollett approximately £100 for the Niobe engraving, a staggering amount compared to the usual rates. This single act of patronage raised engravers' fees throughout London.Bruntjen, 20 Wilson's painting of Niobe is currently in the collection of Ashridge House in Herfortshire.
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Jeanne-Louise is on record as having made several engravings. Her father, Jean Duvivier, and her brother, Pierre-Simon-Benjamin Duvivier, were both medal engravers, members of the Academy and graveurs du roi (King's Engravers). Jeanne-Louise died on 6 April 1762. Tardieu's second wife, Élisabeth Claire (1731 – 3 May 1773) was also an engraver.
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The original book was illustrated by Frederick Carter, an Associate of the Royal Society of Etchers, Engravers and Illustrators from Bradford.
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Bond studied stipple engraving under Francesco Bartolozzi, with his first work being published in 1772. He was considered one of the best stipple engravers of the late 18th-century, along the likes of Richard Earlom, John Ogborne and Charles Turner. He was nominated to be the first president of the Society of Engravers in 1802/03.
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Milton was a governor of the short-lived Society of Engravers founded in 1803. He died at Bristol on 27 February 1827.
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She was also a member of the Canadian Society of Painters, Etchers and Engravers. McKiel died in Sackville at the age of 89.
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The Engraving Copyright Act 1734 or Engravers' Copyright Act (8 Geo.2 c.13) was an Act of the Parliament of Great Britain first read on 4 March 1734/35 and eventually passed on 25 June 1735 to give protections to producers of engravings. It is also called Hogarth's Act after William Hogarth, who prompted the law together with some fellow engravers.
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Sydney Lee (27 August 1866 - 31 October 1949) was a British wood engraver, active at the beginning of the twentieth century. He was a founder member of the Society of Wood Engravers (1920).Joanna Selborne, 'The Society of Wood Engravers: the early years' in Craft History 1 (1988), published by Combined Arts. He was also a painter in oils and a Royal Academician.
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Ethelbert White was an English wood engraver who was born on 26 February 1891. He died on 5 March 1972. He was an early member of the Society of Wood Engravers Joanna Selborne, ‘The Society of Wood Engravers: the early years’ in Craft History 1 (1988), published by Combined Arts. and a founding member of the English Wood Engraving Society in 1925.
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"Rubens and his school sometimes use monochrome techniques in sketching compositions for engravers."Oxford Companion to Art. Ed. Harold Osborne; Clarendon Press. Oxford, 1970.
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Fritz A. Baumgartner was the company's key hand engraver from 1906 in the Ludington factory. Other hand engravers were Emil Allemann and Otto Starke.
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The logistics of creating such precise copies posed several problems for early music engravers, and have resulted in the development of several music engraving technologies.
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Several other engravers used the initials I. B., one of whom, very skilful indeed, and possessed of much invention, is mistaken by Sandrart for Bink.
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Generally, four pages of music were engraved on a single plate. Because music engraving houses trained engravers through years of apprenticeship, very little is known about the practice. Fewer than one dozen sets of tools survive in libraries and museums. By 1900 music engravers were established in several hundred cities in the world, but the art of storing plates was usually concentrated with publishers.
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At an engravers workshop: Miniature engraving on a Louis George watch movement: Smallest engraving of the royal Prussian eagle on a watch movement. It takes about 100 passes to create the figure. Each graver is different and has its own use. Engravers use a hardened steel tool called a burin, or graver, to cut the design into the surface, most traditionally a copper plate.
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The first American photoengravers' union, Photo- Engravers of America, was formed in 1886 in New York City. In 1894, the International Typographical Union (ITU) chartered its first photoengraver's affiliate, New York Photo-Engravers' Union No. 1. The ITU organized a number of photoengravers' unions over the next several years. But many photoengravers felt the ITU leadership, dominated by typographers, did not adequately represent their interests.
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"More Old Tasmanian Prints. A companion volume to the Engravers of Van Diemens Land and Old Tasmanian Prints", C. Craig (ed.), Foot & Playsted, Launceston, 1984, pp.311-312. "The Dictionary of Australian Artists, Painters, Sketchers, Photographers and Engravers to 1870", J.Kerr (ed.), Oxford University Press, Melbourne, 1992, p.399. For most of his years in Tasmania he worked from his premises at 46 Murray Street, Hobart.
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The Society also recognizes non- engravers who work hard on its behalf by awarding them Honorary Membership. An AGM is held, usually in the Autumn, to which everyone is invited. Another social gathering held annually is the SWE Picnic which usually features an auction of prints and books. The Society has cordial relations with the Wood Engravers’ Network (WEN), an American group with similar aims.
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Muriel Blomfield Jackson (9 March 1901 – 1977) was a wood engraver who was active at the beginning of the twentieth century. She was a pupil of Noel Rooke at the Central School of Arts and Crafts and exhibited regularly with the Society of Wood Engravers. Joanna Selborne, ‘The Society of Wood Engravers: the early years’ in Craft History 1 (1988), published by Combined Arts.
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Mabel Charlotte Alleyne (31 March 1896 - 15 August 1961) was a British wood- engraver. She studied wood-engraving at the London County Council School of Photo-engraving and Lithography in Bolt Court, London, where her teacher was R. John Beedham, and exhibited with the Society of Wood Engravers. Joanna Selborne, ‘The Society of Wood Engravers: the early years’ in Craft History 1 (1988), published by Combined Arts.
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She was elected a member of the Manchester Academy of Fine Arts in 1925 and became an associate member of the Royal Society of Painter-Etchers and Engravers in 1940 and a full member in 1946. In 1952 she became a full member of the Society of Wood Engravers. Greg lived in London and died in hospital at Enfield in north London in 1983.
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Augustin de Saint-Aubin sometimes styled Auguste de Saint-Aubin (3 January 1736 – 9 November 1807), belongs to an important dynasty of French designers and engravers.
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Russell Harper, Early Painters and Engravers in Canada, Toronto: University of Toronto Press, 1970, 41"Mr. Bowman," The Patriot, sec. V, no. 90, October 28, 1834.
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One of the stamps featured a picture of Viking based upon a photograph taken in 1893. The engravers included the American flag waving from the bow.
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Many members have their own individual websites to promote their work. Other social media accounts provide vital links between wood engravers in Britain and throughout the world.
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He was painting prolifically during this period, and exhibited seascapes and drawings of Wales at the St George's gallery. He also joined the Society of Wood Engravers.
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Harold Wincott was born in north London, where his father ran a small family business of heraldic engravers. He went to Hornsey County School, leaving at 16.
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The Birmingham School of engravers emerged from the early Birmingham drawing academies of Joseph Barber and Samuel Lines in the early 19th century. By the 1850s and 1860s they were dominant figures in the art of line-engraving. The Birmingham engravers enabled the expansion of the scope of illustrated books and magazines to include the works of artists such as J. M. W. Turner, greatly increasing the exposure of contemporary art.
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One mistake could ruin an entire plate. There were a half dozen engravers in England that made this look easy, based on the volume of etchings produced. A few of these popular engravers were admitted to the Royal Academy, including William Henry Mote. Here, however, the engraver was sarcastically called a "copier" and thus was limited to the Royal Academy rank of Associate; they were also warned by against "piracy".
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The union was formed in Manchester in 1885 as the National Society of Lithographic Artists, Designers and Writers, Copperplate and Wood Engravers, and it became the Society of Lithographic Artists, Designers, Engravers and Process Workers in 1903.Arthur Marsh and Victoria Ryan, Historical Directory of Trade Unions, vol. 1, p. 200. In 1919, it relocated to London.Jack Eaton and Colin Gill, The Trade Union Directory (1981), pp. 170–171.
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Poole produced some 36 wood-engravings from 1977 to 1993, which were snapped up by discerning collectors. She had solo exhibitions at the London dealer Duncan Campbell in 1989 and 1993. She exhibited regularly with the Royal Society of Painter-Etchers and Engravers, becoming an Associate in 1967 and a member in 1975. She was also a member of the Society of Wood Engravers and the Art Workers Guild.
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Gustav Kruell (October 31, 1843 – January 2, 1907) was a German-born wood engraver portrait artist. He was also founder of the American Wood Engravers' Society in 1881.
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Carl Schmitt (May 6, 1889 – October 25, 1989Mantle Fielding's Dictionary of American Painters, Sculptors, and Engravers (Poughkeepsie, NY: Apollo, 1983). ) was an American painter, etcher, pastelist, and writer.
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Giornale di belle arti, 1833, page 44. Among those engravers he influenced were Giovanni Battista de Gubernatis.Istituto Matteucci, short biography. He died in Turin on 29 April 1831.
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Dorgelès served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, a grant given between 1919 and 1954 to painters, sculptors, decorators, engravers, writers, and musicians.
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30 In 1975 she was elected a Fellow of the Royal Society of Painter-Etchers and Engravers. Greenwood's work is represented in collections in Europe, the US, and Australia.
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Bergson served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, a grant given between 1919 and 1954 to painters, sculptors, decorators, engravers, writers, and musicians.
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Scouts are exposed to cutting-edge equipment such as laser engravers, 3D printers, and CNC routers among others. Invention Scouts has its own ranks: Invention Scouts, Apprentice, Journeyman, & Master.
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He was a Societaire of the Salon d'Automne and of Salon des Independents in Paris, and an Honorary Member of the Royal Society of Etchers and Engravers in London.
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These were either original works cut by Dirck Vellert and Jan Swart van Groningen, taken from incunables, or copied after works by Hans Holbein the Younger and French engravers.
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He was a founder of the American Society of Wood Engravers, its first secretary 1881-1882, and was vice- president of the Art Students' League 1882-1883. He received honorable mention at the Paris Salon in 1881, and a second-class medal at an international exhibition of fine arts held in Munich in 1883. He taught engravers in his own studio. Juengling was identified with what was known as the new school in wood engraving.
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Citations of Lock and his artwork are found in Early Printers and Engravers in Canada by J. Russel Harper, and in The Collector's Dictionary of Canadian Artists at Auction by Anthony R. Westbridge and Diana L. Bodnar.Harper, J. Russell, Early Painters and Engravers in Canada, University of Toronto Press, 1970, ; page 199Westbridge, Anthony R. & Bodnar, Diana L. The Collector’s Dictionary of Canadian Artists at Auction, Vol. 2, page 126, Westbridge Publications, Ltd., 2000.
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The Académie royale de peinture et de sculpture had always considered printmakers and engravers inferior to painters, and starting in 1663, the first engravers were admitted, starting in April with François Chauveau. On August 7, 1663, Rousselet was the second engraver to enter the Académie royale de peinture et de sculpture. Charles LeBrun had supported Rousselet's entrance to the Académie. He exhibited his works at the Salons exhibition of 1664 and of 1673.
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He started an engraving apprenticeship in 1827. He worked for Cephas G. Childs. Newsam trained under George Catlin, and other engravers. Newsam's work was published by Childs starting in 1829.
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Vuillard served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, a grant given between 1919-1954 to young French painters, sculptors, decorators, engravers, writers, and musicians.
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Later in his career, Lagrenée acquired the epithet 'the French Albani' (l'Albane Francais).A Biographical and Critical Dictionary of Painters and Engravers, M. Bryan, (enlarged by George Stanley),London, 1849.
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She also studied graphic arts at London Polytechnic. Dybka was a fellow of London's guild of glass engravers, and is one of only two known people to use the cameo technique.
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Lewin was elected to the Royal Watercolour Society in 2016. She is a member of the Royal Society of Painter-Printmakers, The Society of Wood Engravers and The Art Workers' Guild.
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Engraving of Auguste Gaspard Louis Desnoyers (1862) Auguste Gaspard Louis, Baron Boucher-Desnoyers (19 December 1779 in Paris – 16 February 1857), was one of the most eminent of modern French engravers.
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In 1976 the union held an eight-and-a-half-week strike against John Fairfax and Sons over the introduction of computerised typesetting equipment. By the 1970s the union had established 100 percent membership in the newspaper section of the industry, and approximately 75 percent membership in the paper products sections. In 1986 the PKIU absorbed the Federated Photo Engravers, Photo-Lithographers and Photogravure Employees' Association of Australia, which had been active since 1910 as a small union of skilled workers in South Australian and Victorian newspaper offices. First registered federally in 1942 as the Federated Process Engravers, Photo-Lithographers and Photogravure Employees' Association of Australia, it changed its name to the Federated Photo Engravers, Photo-Lithographers and Photogravure Employees' Association of Australia in 1952.
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His two sons Angelo and Bartolomeo, as well as Bartolomeo's son Filippo, were also engravers. Cirillo made designs engraved by De Grado for the Archeologist Alessio Simmaco Mazzocchi's text: In mutilum Campani ampitheatri titulum aliasque nonnullas Campanas inscriptiones Commetarius, published in Naples in 1727, and including a depiction of a Roman amphitheater in Capua. Angelo and Bartolomeo and the latter's son Filippo were also engravers. Santolo Cirillo pittore grumese del '700 , by Franco Pezzella March 2009, Tipografia Cav.
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Eve, a modern wood engraving by Eric Gill, a founder member of the Society, 1929 The Society of Wood Engravers (SWE) is a UK-based artists’ exhibiting society, formed in 1920, one of its founder-members being Eric Gill. It was originally restricted to artist-engravers printing with oil-based inks in a press, distinct from the separate discipline of woodcuts. Today, its support extends to other forms of relief printmaking, and awards honorary membership to collectors and enthusiasts.
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Noel Rooke's students at the Central School were prominent in those very early years of the wood engraving revival, as members of the Society of Wood Engravers, as contributors to books and as illustrators of books. Pilkington exhibited in the first exhibition of the Society of Wood Engravers in 1920, and continued to do so until 1931. She became a member of the society in 1921. In 1919 Malcolm Salaman included her wood engravings in his Studio anthology.
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Of at least eight engravers by the name of Tardieu, Nicolas-Henri was the most notable, one of the most prominent engravers in France for his versatile use of point and graver. He was author of many engravings of the highest quality. Tardieu held true to the principles of his master, Gérard Audran. He was an opponent of the fashionable trend towards less serious subjects, and attempted to pass on his traditionalist views to his pupils.
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1852); 109 Farringdon Road, London (c.1867-1875). Dickes retired in 1873. William Dickes was one of a group of London-based wood-engravers who saw in the developing market for illustration a great opportunity to profitably use their technical and artistic skills - the burgeoning book and periodical trade in London created an insatiable demand for images. Dickes assembled a team of wood-engravers between 1842 and 1847 to illustrate the Abbotsford edition of Walter Scott's work.
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Mote was first mentioned in publications as working under the supervision of Charles Heath when he was sixteen or seventeen years old."The Bulletin", Volume 23, NY Public Library. He became a member of the Royal Academy when he was roughly twenty eight years old. He also was one of many engravers to sign a petition addressed to the King and the Royal Academy in 1837 to protest the limitation of engravers to distinction as "associates".
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The Drevet Family were leading portrait engravers of France for over a hundred years. Their fame began with Pierre, and was sustained by his son, Pierre- Imbert, and by his nephew, Claude.
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St John Hornby called Hooper almost the last of the old school of wood-engravers and a very fine craftsman. His papers were purchased by the University of Iowa Libraries in 2006.
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In 1977 Kilbourn was elected to the Royal Canadian Academy of Arts, and to England's Society of Wood Engravers in 2001. Her name was entered in Havergal College's Hall of Distinction in 2004.
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Nos. 48 & 50, Padgett & Braham Ltd. and Wakely & Wheeler Ltd, goldsmiths & silversmiths. Also at the same premises were T & A Wise Ltd. engravers, and The Flutemakers Guild, makers of flutes in precious metals.
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Today laser engraving machines are in development but still mechanical cutting has proven its strength in economical terms and quality. More than 4,000 engravers make approx. 8 Mio printing cylinders worldwide per year.
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Dürer continued Schongauer's curved shading, with increasing manual delicacy and skill, and over-loaded his plates with quantities of living and inanimate objects. He applied the same intensity of study to every art form he explored. Peter Paul Rubens and the engravers he employed, made marked technical developments in the field of engraving. Instead of his finished paintings, Rubens provided his engravers with drawings as guides, allowing them to discard the Italian outline method and in its place substitute modeling.
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In 1906, Woll was elected president of the International Photo-Engravers Union of North America (IPEU). During his tenure, IPEU organized more than 90 percent of all photo-engravers in the United States and Canada. A firm believer in arbitration rather than the strike, Woll forced nearly all IPEU locals to agree to binding arbitration clauses in their collective bargaining agreements. Woll also campaigned heavily for the five-day work week, paid vacations and holidays, and health and welfare benefits.
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Cosmo Armstrong ( 1800–1836), was an English line-engraver. Armstrong was a pupil of Thomas Milton, the landscape-engraver. He was a governor of the Society of Engravers, and he exhibited with the Associated Engravers in 1821. He engraved some plates for Cooke's edition of the British Poets, Sharpe's edition of the British Classics, Kearsley's edition of Shakespeare, Suttaby's edition of the British Classics, Allason's Picturesque Views of the Antiquities of Pola, 1819, and the Ancient Marbles in the British Museum.
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In 1887, Robertson was elected to the Society of Painter- Etchers and Engravers, later to become the Royal Society of Painter- Printmakers. He was elected a full Fellow of the Society in 1908. Robertson exhibited 33 artworks at the Royal Academy in London and 166 works at the Society of Painter-Etchers and Engravers. He lived in Godalming and painted and etched in the county of Surrey, including in Guildford from St Catherine's Hill (1891), Shere (1899), and Albury (1905).
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He was born in London the son of Jacques or James Basire, a Huguenot and native of Rouen, and Magdelaine Lair. Isaac sparked a prodigious line of engravers, including his son James (1730-1802), grandson James (1769-1822), and great-grandson James (1796-1869). There is some difficulty in assigning works to a particular member of the family. All four worked as engravers, sometimes as an apprentice to his father, with overlapping periods of productivity, and three shared the same name.
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Edelinck was born in Antwerp, where he received his early training under the engravers Gaspar Huybrechts (1619–1684) and Cornelius Galle the Younger. He went to Paris in 1666, where he worked with his fellow Fleming Nicolas Pitau the elder. To improve himself further he subsequently studied under François de Poilly, Robert Nanteuil, and Philippe de Champaigne. These masters likewise had soon done all they could to help him onwards, and Edelinck ultimately took the first rank among line engravers.
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She was a member of the Society of American Wood-Engravers, and has been recognized as its most prolific producer of original (as opposed to reproductive) images. Anna Botsford Comstock, plate III. Wood engraving.
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19 Dec 1799), was a medical doctor who practised in York. Thomas Beckwith's portrait was etched by William Doughty.Joseph Strutt. A biographical dictionary: containing an historical account of all the engravers(1785) p 261.
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He edited the 1886–1889 edition of Michael Bryan's Dictionary of Painters and Engravers, and contributed articles to the Dictionary of National Biography. Graves died at Ealing on Tuesday, 26 September 1922, aged 87.
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Some of the noted portraits that in the past were attributed to Frederick are now considered to be by him. A number of his portraits were engraved in mezzotint by engravers including John Smith.
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They then interpreted these cracks as auspicious or inauspicious, after which engravers carved into the surface of the shell or bone the subject of the charge, sometimes the forecast, and less frequently the result.
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Samuel Redgrave: A Dictionary of Artists of the English School: Painters, Sculptors, Architects, Engravers and Ornamentists: With notices of their lives and work. George Bell and sons, London, York Street, Covent Garden 1878, p. 167.
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Upon his return to Antwerp he produced engravings after designs of Sebastiaen Vrancx, Otto van Veen, Anthony van Dyck and Peter Paul Rubens. He also created original designs for the publishing projects of Antwerp engravers.
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In 1735 Baron was one of a group of leading London artists shown in Gawen Hamilton's painting A Conversation of Virtuosis He was one of four French engravers employed by William Hogarth to produce plates for his series Marriage à la mode. He also engraved portraits by Hogarth and Allan Ramsay, and works by Holbein, Rubens, Van Dyck, and Teniers. He gave evidence to the committee of the House of Commons which led to the Engravers Copyright Act. He died in London on 24 January 1762.
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Aspden attended the Blackburn School of Art from 1927 to 1933 after which she studied at the Royal College of Art in London until 1937. That year she was elected an associte member of the Royal Society of Painter-Etchers and Engravers. During World War II, Aspden worked on camouflage designs for the British government. She went on to exhibit regularly in London, where she lived, at the Royal Academy and the Royal Society of Painter-Ethchers and Engravers, elsewhere in England and in North America.
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Blair Rowlands Hughes-Stanton (22 February 1902 - 6 June 1981) was a major figure in the English wood-engraving revival in the twentieth century. He was the son of the artist Sir Herbert Hughes-Stanton. He exhibited with the Society of Wood Engravers, but was more in sympathy with the philosophy of the English Wood Engraving Society, of which he was a founding member in 1925.Joanna Selborne, 'The Society of Wood Engravers: the early years' in Craft History 1 (1988), published by Combined Arts.
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She exhibited at international exhibitions of printmaking in Brazil, China, Poland, Italy and Netherlands. Beaver's prints have been shown at the Society of Wood Engravers, the Royal Society of Painters, Etchers and Engravers, the Royal Academy Summer Exhibitions. She has held solo shows at the University of Warwick, the Lantern Gallery in Manchester, St. Michael's Gallery in Derby, the Quadrangle Gallery in Oxford and the Mignon Gallery in Bath. She was a prize winner at the 5th Seoul International Print Biennale in South Korea.
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Francesco's oldest brother Francesco Lauri was also a painter and a pupil of Andrea Sacchi, who died young. Fillipo often painted small figures for the landscapes of Claude Lorraine. He was prolific. He employed many engravers.
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Wilson was elected an Associate of the Royal Society of Painters, Etchers and Engravers (A.R.E.) in 1907,Hopkinson, Martin (1999). No day without a line. The History of the Royal Society of Painter- Printmakers, 1880–1999.
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International Photo-Engravers' Union of North America (IPEU) was a labor union formed in 1904 to represent halftone photoengravers in the printing industry. Its successor union is the International Brotherhood of Teamsters, Change to Win Federation.
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Nimschke's work is on display at many museums throughout the world including the Metropolitan Museum of Art. Many engravers emulated his style, which has become known today as "Nimschke School" or "New York Style" of engraving.
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She moved to Kensington in 1928. She later studied at the Central School of Art. One of Garwood's early woodcuts, shown at the Society of Wood Engravers' annual exhibition in 1927, was praised in The Times.
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Hogarth published engravings of the paintings on 25 June 1735, the day that the Engravers' Copyright Act became law. The composition of several of the engravings is reversed from the paintings, due to the printing process.
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His sons, Theodorus Danckerts I (1663-1727) and Cornelis Danckerts II (1664-1717) were prominent engravers and print makers, skillful in map plate engraving and etching.Tooley, Ronald Vere. Tooley's Dictionary of mapmakers. New York: Meridian Pub.
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Lupton was the youngest of the engravers employed by J. M. W. Turner upon the "Liber Studiorum" ("Book of Studies"), and he executed four of the best of the published and several of the unpublished plates.
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Portrait of Karl Philipp Moritz (1790) Friedrich Rehberg (22 October 1758 - 20 August 1835) was a German portrait and historical painter.Friedrich Rehberg in Bryan's "Bryan's dictionary of painters and engravers" (New York : Macmillan, 1903) p. 206.
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James Basire (1730–1802), also known as James Basire Sr., was the most significant of the family of engravers. He was noted for his skill at architectural prints and his apprenticing of the young William Blake.
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His assistants' role is not always clear and may have ranged from painting after his study heads to adding landscape backgrounds. They also copied his compositions, either in paint or on paper, for reproduction by engravers.
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The following etchers and engravers took part in the work: Walter M. Aikman (b. 1857); Charles Jean Louis Courtrv (b. 1846); Adolphe Alphonse Gery-Bichard (b. 1841); Paul Le Rat (b. 1840); Auguste Hilaire Leveille (b.
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This organization, the Lithographers' International Protective and Beneficial Association of the United States and Canada (LIPBA) was formed as an adjunct of the Knights of Labor, a predecessor and rival to the fledgling American Federation of Labor which favored an industrial form of organization. LIPBA consequently included a wide range of skilled workers among its ranks, including artists, engravers, transferrers, and skilled press operators. Most of the artists and engravers withdrew from LIPBA in 1890 to form their own organization, the cumbersomely named International Lithographic Artists' and Engravers' Insurance and Protective Association of the United States and Canada (ILAE). Originally conceived as a mutual benefit society, the ILAE rapidly moved into collective bargaining, attempting to use its clout to establish a minimum wage for artistic workers in the industry and to abolish the use of piece work.
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James Basire James Basire (1730–1802 London), also known as James Basire Sr., was a British engraver. He is the most significant of a family of engravers, and noted for his apprenticing of the young William Blake.
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Following this, he set up his own business moving to numerous locations throughout Birmingham before settling at Newhall Street until his death. He had many apprentices including Peter Wyon, a member of a large family of engravers.
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Swidde was one of a team of engravers, making 76 of the book's plates. He worked from drawings made by Dahlbergh, often correcting and bettering the motifs in cooperation with Dahlbergh. He died in Stockholm in 1697.
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32, Buffalo, New York: Garretson, Cox & Company, 1897. He was also numbered among a group of "splendid engravers" by the "Brooklyn Museum Quarterly" in 1916."Brooklyn Museum Quarterly." New York: Institute of Arts & Sciences, 1916, page 59.
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Thomas Cockson, or Coxon (bap. 1569 - fl. 1609-30 or 1636 – 1641), was one of the earliest English engravers. He left a large number of portraits engraved entirely with the graver in a neatly and finished manner.
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The administration building houses the engravers, a laboratory, and a vibration-free basement where coinage is measured to ensure correct size and weight.Pearce, Steve (2001). Making money, the story of the Royal Australian Mint. Nucolorvue Productions (www.nucolorvue.com.
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Caplan, H.H. (2002).Biographical Encyclopedia of American Painters, Sculptors & Engravers of the United States: Colonial to 2002. Dealers Choice Books. . The recipient of more than 60 major awards, he is listed in Who's Who in American Art.
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Among these are those of Le Brun, Rigaud, Champaigne, Nanteuil, La Fontaine, Colbert, John Dryden, Descartes, Jean-Baptiste Lully, etc. He died at Paris in 1707. His younger brother Jean, and his son Nicholas, were also engravers.
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Frank Leslie's Illustrated Newspaper, April 1883 In 1848 he came to the United States, in 1852 working for Gleason's Pictorial in Boston. He discovered he could accelerate the engraving process significantly by dividing a drawing into many small blocks and distributing the work among many engravers. A job on a large-format wood engraving which might have taken a month for a single wood engraver to complete, could be completed in a day by 30 engravers. In 1853, he arrived in New York City to engrave woodcuts for P. T. Barnum's short-lived Illustrated News.
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There was a circle of engravers working around Raphael, whose prints were issued by a professional publisher, il Baviera, Raphael's former assistant, who had gained control of his plates at his death. Due to il Baviera's tight control on the original copper plates used to print Raphael's engravings, creating pirated copies of Raphael's work became a common activity amongst engravers and printers in Rome. Ugo settled in Rome near Raphael's studio, but he worked independently of il Baviera. He set up a workshop in his house and printed and published blocks in his own shop.
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The Society of Engravers was founded in London in 1802 to promote British printmaking, largely because engravers were not allowed (unless they were also painters or sculptors) to join the Royal Academy, and also to enable "each individual to act with more firmness in opposing the pretensions ... of booksellers and publishers".Raimbach, Memoirs, p. 37 The first President was Francesco Bartolozzi, himself in fact an R.A.. The Royal Watercolour Society (as it later became) was founded in 1804 for similar reasons.Iain McCalman (ed), An Oxford Companion to the Romantic Age: British Culture, 1776-1832, p.
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Moira Gibbings helped her husband in the business, and Gibbings kept close links with Coppard. Gibbings knew all the leading wood engravers of the day (he was a founder member and leading light of the Society of Wood EngraversJoanna Selborne, 'The Society of Wood Engravers: the early years’ in Craft History 1 (1988), published by Combined Arts.) and a number of authors, which enabled him to publish modern texts as well as classic ones. The first book for which Gibbings was entirely responsible was Moral Maxims by Rochefoucault (1924).
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Besides interpreting details of light and shade, from the 1820s onwards, engravers used the method to reproduce freehand line drawings. This was, in many ways an unnatural application, since engravers had to cut away almost all the surface of the block to produce the printable lines of the artist's drawing. Nonetheless, it became the most common use of wood engraving. Examples include the cartoons of Punch magazine, the pictures in the Illustrated London News and Sir John Tenniel's illustrations to Lewis Carroll's works, the latter engraved by the firm of Dalziel Brothers.
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Together with Frank Drake he designed the plaque, and the artwork was prepared by Linda Salzman Sagan, who was Sagan's wife at the time. Both plaques were manufactured at Precision Engravers, San Carlos, California. The first plaque was launched with Pioneer 10 on March 2, 1972, and the second followed with Pioneer 11 on April 5, 1973. In May 2017 a limited edition of 200 replicas engraved from the original master design at Precision Engravers was made available in a Kickstarter Campaign, which also offered laser- engraved replicas.
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Beedham was born in 1879 in Whitecross Street, Cripplegate, London, and, at the age of 13, was apprenticed for six years to an old established firm of wood engravers, Hare & Company in Essex Street, Strand. By the end of his apprenticeship he found that the skills that he had acquired had been replaced by photo-mechanical processes of reproduction of images.Albert Garrett, A History of British Wood Engraving (Tunbridge Wells, Midas Press, 1978), . He was one of three professional reproductive wood engravers who found that he could use his skills for teaching.
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Dalby exhibited at the Clarges Gallery in 1968 and in 1972. A number of solo exhibitions followed including at Camberley in Surrey during 1975, at Halifax House in Oxford in 1987 and at the Consort Gallery of Imperial College in both 1981 and 1988. Also in 1988 Dalby had a solo exhibition at the Shetland Museum in Lerwick. She has participated in a number of group shows including exhibitions organised by the Society of Wood Engravers, the Royal Watercolour Society and the Royal Society of Painter- Etchers and Engravers.
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Metropolitan Railway, Baker Street Station. Chromo lithograph published by Kell Brothers, c. 1863. Kell Brothers were engravers and printers in Castle Street, Holborn, London, who specialised in lithographic prints. They were active from 1860 to the early 1870s.
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His sons Émile Jacque (1848-1912) and Frédéric Jacque (1859-1931) were both painters and engravers especially of rural subjects. Another son, Lucien, was executed as a Communard during the French State’s bloody repression of the Paris Commune.
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M. Bryan. Dictionary of Painters and Engravers, biographical and critical. v. II. London, George Bell and Sons, 1889. In 1642 Wijck returned to the northern Netherlands, where he became a member of the Haarlem Guild of St. Luke.
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To apply light blows to the gold thread, or incrust it with a flat-based punch, a small hammer is used, very light and with a wide mouth, similar to those used by engravers who use a burin.
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Jollain (also spelled JolinBénézit 1976, vol. 6, p. 90. and IollainVenard, 1985, p. 30.) was the name of a family of French engravers and engraving publishers who lived and worked in the 17th and 18th centuries, mainly in Paris.
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Oxford and New York: Berghahn Books, 2006, p.239. Countess de Noailles served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, a grant given between 1919–1954 to painters, sculptors, decorators, engravers, writers, and musicians.
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Recently, engravers have begun to use lasers to engrave wood. Engraving for Dante's Paradise (Paradiso) by Doré Don Quijote engraving by Paul Gustave Louis Christophe Doré Another Don Quijote engraving by Doré, who preferred to work with wood engravings.
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Bryan's Dictionary of Painters and Engravers, v. IV, 1904, p. 87. The following year he exhibited some enamels and miniatures. Having married Catherine Butler, daughter of William Butler of Castle Crine, County Clare, Ireland, Pelham subsequently went to Ireland.
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Florence Dreyfous (October 25, 1868 – September 11, 1950) was an American painter who studied and spent most of her life in New York City.Opitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, NY, 1988.
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Sir Robert Strange, as many other English engravers, made it his study to soften and lose the outline, specifically in figure-engraving. Meanwhile, Gerard Audran (d. 1703) led the Renaissance school in perfecting the art of modeling with the burin.
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Pp 272. Jersey: Jersey Heritage. Fine Prints of the Year continued as a record of the work of etchers and engravers until the sixteenth and last annual volume for 1938,Dodgson, C., editor (1938). Fine Prints of the Year 1938.
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Stonemasons and stone engravers also use their talents to produce various accessories in granite: picnic tables, fences, poles, street numbers of houses, desks, benches, stands, ornaments, etc. In a village tour, visitors are often impressed by the architectural presence of granite.
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The engravers, no less affected by the Renaissance than were other artists, began creating intricate and elaborate designs featuring the heraldic arms and standards of the minting state as well as brutally realistic, sometimes unflattering, depictions of the ruler (monarch).
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Retrieved May 27, 2018 During the mid-20th century, a renaissance in hand-engraving began to take place. With the inventions of pneumatic hand-engraving systems that aided hand-engravers, the art and techniques of hand-engraving became more accessible.
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Holloway is noted for his arduous engravings of cartoons by Raphael at Windsor Castle in 1800, on which he worked for 30 years.Clarke. The Georgian Era: Political and rural economists. Painters, sculptors, architects, and engravers. Composers. Vocal, instrumental and dramatic performers.
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Barnett Samuel MarksPublished in Rees, T. Mardy Welsh painters, engravers, sculptors (1527-1911) Carnavon 1912 Barnett Samuel Marks (Cardiff 1827–London 1916) R.C.A. (Royal Cambrian Academician) was a Welsh-Jewish portrait painter who was also noted for his social realism paintings.
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Diana Bloomfield, née Wallace (25 November 1915 - 30 July 2010)Carolyn Trant, 'Diana Bloomfield: a tribute' in Multiples (November 2010), published by the Society of Wood Engravers. was a British wood-engraver, best known for her bookplates and commercial work.
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Charles-Simon Pradier (1786 – 21 July 1847) was a Swiss engraver who also worked in France and Brazil. He was recognized as one of the leading engravers of his day. He collaborated with Jean Auguste Dominique Ingres on several works.
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A fourth volume, Serie di ritratti degli eccellenti pittori simply consists of fifty portraits of well-known artists, architects, sculptors and engravers. The Museum Florentinum described for the first time many of the sculptures and antiquities in the Medici collections.
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The elder, James Francis Danby (1816–75), exhibited at the Royal Academy. "He excelled in depicting sunrise and sunset."Michael Bryan, Dictionary of Painters and Engravers, Vol. 1, revised edition edited by Robert Edmund Graves, London, George Bell, 1886; p. 348.
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"Career obscure; but was a designer and engraver of banknotes in New York in 1815."Grolier Club. Catalogue of an exhibition of early American engraving upon copper]: 1727-1850, with 296 examples by 147 different engravers. De Vinne Press, 1908; p.
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Proske was one of Brenda Putnam's students. She gave up creating large-scale works and concentrated on busts and smaller pieces.Mantle Fielding & Glen B Opitz, eds., Mantle Fielding's Dictionary of American Painters, Sculptors and Engravers, (Poughkeepsie, NY: Apollo Press, 1986), p.
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Remigius Hogenberg (c. 1536, Mechlin - c. 1588, London) was Dutch engraver who arrived in England c. 1573. He most likely resided in the parish of St Giles Cripplegate, this parish and St Andrew's Holborn being the main locations for engravers.
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Artists whose work illustrated these volumes included William Turner, Edwin Henry Landseer, Charles Lock Eastlake, John Cheney, and John Sartain. Many of the illustrations reproduced works by European artists of the Renaissance and later eras and served to make the works of these artists known to a much wider audience. Engravers had their own art of taking a color painting and converting it to a black and white steel engraving (and also reversing it). These engravers often worked 12- to 16-hour days and each line was scratched by hand onto soft steel plate with a magnifying glass in one hand.
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In the period 1801 to 1804, Benjamin Smith the Younger born in 1774, worked on Charles Smith's New English Atlas, specifically on the maps for Devon, Sussex and Berkshire. In 1810 whilst sailing to Portugal for business, Smith and partner engraver Joseph Bye were captured by a French privateer and imprisoned in France for 4 years until peace was declared in 1814. They returned to Edinburgh where they worked as journeyman engravers for book sellers and map engravers W.H. Lizars. In 1817 Smith and Bye were convicted at Dover of uttering forged Margate Bank notes and initially sentenced to death.
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The SWE was founded primarily to promote wood engraving in the European manner – printing with oil-based inks in a press, rather than with water-based ink and manual pressure in the Japanese tradition. Secondly, its aim was to promote the work of artist-engravers as distinct from the nineteenth-century artisans, who engraved designs provided by artists but were not necessarily artists themselves. The artists Noel Rooke and Robert Gibbings, were the driving force behind the society. Joanna Selborne, ‘The Society of Wood Engravers: the early years’ in Craft History 1 (1988), published by Combined Arts.
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He was employed by New York engravers in 1858-1860 and in 1860 began engraving on his own and soon established a successful business in New York City. He mainly did portrait engraving and though he had many engravers in his employ, it is said that he finished every plate himself. Among his best known productions were the engravings entitled "The Better Land", dedicated to the poet Henry Wadsworth Longfellow, published in 1866; "The Good Part", published a few years later; and a series of portraits on steel of distinguished men which appeared in The Eclectic Magazine.
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He is not known to have cut any italic types, which were not popular in the Netherlands during the 1570s. Besides his own types, he justified matrices (setting their spacing) from other engravers, cut replacement characters for some of Plantin's types with shorter ascenders and descenders to allow tighter linespacing, and in 1572 compiled an inventory for Plantin of the types Plantin owned. Van den Keere also owned matrices for type by other engravers, at the end of his life owning three roman types by Claude Garamond, two romans by Ameet Tavernier, and six italics and a music type by Robert Granjon.
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View into the picture gallery of the Archduke Leopold in Brussels, by Nikolaus van Hoy from Theatrum Pictorium, 1656–1660 In the preparation of this project, Teniers first painted reduced modelli after the original works on panels of roughly 17 by 25 in dimensions. These were then engraved on the same scale by a pool of 12 engravers.The principal engravers were: Jan van Troyen, Lucas Vorsterman II, Pieter van Lisebetten, Coryn Boel, Theodor van Kessel. Other engravers included Jan van Ossenbeeck, Frans van der Steen, Nicolaus van Hoy, Remoldus Eynhoudts, Coenrad Lauwers, Dominicus Claessens and Jan Popels.
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She first exhibited a wood engraving in 1924 at the Society of Wood Engravers and continued to do so on a regular basis until 1976. Greg produced wood cut, or sometimes lino cut, designs for book dust jackets and endpapers, for calendars and also decorated piano rolls, often with musical subjects. She illustrated several books mostly with natural history or countryside themes and contributed illustrations to the magazine Country Life. Greg exhibited on a regular basis at the Royal Academy, with the New English Art Club, the Royal Society of Painter-Etchers and Engravers, the Royal Hibernian Academy and the Royal Watercolour Society.
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Nicolas Bernard Lépicié was an 18th-century French painter (16 June 1735 – 15 September 1784), the son of two well-known engravers at the time, François- Bernard Lépicié and Renée-Élisabeth Marlié, was introduced to the artistic and cultural environment by his parents.
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His early in life he was articled to an uncle who was a writing engraver. Around 1830 he came to London, and at first found employment in engraving coats-of-arms. He then entered the service of Messrs. Fenner & Sears, engravers and publishers.
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Alice Margaret Coats (15 June 1905– 19 May 1978, Bath) was a British watercolor painter, engraver, woodcut artist, and author. She was a member of the Central Club of Wood-Engravers in Colour. She is best known for botanical and horticultural works.
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Despite the lack of documentation about Bonasone's life, historians have recognized and commented upon his art. Together with Rota, Ghisi, the Scultori and Caraglio, he was among the leading sixteenth-century engravers, and is mentioned in even the most general histories of engravings.
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A few weeks later, he died there. His works may be seen at the NationalmuseumNationalmuseum and the Nordiska museet. The Fisherman and the Siren His sister, Emma, also became an artist. His brothers, Gustaf (1858–1920) and Hugo (1854–?) both became metal engravers.
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La Magdeleine pénitente, gravure de Tardieu d’après Paolo Pagani, v. 1750, Dresde, Galerie des vieux maitres de Dresde. Jacques-Nicolas Tardieu was born on 2 September 1716 in Paris. He was the son of Marie-Anne Horthemels and Nicolas-Henri Tardieu, both engravers.
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He is one of the earliest American wood-engravers. He produced works for books, periodicals, and newspapers. Anderson is the author of the cartoon Ograbme, a spoof on the Embargo Act of 1807. Anderson died in 1870, at the age of 95.
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Aliye Berger (24 December 1903 - 9 August 1974) was a Turkish artist, engraver, and painter. Berger is one of the first engravers of Turkish Republic. She is known for her expressionist engravings and winning the painting competition of Yapı Kredi Bank in 1954.
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His father was Isaac Basire (1704–1768), a cartographer, his son (1769–1822) and grandson (1796–1869) were also named James; these four generations of Basires were all engravers. Their longevity produced overlapping careers, which has led to difficulties in attribution of some works.
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A French engraver, b. Lyons, 1705; d. in Paris, 1782. He was a nephew and pupil of Pierre the Elder and at first followed the traditions of the two Pierres, forming about him a coterie of engravers who endeavoured to keep alive their traditions.
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She also exhibited paintings at the Royal Academy in London, with the Society of Women Artists and the National Society of Painters, Sculptors and Engravers. Guy exhibited extensively abroad, notably in Paris at both the Paris Salon and at the Salon de la Marine.
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All of these men, including William Faden, were engravers and publishers, not scholars or academics. Their part was to publish and supply maps to the crown and parliament.Pedley, Mary Sponberg. 2005. The Commerce of Cartography: Making and Marketing Maps in Eighteenth- Century France and England.
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Abbé was baptized in 1639 in the cathedral at Antwerp. Some prints by him were published in Antwerp in 1670. An edition of Ovid's Metamorpheses, published by Francois Foppens in Brussels in 1677, was partly illustrated with plates by other engravers after drawings by Abbé.
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He also conducted a study trip to Italy in 1901. He was influenced by modern French medal engravers of that period including Louis-Oscar Roty (1846–1911), Jules-Clément Chaplain (1839-1909), Ernest Paulin Tasset (1839-1921) and Frédéric-Charles-Victor de Vernon (1858-1912).
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Alison Cornwall Geissler MBE, née McDonald (13 April 1907 – 25 January 2011), was one of the foremost glass engravers in Scotland during the mid-twentieth century.Scotland's Glass, 400 Years of Glassmaking, ,Authors: Shiona Airlie & Brian BlenchGoodearl, Tom and Marilyn Goodearl. Engraved Glass: International Contemporary Artists.
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G. Bell and Sons. p. 666. From 1843–87, he exhibited regularly at the Salon, where he was awarded a third-class medal in 1844 and a second-class medal in 1849.Bryan, Michael and George Charles Williamson (1903). Bryan's Dictionary of Painters and Engravers.
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Tardieu was part of a family of engravers. His brothers were Antoine François Tardieu and Jean Baptiste Pierre Tardieu. His nephews Ambroise and Pierre also worked in this industry. He learned his craft from his uncle Jacques-Nicolas Tardieu and his godfather Johann Georg Wille.
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From 1909, Kean was leader of the small Amalgamated Union of Engravers to Calico Printers and Paper Stainers. In 1917, he founded the Wallpaper Stainers' Trade Union Federation, which also included the Amalgamated Society of Machine Paper Stainers and Colour Mixers of Great Britain and the Paper Stainers' Union of General Workers. Kean persuaded the two to join with those members of his union involved in the manufacture of wallpaper in forming a new Wallpaper Workers' Union. Kean decided to focus on the wallpaper industry, and resigned from the Engravers in 1920; he was elected as the first general secretary of the Wallpaper Workers' Union.
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William Haines after Alexander Pope) Biographical and Critical Dictionary of Painters and Engravers, Volume II, 1816 Michael Bryan (9 April 1757 – 21 March 1821) was an English art historian, art dealer and connoisseur. He was involved in the purchase and resale of the great French Orleans Collection of art, selling it on to a British syndicate, and owned a fashionable art gallery in Savile Row, London. His book, Biographical and Critical Dictionary of Painters and Engravers, first published in 1813–1816, was a standard reference work (revised, and often under variant titles) throughout the 19th century, and was last republished in 1920; however it is now badly outdated.
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178; Library of Congress, APS Online. Perhaps an even greater obstacle arose from the opposition of wood engravers and the reluctance of artists to change their style of drawing to fit this new art. The wood engravers feared—quite rightly, as it turned out—that Moss’ invention would decimate their profession. The artists did not favor Moss because they were accustomed to sketching their drawings quickly with pencil and brush, leaving the finished work to be done by the slow and tedious toil of the wood engraver. Moss’ process required that they spend enough time to complete their drawings, which would then be photographed.
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Smith studied stippling techniques under Francesco Bartolozzi, one of the most famous and sought after engravers of the 18th Century. During his career Smith engraved many fine plates after the designs of contemporary masters such as William Hogarth, William Beechey and George Romney. He also created portrait engravings of such noteworthy individuals as Marquis Cornwallis and George III. Benjamin Smith, one of the foremost engravers of London, was for some years largely employed by John Boydell, who commissioned him to engrave many of the most important plates for his Shakespeare Gallery and for his Poetical Works of John Milton set, which were published between 1794 and 1797.
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Robert John Gibbings (23 March 1889 – 19 January 1958) was an Irish artist and author who was most noted for his work as a wood engraver and sculptor, and for his books on travel and natural history.Martin J. Andrews, The Life and Work of Robert Gibbings (Bicester, Primrose Hill Press, 2003), . Along with Noel Rooke he was one of the founder members of the Society of Wood Engravers in 1920,Joanna Selborne, 'The Society of Wood Engravers: the early years’ in Craft History 1 (1988), published by Combined Arts. and was a major influence in the revival of wood engraving in the twentieth century.
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The fellows diploma of the Royal Society of Painter-Etchers and Engravers, produced by member George W. Eve in 1904. The Royal Society of Painter- Printmakers (RE), known until 1991 as the Royal Society of Painter-Etchers and Engravers, is a leading art institution based in London, England. The Royal Society of Painter-Etchers, as it was originally styled, was a society of etchers established in London in 1880 and given a Royal Charter in 1888. Engraving was included within the scope of the Society from 1897, wood- engraving from 1920, coloured original prints from 1957, lithography from 1987 and all forms of creative forward-thinking original printmaking from 1990.
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The sale brought Long to the attention of Julian Ashton, a Trustee of the Gallery and founder of the influential Julian Ashton Art School (at that time called the Sydney Art School), and in 1907 he became Ashton's second-in-command in the school. In 1898 he was briefly engaged to Thea Proctor. In 1910 he moved to London, where he learned etching and became an associate of the Royal Society of Painters, Etchers and Engravers. He returned to Australia in 1921 and helped found the Australian Painters, Etchers and Engravers Society, lived in England for the period 1922–1925, then returned once more to Australia, becoming President of the Society.
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Master I.A.M.'s prints were often copied by contemporary engravers, but also by artists in other media. In particular the painter Gian Francesco da Tolmezzo based his fresco in Provesano (c. 1496) upon The Betrayal of Christ. Francisco Henriques also based paintings upon I.A.M.'s engravings.
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Both Geschke's paternal grandfather and father worked as letterpress photo engravers. Geschke's father helped in the early days of Adobe in checking color separation work with his engraver's loupe. Geschke describes his father's acknowledgement of the high quality of the halftone patterns as "...a wonderful moment.".
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He gained royal concessions under Henry IV of France and Louis XIII of France and developed a huge publishing business, collaborating with several engravers and publishing maps, images of contemporary events and other works, including an atlas of France. His wife was Frémine Ricard or Richard.
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Whistler's many honours included an OBE (1955) and a CBE (1973). In 2000, not long before his death at the age of 88, Laurence Whistler was created a Knight Bachelor. In 1975 he became the first President of the newly founded British Guild of Glass Engravers.
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Opitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, NY, 1988 In 1988 he was elected into the National Academy of Design as an Associate member and became a full Academician in 1991. His son Eric Kaz is a musician and songwriter.
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In 1871 he met Julia Evelyn Perkins, the daughter of one of the engravers for The History of North American Birds. Ridgway's courtship of the girl who became known as "Evvie" lasted until she reached the age of eighteen, and they were married on October 12, 1875.
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In France, the title of Official Painter of the French Air Force is granted by the French Minister of Defence to artists who have devoted their talent to aeronautics and space. It can be attributed not only to painters but also to photographers, illustrators, engravers and sculptors.
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John Nicolson (1891 in Scotland - September 3, 1951 in London) was a British artist, etcher and illustrator for books and periodicals. John Nicolson, known as 'Jock', was an Associate of the Royal Society of Painter-Etchers and Engravers (A.R.E.),Hopkinson, M (1999). No day without a line.
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He was born in Piacenza. His manner in engraving is described to be similar to that of Odoardo Fialetti.Notices of Engravers, and Their Works: Being the Commencement of a New ... By William Young Ottley, Esq. Longman Rees, Orme, Brown, and Green, London Paternoster Row 1831,Section 21.
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Gertrude Anna Bertha Hermes (18 August 1901 – 9 May 1983) was a British wood- engraver and sculptor. Hermes was a member of the English Wood Engraving Society (1925-31) and exhibited with the Society of Wood Engravers, the Royal Academy and The London Group during the 1930s.
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Opitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, NY, 1988 Both sisters would go on to exhibit at Henri's Exhibition of Independent Artists in 1910, a show that in some ways was a prototype for the Armory Show three years later.
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He also produced the official coronation medals of James II of England (1685) and William III and Mary II (1689). He died in 1703 and was buried in the Tower. Roettiers was widely credited as one of the best engravers ever employed at the English mint.
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Isaac Basire (20 September 1704 - 24 August 1768) was an engraver and first in a family line of prolific and well-respected engravers. Isaac Basire was known as a map engraver. His most well-known work is the frontispiece to an edition of Bailey's dictionary (1755).
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In 1970 she became a Fellow of the Royal Society of Painters-Etchers and Engravers. Thornton's work is included in a number of major public collections including the Victoria and Albert Museum, the British Museum, the Tate and others. Thornton died in 1991 in Chelsworth, Suffolk.
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C. Reid, p. 19. but no deeds of apprenticeship exist and we also know from his letters that he studied with a Mr Harris. Hood's daughter in her Memorials mentions her father's association with the Le Keux brothers, who were successful engravers in the City.Memorials, p. 5.
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Alles ist eitel, mezzotint by Haid, c. 1750 Johann Jacob Haid or Johann Jakob Haid (1704–1767) was a German engraver who worked in Augsburg.Johann Jakob Haid at wilnitsky.com Haid came from a German family of artists and engravers and was known for large mezzotint portraits.
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The origins of the union lay in the Wallpaper Stainers' Trade Union Federation, founded in 1917 by Charles Kean of the Amalgamated Union of Engravers to Calico Printers and Paper Stainers. Two years later, two other members of the federation, the Amalgamated Society of Machine Paper Stainers and Colour Mixers of Great Britain and the Paper Stainers' Union of General Workers, agreed to merge, forming the Wallpaper Workers' Union (WPWU). The Engravers' members in the wallpaper industry appear also to have joined, and Kean resigned as secretary of that union in 1920; its remaining members, concentrated in the cotton industry, became the United Society of Engravers of Great Britain and Ireland.Arthur Marsh and John B. Smethurst, Historical Directory of Trade Unions, vol.5, pp.65, 78-79University of Warwick, "National Union of Wallcoverings, Decorative and Allied Trades " The new union was also joined by the London Paperstainers' Trade Union and Benevolent Society, which appears to have become the core of the Wallpaper Blockprinters' Trade Union, a small union affiliated to the WPWU.
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His best-known work, the Descrittione di Lodovico Guicciardini patritio fiorentino di tutti i Paesi Bassi altrimenti detti Germania inferiore (1567, Description of the Low Countries), was an influential account of the history and the arts of the Low Countries, accompanied by city maps by various leading engravers.
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Further, Vermeule tied Keck's Liberty to coins and medals designed by the two chief engravers, including their work on medals for the Assay Commission. He concluded that Keck's "style, as manifest in the Lynchburg Sesquicentennial half-dollar, was a recollection of the fashions perpetuated by Barber and Morgan".
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Master engraver ennobling a watch movement. Top level engravers work under a stereo microscope. The actual engraving is traditionally done by a combination of pressure and manipulating the work-piece. The traditional "hand push" process is still practiced today, but modern technology has brought various mechanically assisted engraving systems.
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Book illustrations before the 1860s involved both an artist and an engraver. Both the artists' work and the engravers' "copy" had copyright protection in England. Sometimes the artist and the engraver were the same person. New technology made the profession of engraving obsolete (except for currency) around 1860.
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Matthew Woll (center). Matthew Woll (January 25, 1880 - June 1, 1956) was president of the International Photo-Engravers Union of North America from 1906 to 1929, an American Federation of Labor (AFL) vice president from 1919 to 1955 and an AFL-CIO vice president from 1955 to 1956.
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Bacchus by Domenico Poggini, 1554 Domenico Poggini (1520-1590) was an Italian sculptor, engraver, medallist, goldsmith, and poet. POGGINI DOMENICO in: Lorioli, Biographies of Italian Medallists and Engravers (Italian), retrieved 26 June 2014. Poggini was born in Florence. His father Michele Poggini and brother Giampaolo Poggini were also artists.
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The initials FH (top row) which Kujau mistakenly used on the diary covers, instead of AH (bottom row). Both sets of initials are in Engravers Old English font. It is unclear when Kujau produced his first Hitler diary. Stiefel says Kujau gave him a diary on loan in 1975.
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Tobie Steinhouse has earned many awards and honors. These include: the Jessie Dow Prize for Painting in 1967, the Sterling Trust Award of the Society of Canadian Painters, Etchers, and Engravers, the Canadian Centennial Medal in 1967, and the Purchase Award from the Thomas Moore Institute in 1999.
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The Daily Graphic: An Illustrated Evening Newspaper was the first American newspaper with daily illustrations. It was founded in New York City in 1873 by Canadian engravers George-Édouard Desbarats and William Leggo, and began publication in March of that year. It continued publication until September 23, 1889.
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Topographia Germaniae (1642 – c. 1660s) is a multi-volume series of books created by engraver Matthäus Merian and writer Martin Zeiler, and published in Frankfurt in 38 parts. Engravers Wenceslaus Hollar, Caspar Merian, and Matthäus Merian Jr. also contributed illustrations. In the 1960s Bärenreiter- Verlag reproduced the work.
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Eric Winter had an older brother and a younger sister. His brother Francis became Head of the Teacher Training course at Hornsey Art School and became one of the foremost wood engravers in the country. Eric Winter died in 1981 and is survived by his wife, daughter and son.
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John Preston Neale (1780–1847) was an English architectural and landscape draughtsman. Much of his work was drawn, although he produced the occasional watercolour or oil painting. His drawings were used on a regular basis by engravers. A major work, the Views of the seats, Mansions, Castles, etc.
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Welsh engravers National Library of Wales A popular portrait painter, several of his portraits are now held at the National Museum of Wales, including oils of preacher Christmas Evans, Thomas Charles, John Cox, and poet John Jones. The Museum also houses several mezzotints and lithograph portraits by him.
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Matzen studied at the Academy of Fine Arts in Munich and the Academy of Fine Arts in Berlin before immigrating to the United States.Opitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, NY, 1988 After moving first to Detroit he ultimately settled in Cleveland.
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They were also both inspired by medieval artists and by engravers of the High Renaissance and drew on Mannerist forms. Blake may have known of the earlier artist, since certain echoes of Duvet's work in Blake's seem more than coincidental.Blunt p.77, traces a possible route for this.
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Pioneers: Saad El-Khadem and Effat Nagy Museum, Youmna Salah, 1 January 2011, Masress.com, Retrieved 17 September 2015 His work was rewarded with the Grand Prix National de Peinture for 1955, and the UNESCO commission for sculpture appointed Lhote president of the International Association of Painters, Engravers and Sculptors.
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The top floor was occupied by Toppan, Carpenter, Casilear & Company, the engravers, as a workshop. Tappan & Company, a mercantile agency, had a single-room office that took up half the second floor. The rest of the building was divided into small offices. The store moved away in 1861.
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Guliyev G.А., Taghizadeh N. Metal and folk craft, Baku, 1968. p. 14 These skilled craftsmen included jewelers, blacksmiths, carpenters, carpet makers, engravers, painters, tanners, shoemakers and bast shoe makers, sock weavers and others. Many valuable examples of the products of these skills are exhibited in famous museums and collections.
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He spent the years 1786 to 1790 in Rome.Bryan's Dictionary of Painters and Engravers, Volume 2, by Michael Bryan, page 62. He was named professor at the Academy of Fine Arts of Florence in 1793. He appears not to have returned to France with the turmoil of the Revolution.
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Dodd acquired a wide knowledge of engravings, and began an elaborate biographical catalogue of engravers, which eventually formed thirty folio volumes of manuscript. In 1817 Dodd spent time on a dictionary of monograms, but a similar work by Brulliot was published about that time. Before leaving Manchester at the end of 1825 he began to publish his work entitled The Connoisseur's Repertorium; or a Universal Historical Record of Painters, Engravers, Sculptors, and Architects, and of their Works, &c.; The first two volumes were published in 1825, and the work was continued to the name "Barraducio" in a sixth volume, issued in 1831, when lack of support compelled the author to abandon it.
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Madame de Valory published in 1813 a comédie-vaudeville, Greuze, ou l'accorde de village, to which she prefixed a notice of her grandfather's life and works, and the Salons of Diderot also contain, besides many other particulars, the story at full length of Greuze's quarrel with the Academy. Four of the most distinguished engravers of that date, Massard père, Flipart, Gaillard and Levasseur, were specially entrusted by Greuze with the reproduction of his subjects, but there are also excellent prints by other engravers, notably by Cars and Le Bas. Greuze was the father of painter Anna-Geneviève Greuze, who was also his pupil.Profile of Anne- Geneviève Greuze in the Dictionary of Pastellists Before 1800.
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In Rome he joined a circle of artists which included John Deare, Robert Fagan, Charles Grignion the Younger and Samuel Woodforde. Cumberland studied the works of Raphael and the engravers Marcantonio Raimondi and Giulio Bonasone and formed a collection of prints and objects, in particular a large collection of Bonasone engravings.
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An Enzola medal of Costanzo Sforza, Lord of Pesaro Verso of the same medal, showing Pesaro Castle Gianfrancesco Enzola (c.1430, Parma - c.1513) was an Italian medallist, known as il Parmense (the man from Parma).Leonard Forrer, Biographical dictionary of medallists, coin, gem, and seal-engravers, 500 B.C.-A.
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It is thought that they began to print impressions of their designs to record them. From this grew the engraving of copper printing plates to produce artistic images on paper, known as old master prints, in Germany in the 1430s. Italy soon followed. Many early engravers came from a goldsmithing background.
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In the face of active opposition by wood engravers and the yawning indifference of publishers, Moss and his wife struggled in their home-workshop under penurious circumstances for eight years, attracting few clients, until they finally found several backers willing to invest in a new company devoted to photo- engraving.
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Catholic mass on the Marienplatz in München, around the Pillar of Mary, a symbol of the counter-reformational cult of Mary. In the tent, singers are singing, led by the conductor with a baton. Bartholomäus Kilian (1630–1696), was a German engraver and member of the Kilian family of engravers.
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IV (Cassell Petter and Galpin, London, n.d.), p. 230 (Internet Archive).), the series was published by Charles Tilt and printed by Richard Taylor in London in 1836.A list of artists and engravers is shown in the Yale University Library Catalogue entry, The Modern Gallery of British Artists, Call no.
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He also wrote a number of texts related to engraving in Mexico. The first was study on Mexican engraving from 1922 to 1950 with seventy biographical notes called El grabado contemporáneo (1951). This was followed by a set of 36 biographical texts of engravers in 1960 called Héroes de la Patria.
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Troy was then James II's only court painter and needed the help of Belle, his best student, to produce the many portraits commissioned from him. In 1698, he was appointed a Professor of the Académie Royale, and in 1708 became its Director.Bryan, Michael, Bryan's Dictionary of Painters and Engravers. Volume 5.
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Renina Katz Pedreira (born 1925, Rio de Janeiro), known as Regina Katz, is a Brazilian engraver, printmaker, and watercolorist. Together with Edith Behring and Fayga Ostrower, she is part of the generation of Brazilian women engravers that art historian Geraldo Edson de Andrade calls the "matriarchy of engraving in Brazil".
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Their number was limited to six, and unlike other associates, they could not be promoted to full academicians. In 1853 membership of the Academy was increased to 42, and opened to engravers. In 1922, 154 years after the founding of the Royal Academy, Annie Swynnerton became the first woman ARA.Hutchison, Sidney.
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Others consider them to be the work of Christopher Krieger. He also engraved the greater part of the figures in the Ornithology of Ulisse Aldrovandi. He died in Venice in the beginning of the 17th century. His sons Giovanni Battista Coriolano and Bartolommeo Coriolano became eminent engravers in the Baroque period.
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Artists included Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Angelica Kauffman, Robert Smirke, John Opie, and Boydell's nephew and business partner, Josiah Boydell. Among the engravers were Francesco Bartolozzi and Thomas Kirk.Pall Mall, North Side, Past Buildings. Boydell's relationships with his artists, particularly his illustrators, was generally congenial.
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Barometer Clock, ca. 1690-1700 Jacques III Thuret married a daughter of the royal designer Jean Bérain the Elder, whose designs he assembled and published ; his daughter Suzanne married the painter, draughtsman and engraver Charles François Silvestre.Michael Bryan, Dictionary of Painters and Engravers: Biographical and Critical, s.v. "Charles François Silvestre".
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In 2019 the passport was updated again with new internal features. The new passport is designed to comply with the EU requirements and the International Civil Aviation Organization (ICAO) recommendations. The passport contains 32 numbered pages plus a polycarbonate personal identification page with data, photo and signature engraved by laser engravers.
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Vasily Vasilyevich Mate (; – ), or Mathé, was a Russian artist and engraver. While he was not the author of any major original works, he was one of the major engravers in Russia during the late 19th century. He collaborated with major Russian painters and produced engravings of their paintings, thus helping popularize Russian art.
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In 1899, ITU Photo-Engraver's Union No. 1 went on strike to demand a 48-hour work week. The ITU refused to sanction the walkout, fearing employer retaliation against typographers. The photo-engravers' strike succeeded, which led many photoengravers' unions to conclude that they no longer needed the protection of the ITU.
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He was also Director of photo-engravers Carl Hentschel Ltd, 1899–1908. [1896 Patent: No 2013: “Improvements in the Production of Zink or other Metal Blocks for Printing Purposes.”] Grego was also a Director and substantial shareholder of Kegan Paul & Co. from 1903 and The Graphic Company, until his death.The Times, Obituaries.
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Pierre Firens (c. 1580–1638) was one of the major Flemish engravers and publishers at the beginning of the 17th Century. So Jean-François and his brothers, François fils [Junior] (1682—1763) and Joseph, Maxime Préaud, et al., “Jean-François Cars”, Dictionnaire des éditeurs d'estampes à Paris sous l'Ancien Régime pages 73-74.
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In the 18th century was held in the Salon Carré of the Louvre (which gave the Salon its name) and gradually expanded over the years to the Gallery of Apollo. At the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed.Levey, Michael. (1993) Painting and sculpture in France 1700-1789.
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George Eve, c. 1911, and his signature. The fellows diploma of the Royal Society of Painter-Etchers and Engravers, produced by George Eve, 1904. George William Eve, (1855-1914Viner, George H. (1916) A descriptive catalogue of the bookplates designed and etched by George W. Eve, R.E. Kansas City: The American Bookplate Society, p.
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His family owned the Pull Court estate near Bushley in Worcestershire, and many of his ancestors had been MPs, including his father William Dowdeswell, who was Chancellor of the Exchequer from 1785 to 1766. Dowdeswell was known as a collector of prints by old English engravers and made a speciality of grangerizing.
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Mabel Alleyne is a minor figure in the wood engraving revival at the beginning of the twentieth century. She is almost invisible in the literature, and is recorded in the records of the Society of Wood Engravers, and in the credits in the London Mercury, as M. Alleyne rather than Mabel Alleyne.
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There, he designed architectural sculpture for hundreds of buildings, including New York City's Metropolitan Opera House.Opitz, Glenn B., ‘’Mantle Fielding’s Dictionary of American Painters, Sculptors and Engravers’’, Apollo Books, Poughkeepsie, New York, 1988 He later settled in California.Mitchell, Stephen, Jo Mora: Renaissance Man of the West. Stoecklein Publishing, Ketchum, Idaho, 1994, p.
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Slaves working in the field. From a $100 C.S. banknote. The Confederacy, being limited in skilled engravers and printers as well as secure printing facilities, often had to make do with unrelated designs in early banknote issues. Some such were abstract depictions of mythological gods and goddesses, such as the Goddess of Liberty.
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A Discourse against Transubstantiation (1690) was written in the form of a dialogue between a Protestant and a Catholic. A Discourse on Water Baptism appeared in 1700. Salmon's works frequently included portraits, with surrounding details that vary between editions. George Vertue lists several portraits of Salmon in A catalogue of engravers (1782).
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E. M. O'R. Dickey (1 July 1894 - 12 August 1977) was a wood engraver who was active at the beginning of the twentieth century. He was a founder member of the Society of Wood Engravers.Joanna Selborne, ‘The Society of Wood Engravers: the early years’ in Craft History 1 (1988), published by Combined Arts.
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Cogniat 1975, p. 61. Impressionist artists formed a group, Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs ("Association of Painters, Sculptors, and Engravers") which, despite internal tensions, mounted a series of independent exhibitions.Cogniat 1975, pp. 43–49. The style was adopted by artists in different nations, in preference to a "national" style.
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Enid Marx became a member of the Society of Wood Engravers in 1925. She was awarded the distinguished status of Royal Designer for Industry by the British Royal Society of Arts in 1944. Marx was one of the designers chosen to exhibit in the Royal Pavilion at the Festival of Britain in 1951.
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Arthur Nahl (1 September 1833 - 1 April 1889) was a German-born artist, daguerreotyper, engraver, portraitist, and landscape painter. Nahl was a painter known for his American Old West paintings of California. He was considered one of California's finest engravers,Palmquist, p. 315 and was ranked amongst the best gymnasts in CaliforniaStarr, p.
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Powell was born in 1852 in Dublin, Ireland. She studied at Cooper Union and the National Academy of Design, both located in New York City. Her teachers included the engravers William James Linton and Timothy Cole. Around 1880 Powell's work began appearing in magazines such as The Century Magazine and Scribner's Monthly.
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Portrait of Apollonie Sabatier, watercolor and gouache on paper Vincent Vidal (20 January 1811 in Carcassonne – 1887 in Paris) was a French painter, pastellist, and watercolourist. He entered the École des Beaux-Arts in 1837 and studied under Paul Delaroche.Bryan, Michael (1889). Dictionary of Painters and Engravers: Biographical and Critical, Volume 2.
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Luke Havell, born 1752,Charles Lane (1978), Sporting Aquatints and their Engravers: 1775–1820. Leigh-on-Sea: F. Lewis, . pp.45 et seq. was lifted from a future life as a farmhand when a local squire recognised his talents and apprenticed him to a signwriter named Ayliffe Cole, from 1762 to 1764.
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No one knew his address; but he was supposed to be a tall man, who > came in a mysterious way occasionally, whose name no one knew, but he went > by the sobriquet of 'The Black Man'. This old gentleman, a very clever > mechanic, lived to be a pensioner on my father's bounty—gratitude is perhaps > the better word. I knew him and could never understand the origin of his > sobriquet, unless Black was meant for dark, mysterious, from the manner of > his coming and going from Mr. Jackson's foundry. Wolpe investigated the topic of Figgins' engravers in the 1960s, and found in his records and an annotated specimen that Figgins often commissioned work from two engravers about whom little is known.
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The greater part of this collection is made up of works produced in Spain, mostly by well-known artists and engravers, who created medals of the highest quality. For example, the Museu Nacional medals collection features works by such outstanding 18th-century master engravers as Tomás Francisco Prieto and Gerónimo Antonio Gil. During the late 19th century, moreover, particularly after the 1888 Barcelona Exhibition, many Modernista sculptors turned to the art of medal-making, and the examples in the Cabinet fully reflect what was a splendid creative period for the genre, particularly in Catalonia. The leading artist in the field was, without doubt, Eusebi Arnau, but such sculptors as Parera, Blay, Llimona and Gargallo also created medals of the highest quality.
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He taught art at an army college in Palestine before working as an army publications editor in Cairo. Returning to Wales Petts, and his second wife Kusha Petts, sought to re-start the Caseg Press and also undertook work for the Golden Cockerel Press. He helped to design the Lloyd George Museum at Llanystumdwy which for a time housed the Caseg Press's printing press. Although new equipment allowed the Press to produce a wider range of material than previously the Press ceased production in 1951 and Petts took a series of posts with the Welsh Committee of the Arts Council. Petts was elected to the Society of Wood Engravers in 1953 and became an Associate of the Royal Society of Painter-Etchers & Engravers in 1957.
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Joseph Swan was born 11 November 1796 in Manchester England to Thomas Swan and Janet Russell. He started his career in what had become his hometown of Edinburgh as an apprentice to engraver John Beugo and worked with other engravers. In August 1817, he married Margaret Thomson in Edinburgh before setting off to Glasgow. There he took over the engraving business established by Charles Dearie, who died 28 November 1818.Smith, George Fairfull, ‘Joseph Swan (1796-1872) engraver and publisher’, The Private Library Fourth Series Vol 10:2 Summer 1997, pp 81-92 ISSN 0032-8898 Swan was one of a number of engravers and printers in Glasgow whose business encompassed pictures, portraits, maps, bookplates, plans, invoices, bills, bank notes, and silver work.
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She was the cousin of the artists Edith and Lucy Kemp-Welch and studied under Sir Frank Short and at Hubert von Herkomer's school (as did her cousins) in Bushey in Hertfordshire from 1891. She taught at Clapham High School and exhibited at the Royal Academy of Arts, at the Royal Institute of Painters in Water Colours, at the Paris Salon, the Royal Society of Painter- Etchers and Engravers (RE), and the Ridley Art Club. Kemp-Welch later became an Associate of the Royal Society of Painter-Etchers and Engravers (ARE) in 1901. Brenda Girvin, an author of girl's novels, dedicated her book Munition Mary (1918) to "Margaret Kemp-Welch, My Munition Friend", which suggests that they were both munitions workers during the First World War.
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He developed a second career as a punchcutter, an engraver of the punches used as a master for stamping matrices for casting metal type, selling his work to printers in the Netherlands and abroad. The style he worked in was based on French serif typefaces of the previous century, but with boosted x-height and higher stroke contrast, creating a higher-contrast, sharper effect. It was later called the "Dutch taste" (goût hollandois), a term originating from the writings of Pierre Simon Fournier in the next century. Kis is considered to have been one of the most talented engravers active during this period, and perhaps uniquely wrote about his work in later life, allowing greater insight into his work than other earlier engravers.
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Landscape with the Holy Family after Simon Vouet It has been difficult to distinguish the works of Pieter de Jode the elder and Pieter the younger, since the latter likely only signed his prints with junior before his father's death in 1634. His earliest prints reflect the dry style and technique of his father but he later developed a looser, more painterly style. He and his father were among the engravers selected by Anthony van Dyck for his Iconography, a series that was published over several decades and was a compendium of portraits of famous people. After the death of van Dyck, he continued to work on the Iconography series, in collaboration with other engravers employed by the publisher Gillis Hendricx in Antwerp.
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Cole started a dynasty of engravers to the Freemasons. His son Benjamin (1725-1813), was apprenticed to his father in 1739. Another son, William, worked as engraver to the Bank of England, and took over control and production of the freemasons' engraved lists in 1767. William's son, John, founded a ‘Masonic Printing Office’ in London.
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He went on painting trips with A. Y. Jackson and Edwin Holgate. Cloutier was an apprentice with Smeaton Bros in Montreal in 1918–21. He worked with Associated Engravers in Montreal (1922–25) and with Batten Ltd. in Montreal (1926–29). From 1929 to 1940 he was a freelance graphic designer and illustrator in Montreal.
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In the course of his professional duties, Chastillon toured France and neighboring countries and made drawings of many of the places he visited, including views of towns and buildings, ancient and contemporary. Many of these he began to have engraved. Among the engravers were Mathieu Merian, Léonard Gaultier, Joachim Duviert, and Jacques Poinssart.Lemerle 2014a.
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Stephens (1880), p.7 Some leading engravers – including Landseer's teacher, William ByrneStephens (1880), p.3 – chose to boycott the academy completely over the issue, but Landseer hoped to challenge its rules from within. His protests, which included petitioning the Prince Regent, proved ineffective however, and the academy's policy was not changed until after his death.
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He had a very good eye for coats of arms, as shown by commissions from the Royal Family and the British Government as well as private individuals. His work stood out from that of other wood engravers, who illustrated more books than Stone. Many of his commissions were for single engravings, even for books.
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Watchmaking also required a number of associated artists and inventors. The bookseller and publisher Samuel Girardet (1730–1807) started decorating clock cases and eventually founded a dynasty of artists and engravers. The Huguenin became famous for their work painting clock housings and medals. Opening in 1856, the chocolate and confectionery factory Klaus operated until 1992.
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He was born in Augsburg as the son of Wolfgang Kilian and besides being a pupil of his father, he trained with the engravers Matthäus Merian the Younger in Frankfurt am Main, and François de Poilly in Paris.Bartholomäus Kilian in the RKD He was the younger brother of Philipp Kilian. He died in Augsburg.
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Registration ("allibrazione") of rural cadastre, 1619. In the early 1630s, a painting of a view of San Lorenzo was produced by the visiting Flemish painter Bartholomeus Breenbergh. Known as a pastoral landscape with a citadel, an engraving by the Swiss engravers Balthasar Anton Dunker and Robert Daudet is the inverse image of Breenbergh painting.
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He was also interested in chronicling the work of English music engravers and publishers of the period. Smith was born in London. From 1900 to 1944 he was on staff of the British Museum, serving as Assistant Keeper of Printed Books from 1920 – 1944. He died in Bromley in 1972 at the age of 91.
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The 23 national governments represented there and 48 artists' associations from 19 countries agreed on the goal of founding an international umbrella organization for sculptors, painters and engravers. Chaired by the Italian painter Gino Severini, a Transitional Council has been set up and a secretariat in Paris.UNESCO Document, , 1952, Document code: 7C/PRG/5.
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The 23 national governments represented there and 48 artists' associations from 19 countries agreed on the goal of founding an international umbrella organization for sculptors, painters and engravers. Chaired by the Italian painter Gino Severini, a Transitional Council has been set up and a secretariat in Paris.UNESCO Document, , 1952, Document code: 7C/PRG/5.
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He did freelance work from 1975 before moving to Darwin, Australia in 1985 to become a teacher. Three years later he moved with his family to Canberra. In 1989 he began working for the Royal Australian Mint and his designs have since featured on the reverse of many Australian commemorative coins.Coin Designers and Engravers.
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The image of the wild man survived to appear as supporter for heraldic coats-of-arms, especially in Germany, well into the 16th century. Renaissance engravers in Germany and Italy were particularly fond of wild men, wild women, and wild families, with examples from Martin Schongauer (died 1491) and Albrecht Dürer (1471–1528) among others.
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Gwendolen Mary "Gwen" Raverat (née Darwin; 26 August 1885–11 February 1957), was an English wood engraver who was a founder member of the Society of Wood Engravers.Joanna Selborne, ‘The Society of Wood Engravers: the early years’ in Craft History 1 (1988), published by Combined Arts. Her memoir Period Piece was published in 1952.
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He also became a member of the Royal Society of Painter-Etchers and Engravers (RE). Walker painted landscapes, portraits and genre works and provided illustrations for various travel books. His works are currently exhibited in places such as the National Gallery of Ireland in Dublin, the British Museum and Victoria and Albert Museum in London.
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At first a topographical painter, Jukes developed into an etcher and line engraver and later still learned the aquatint process. He was one of the first British aquatint engravers. It is thought he learnt the method from Sandby; some of his first aquatints are after Sandby's designs. An entertainment in Vauxhall Gardens in c.
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Medieval gem engraving only recaptured the full skills of classical gem engravers at the end of the period, but simpler inscriptions and motifs were sometimes added earlier. Pearls gathered in the wild from the Holarctic freshwater pearl mussel were much used, with Scotland a major source; this species is now endangered in most areas.
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His sister Betsy died of meningitis in August 1929. He visited Scotland with his mother in September 1929. In October 1929, Burra exhibited with the London Group; woodblock prints were shown at the Society of Wood-Engravers exhibition at the Redfern Gallery in London. In January 1930, he began to make collages with Paul Nash.
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Bertrand-François Mahé de La Bourdonnais, by Antoine Graincourt Antoine Noël Benoît GraincourtSupplement to Mallett's Index of Artists, International- biographical: Including Painters, Sculptors, Illustrators, Engravers and Etchers of the Past and the Present Not in the 1935 Edition by Daniel Trowbridge Mallett. P. Smith, 1948. page 107. (1748–1823)Lorient, XVIIIè siècle by Florence D'Souza.
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An open contest was held which invited many engravers of the time, and 73 models were presented to the jury. The model of Pierre-Alexandre Morlon was ultimately adopted. The event had a certain impact since L'Illustration, a prestigious magazine, illustrated in an article of January 29, 1921, pictures of the six models selected.
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Its illustrations were stock wood cuts purchased from eastern printing companies or from engravers in San Francisco. Nevertheless, the magazine was very successful. In less than two years, West Shore was being sold in thirty-two states, Canada, England, and Scotland. By 1878, the magazine's circulation was 8,160, the largest of any publication in the Pacific Northwest.
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The early style of Italian engravers differs greatly from that of a modern chiaroscurist. Mantegna, for example, did not draw and shade at the same time. He got his outlines and the patterns on his dresses all very accurate initially. Then he added a veil of shading with all the lines being straight and all the shading diagonal.
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The Society of Canadian Painter-Etchers and Engravers (CPE) was founded in 1916 as a successor to the short-lived Association of Canadian Etchers, founded in 1885. William W. Alexander was a founding member. He participated in the Society's exhibitions with bookplates based on his sketches and watercolors from northern canoe trips. The CPE was relatively conservative.
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Sardeau arrived in the United States in 1913. She studied at Barnard College, the Art Students League of New York, Cooper Union, and at the School of American Sculpture, all in New York City.Opitz, Glenn B, Editor, Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Book, Poughkeepsie NY, 1986 p.811 She studied with Mahonri Young.
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The Benelli Argo EL's receiver is finely engraved and gilded with scenes of wild animals. The craftsmanship is of the master engravers of the Cesare Giovanelli studio. The stock and fore-end are in walnut with a fine oil finish. The rifle has a rotating bolt head with three lugs, which combine to provide an effective locking surface.
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His largest work was painted in the Church of San Francesco, Cremona, depicting a dispute between St Anthony and the tyrant EzzelinoBryan, Michael (1886). Robert Edmund Graves, ed. Dictionary of Painters and Engravers, Biographical and Critical (Volume I A-K). York St. #4, Covent Garden, London; Original from Fogg Library, Digitized May 18, 2007: George Bell and Sons.
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He worked in pure line, and became one of the best engravers of figure subjects of his day.O'Donoghue, Vol LVII, p. 282 Vernon engraved for Samuel Carter Hall's "Royal Gallery of Art, Ancient and Modern": Dyce's Virgin Mother, Winterhalter's portrait of Princess Helena as an amazon, and two other plates. He also engraved several for the Art Journal.
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For about four years, Landis was the only nickel carver creating superior carvings, at the rate of only one to two dozen per year (all signed, numbered, and dated). Many other professional engravers have since begun creating hobo nickels. Landis and "Cinco de Arturo" are two of four known living artist practicing this craft prior to the year 2000.
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Leonard D. Jungwirth (October 18, 1903 –August 21, 1963 Barrie, Dennis; Bentley, Jeanie Huntley; Helms, Cynthia Newman; and Rospond. Artists in Michigan, 1900–1976: A Biographical Dictionary. Detroit: Wayne State University Press. 1989 or 1964Opitz, Glenn B., Editor, Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Book, Poughkeepsie NY, 1986) American sculptor born in Detroit, Michigan.
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This last scene was very popular from the late 15th century onwards as a subject for engravers and artists. The theme was depicted by Albrecht Dürer around 1496, Hans Sebald Beham and Lucas Cranach the Elder, among others. Martin Luther mocked this same legend in his Die Lügend von S. Johanne Chrysostomo (1537).Available onlineFenelli, Laura.
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Lanzedelly's prints became widely known in Vienna. He made genre prints, influenced by the work of English and particularly French engravers such as Philibert-Louis Debucourt, and he also produced portraits. His lithographs can be seen in Vienna at the Albertina and at the Vienna Museum. His sons Karl (1815–1865) and Joseph (1807–1879) were also lithographers.
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William III, by Bernard Lens II Bernard Lens II (1659–1725) was an English engraver, pioneer of mezzotint technique, and publisher. Bernard Lens II was the son of Bernard Lens I, "an obscure painter"Salaman, The Old Engravers of England, p. 76 of Dutch origin. Bernard Lens I practiced enamel technique and also authored religious treatises.
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Besides prints and books, he carried picture frames and stationery items. Engravers who worked for Jenner included Francis Delaram, William Marshall and Willem de Passe, whose wife Elizabeth is thought likely to have been a relation of Jenner. Jan Barra made a set of engravings for the five senses. Jenner's authors included Joseph Moxon and Matthew Stevenson.
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Opitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, NY, 1988. Taft, in his History of American Sculpture, remarked that Noble was one of a group of sculptors who had, "made something of a specialty of military figures."Taft, Lorado, ‘’The History of American Sculpture’’, The Macmillan Company, New York, 1925, p.435.
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One of his instructors, the sculptor Louis Rebisso, encouraged him to try sculpting. His first effort was a sculpture of a group of horses based on observations and drawings he had made at the U.S. Mail stables in Cincinnati.Glenn B. Opitz, ed., Mantle Fielding's Dictionary of American Painters, Sculptors, and Engravers (Poughkeepsie, NY: Apollo, 1983), p. 88.
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Four times of the day (Grosvenor prints). He likewise engraved with Paul Sandby, Vivares, and others, some views of "Windsor Park" and "Virginia Water", and also published in 1781 a series of thirty plates, slightly etched from drawings by Andrea Locatelli, entitled "A Specimen of Sketching Landscapes".William Young Ottley. Notices of engravers and their works.
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His brother Teodoro was a painter, and at least two of Ghisi's engravings are based on his designs. Many older sources, misinterpreting a passage in Giorgio Vasaris's Lives of the Artists, mistakenly identify Giovanni Battista Scultori as his father, and Scultori's children, the engravers Adamo and Diana Scultori as his brother and sister, giving all three the surname "Ghisi".
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The engravings are mostly by Ambrose Warren from works by Robert Blemmell Schnebbelie and Edward Gyfford. Other engravers who contributed were William Woolnoth, John Roffe and J. S. Storer."93. Hughson's London (1805)" in Bernard Adams (1983) London Illustrated 1604–1851: A Survey and Index of Topographical Books and their Plates. London: The Library Association. pp. 201–205.
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Constantinos "Ted" Coconis (born 1927 in South Side, Chicago, Illinois) is an American illustrator who worked ub many children's books, including the 1971 Newbery Award-winning The Summer of the Swans by Betsy Cromer Byars, and The Golden God, Apollo by Doris Gates.Fielding, Mantle. 1983. "Coconis, Constantinos Ted". Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers.
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Heath married his cousin Elizabeth Petch. Two of their sons, Frederick (1810–1878) and Alfred (1812–1896), were engravers and another, Henry Charles Heath (1829–1898), was a miniature painter who portrayed Queen Victoria and other members of the royal family.Charles Heath biography. Their daughter Fanny Jemima (died 1850) married in 1839 Edward Henry Corbould, son of Henry Corbould.
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Lampsonius suggested that Northern engravers should collaborate with Italian artists to improve this. He also asked Vasari to include in the revised edition of the Vite treatises on the three arts of sculpture, painting and architecture, with drawings and information about the secrets of the arts.Sharon Gregory, Giorgio Vasari, 'Vasari and the Renaissance Print', Ashgate Publishing, Ltd., 2012, p.
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Plantin had agreed to publish the work, but with the disruption of the Spanish Fury of 1576, had not done so by his death. After attempting to find engravers elsewhere, the Jesuits, in the person of Fr Ferdinand Ximenez (recipient of the famous character reference for the brothers mentioned above), took the brothers on.google books Chipps Smith, pp.
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However, Tolnay contends that the statue was not in such a position when Bonasone made his engraving of it. The foreshortening of the upper body of the dead Christ's body must have posed a great challenge to Bonasone to copy accurately. Despite this problem, Tolnay still thinks Bonasone's print is better than that of all other engravers.
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The United Society of Engravers merged into SLADE in 1972, which promptly formed a wallpaper and textiles section. In 1975, the Slade Art Union was formed as an autonomous section of SLADE, hoping to attract workers involved in preparing photography and art. In the 1970s, there was controversy over SLADE's recruitment tactics, including the introduction of closed shops.
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Whitman acquired a reputation as an authority on British mezzotint engraving. His earlier books, ‘The Masters of Mezzotint’ (1898) and ‘The Print Collector's Handbook’ (1901; new and enlarged edit. 1912), were of a popular character. He made also catalogues of eminent engravers' works, based on notes made in the British Museum, private collections and sale-rooms.
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The History of the Royal Society of Painter-Etchers and Engravers 1880-1930\. London: The Print Collectors' Club. He was elevated to the full fellowship a year later. Blampied was elected at the end of what has been called the "etching revival", but there was still a strong market for prints, mainly as an inexpensive investment in art.
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The Gerhards' parents came to the United States as children from Cologne, Germany, in the mid-1800s. They settled in Mascoutah, Illinois, and had moved to St. Louis, Missouri, by 1869. Their father worked successively as a teamster, butcher, and storekeeper in the large German-American community, which included a large number of photographers, retouchers and engravers.
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The surface texture is either plate or vellum. Plate finish is as smooth as glass, and is very good for pen and ink. Vellum (or kid) finish is a medium texture more appropriate to friction-based media, such as crayon, chalks, or charcoal. A third finish, engravers or wedding, may be used for formal engraved wedding invitations.
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The engraver Bernard Baron (1700-1762) was another of his pupils who gained distinction in his profession. Laurent Cars and Jacques-Philippe Le Bas were also pupils, later to be teachers themselves. His grandson Jean-Charles Tardieu became a well-known painter. The last of the line of "clever engravers" that he founded died in 1844.
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Self-portrait (date unknown) The Invention of Painting (1832) Eduard Wilhelm Daege (10 April 1805, in Berlin - 6 June 1883, in Berlin) was a German painter who served as Director for both the Prussian Academy of Art and the National Gallery.Bryan's Dictionary of Painters and Engravers, ed. by Michael Bryan and George Williamson. G. Bell & Sons, 1903.
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It took over the public's imagination and became an end in and of itself.Friedman, 70. James Gillray, passed over for the Shakespeare Gallery engravings, responded with Shakespeare Sacrificed: Or the Offering to Avarice. To illustrate the edition and to provide images for the folio, Boydell obtained the assistance of the most eminent painters and engravers of the day.
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Oxford University Press. Web. 23 Dec. 2015 In 1626–1627 Pontius was admitted as a master in the Antwerp Guild of Saint Luke. Body of the dead Christ, after Titian Together with Vorsterman, Schelte a Bolswert and Boetius à Bolswert, Pontius became one of the leading engravers of the first generation who made reproductions after Rubens' works.
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His sons are listed as engravers in contemporary census records and the London Directories. It is unknown exactly how much Mote's sons worked under their father's name. He was commissioned by King George IV to produce an engraving for the Greenwich Hospital, which was presented a year after King George's death. Mote often etched portraits of royalty.
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The Amoretti (San Pancrazio Parmense, 18th to 19th centuries) are a family of type-engravers, printers, mechanicians and crafted blacksmiths of the Duchy of Parma. They were friends and pupils of the printer Giambattista Bodoni, from whom they detached in 1791 in order to establish their own printing house and type foundry as competitors of their master.
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Both were court artists to Emperor Rudolf II in Prague. The engravers added twelve accompanying empresses - eleven wives and Otho's mother, Albia Terentia - based on portraits by Giulio Romano. Each engraved portrait is accompanied by a poem in Latin. The engravings are an important source for the details of Renaissance armour, including examples attributed to Filippo Negroli.
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Carlo Costanzi (1705–1781) was an Italian gem engraver of the late-Baroque period. He was born to a family of gem-makers and artists in Naples. His father Giovanni and brother Tommaso were also a gem engravers, while his other brother Placido became a painter. Carlo later moved and worked the rest of his life in Rome.
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Giovanni Costanzi (1674–1754) was an Italian gem engraver of the late-Baroque period. He was the head of a family of gem-makers and artists in Naples. His sons Carlo and Tommaso were also a gem engravers, while his other son Placido became a painter. Giovanni later moved and worked the rest of his life in Rome.
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Tommaso Costanzi (1700–1747) was an Italian gem engraver of the late-Baroque period. He was born to a family of gem-makers and artists in Naples. His father Giovanni and brother Carlo were also a gem engravers, while his other brother Placido became a painter. Tommaso later moved and worked the rest of his life in Rome.
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Le Chirurgien de campagne (1747) by Thomas Major, after David Teniers the Younger. Dedicated to the Marquis d'Argenson. Major studied drawing and etching under Hubert Gravelot. In 1745 he moved to Paris, where he associated with the English engravers Andrew Lawrence and John Ingram, and was a pupil of Jacques-Philippe Le Bas and Charles-Nicolas Cochin.
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His role models were Gérard Edelinck and Robert Nanteuil. He was considered one of the few engravers who could also implement painted templates with great skill and fineness. He had many students, but especially Auguste Gaspard Louis Desnoyers stood out. In 1822 he took over the seat of Charles Clément Balvay in the Académie des Beaux-Arts.
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Menzler-Peyton was born on June 25, 1871 in Chicago. She studied art at the Chicago Art Institute.Opitz, Glenn B, Editor, Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Book, Poughkeepsie NY, 1986, p. 613 From there she moved to Paris where she continued her studies with Luc-Olivier Merson, Raphaël Collin, and Edmond Aman-Jean.
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89–90 Everything left white on the block, around Busch's drawn lines, was cut from the plate by skilled engravers. Wood engraving allows a finer differentiation than woodcut and the potential tonal values are of almost the quality of intaglio printing, such as copper engraving. Sometimes the result was not satisfactory, leading Busch to rework or reproduce plates.Schury, p.
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At the time, all type was set by hand. She still works at the Whittington Press as a compositor and illustrator. She has created images for other fine press publishers, including the Folio Society and Primrose Hill Press. Macgregor is a self-taught wood engraver and member of the Society of Wood Engravers and Royal Society of Painter-Printmakers.
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Edith Cleaves Barry (1884–1969) was an American sculptor, painter, illustrator and designer born in Boston Massachusetts.Opitz, Glenn B, Editor, Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Book, Poughkeepsie NY, 1986 She studied at the Art Students League in New York City and with Frank DuMond and Richard E. Miller.McGlauflin, ed., Who’s Who in American Art 1938–1939 vol.
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Over time, it became more strongly associated with cotton. Membership peaked at 1,600 in the 1930s, but then began to fall, declining to only 500 by 1972. In 1973, the union merged into the Society of Lithographic Artists, Designers, Engravers and Process Workers, forming its new wallpaper and textiles section.Arthur Marsh and Victoria Ryan, Historical Directory of Trade Unions, vol.
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They will typically be able to do a variety of metals and plastics. Glass and crystal engraving is possible, but the brittle nature of the material makes the process more time-consuming. Retail engravers mainly use two different processes. The first and most common 'Diamond Drag' pushes the diamond cutter through the surface of the material and then pulls to create scratches.
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For several centuries, wood engraving had dominated the publishing industry as the source of graphics. The invention of photography and halftone printing created a new kind of graphic worker—photoengravers. By the mid-1890s, halftone printing had largely replaced wood engraving in the publishing industry. Although wood engravers had never formed a union, photoengravers did so almost upon the creation of their industry.
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Borrowdale Llanbedr, Snowdonia Samuel Henry Baker (1824–1909) was an English landscape artist. He was a member of the Royal Birmingham Society of Artists (RBSA) and the Royal Society of Painter-Etchers and Engravers (RE). He painted rural landscape scenes in watercolour. Samuel Henry Baker was born in Birmingham, the son of Thomas Baker who was a manager at Matthew Boulton’s Soho Works.
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Edward Alexander Wyon (1842; London – 1872; Hastings) was a London architect and poet, descended from the Wyon family of engravers. His only known building is St John the Evangelist Church in Hollington, Hastings in East Sussex. His posthumous publication, A Memorial Volume of Poems (1874), continues to be reprinted in the 21st century. He died in Hastings prior to his thirtieth birthday.
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Sixe Idillia (1922): frontispiece. One of fewer than 25 copies hand-coloured .by Gribble Vivien Massie Gribble Doyle-Jones (1888 – 6 February 1932) was an English wood engraver who was active at the beginning of the 20th century. She was a pupil of Noel Rooke at the Central School of Arts and Crafts and exhibited regularly with the Society of Wood Engravers.
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Of the various engravers and authors who worked on the plates of the atlas, only two have signed their work. The frontispiece of the atlas was created by Frederik Hendrik van den Hove and ten other plates were engraved by Johannes van Loon. Moreover, all the designs of the classical constellations were taken from the ones created by Jan Pieterszoon Saenredam.
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Stephen Glover (1794-1870) was an English author and antiquary. Glover's best known work is the History of the County of Derby: drawn up from actual observation, and from the best authorities. The first volume was published in 1829, and the second in 1831. These volumes had been delayed some time owing to the disputes between the compiler and the engravers.
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1790 Paris, draftsman , short biography at getty.edu (accessed 11 February 2008) As well as both of his parents being engravers, his mother's two sisters, Marie-Nicole Horthemels (b. 1689, died after 1745) and Marie-Anne-Hyacinthe Horthemels (1682–1727), worked in the same field. Marie-Nicole was married to the portrait artist Alexis Simon Belle,Alexis Simon Belle biography at getty.
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The picture was subsequently bought by the Victoria and Albert Museum. In 1940 she moved to Paris to study with Fernand Léger at the Académie Montmartre. She held teaching positions at Saint Martin's School of Art and Sir John Cass College in London. She became a member of the Society of Wood Engravers, and wrote and illustrated a series of books.
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The beetles are called engravers because of the long, grooved galleries they excavate in the sapwood. As the female digs her branch off of the male's nuptial chamber, she deposits eggs in individual niches along the walls. When the larva emerges, it digs a tunnel off of its niche. The multibranched engraved galleries that result are often Y-, H-, or I-shaped.
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The committee engaged twenty-five leading artists to prepare drawings and engravings on the finds, including Giovanni Elia Morghen, Carlo Nolli and Giovanni Battista Casanova. The best engravers were given the most interesting pieces. A given engraver would be given all pieces of a given style, to ensure consistency. The academy issued volumes of the work from 1757 to 1792.
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In 1839–41 Dodd made a catalogue, which remained in manuscript, of the Douce collection of fifty thousand prints in the Bodleian Library. He also arranged and catalogued Horace Walpole's prints, which were sold by George Henry Robins for £3,840. To Joseph Mayer he bequeathed his manuscript compilations and other collections, extending to about two hundred folios, and including his Account of Engravers.
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Review (dated October 2009) of Blue Angels and Whales, Penguin Archive Project, Bristol University This was the first original writing commissioned by Penguin. The book led to Gibbings's appointment as art director of a new series of Penguin Illustrated Classics. The first ten titles, launched in May 1938, were illustrated by Gibbings (he illustrated Herman Melville's Typee) and other wood engravers.
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Redgrave held three important exhibitions at the Royal Academy and one at Royal Society of Painter-Etchers and Engravers. He began in 1847 a connection with the Government School of Design, as botanical lecturer and teacher, he became head-master in 1848, and art superintendent in 1852. He was inspector-general for art at the Science and Art Department in 1857.
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Lidov, who was born in Chicago earned a degree in Sociology from the University of Chicago in 1936 and was a Graduate Fellow in Art History in 1938 and 1939.Opitz, Glenn B, Editor, Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Book, Poughkeepsie NY, 1986 As an artist, Lidov was largely self-taught, specializing in scientific and technical graphics.
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Asprey's workshops are above the store allowing repairs and alterations to be completed while a customer waits. Five floors above the showrooms of the New Bond Street store are workshops where classic skills are employed by silversmiths, goldsmiths, jewellers, leatherworkers, engravers and watchmakers. Asprey will go to any length to meet a customer's requirements. The firm's craftsmen actually made a silver- gilt sandwich.
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Many engravings of Bonheur's work were created from reproductions by Charles George Lewis (1808–1880), one of the finest engravers of the day. In 1859 her success enabled her to move to the Château de By near Fontainebleau, not far from Paris, where she lived for the rest of her life. The house is now a museum dedicated to her.
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The color illustrations have obviously had considerable hand-work done by the engravers and may have been entirely hand- colored using the original transparencies as a guide. As is evident from page 127, publication was delayed by more than a year. The 1895 date is confirmed by the publication of a lengthy abstract in Nature, November 28, 1895 53(1361):91–93.
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Two putti calculate the distance between two points with a compass, engraving by Jacob Neefs after a drawing by Philip Fruytiers Neefs worked as an engraver for the leading Flemish painters of his age. In Rubens' studio he belonged to the 'new generation' of engravers with the likes of Hans Witdoeck. He was one of the last to work under Rubens himself.Christian Coppens.
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In early 18th century Colonial America, engravers began experimenting with copper plates as an alternative medium to wood. Applied to the production of paper currency, copper-plate engraving allowed for greater detail and production during printing. It was the transition to steel engraving that enabled banknote design and printing to rapidly advance in the United States during the 19th century.
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She also wrote the first published volume on Ravilious and illustrated several other books, including her fathers' play Brief Candles and a series of books written by her sister Margaret Binyon. Her children's book illustrations were often in pen and ink but she also produced wood engravings for her other book work. She was a member of the Society of Wood Engravers.
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Perret also served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, a grant given between 1919 and 1954 to young French painters, sculptors, decorators, engravers, writers, and musicians. In 1998, the Perret Tower in Grenoble was declared a national heritage site by France. In 2005, his reconstruction of Le Havre was declared a World Heritage Site by UNESCO.
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He drew motifs such as peasant cottages, dovecotes and trees from life and then on his return to the studio worked them up into complex imaginary scenes.Bolton, Roy (2009). The Collectors : Old Master Paintings , London, Sphinx Books, pp. 176-179.. Among his many pupils were his four sons, Hendrick, Frederick, Cornelis, and Adriaan (all of whom achieved considerable reputation as painters or engravers).
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In India, 'Vishwakarma', 'Daivadnya Brahmins', 'Kshatriya Sunar' are the goldsmith castes. The printmaking technique of engraving developed among goldsmiths in Germany around 1430, who had long used the technique on their metal pieces. The notable engravers of the fifteenth century were either goldsmiths, such as Master E. S., or the sons of goldsmiths, such as Martin Schongauer and Albrecht Dürer.
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States usually employed one of two approaches in making this selection. In 33 states, the governor selected the final recommended design, often based on the recommendations of advisory groups and citizens. In the other 17 states, citizens selected the final design through online, telephone, mail or other public votes. US Mint engravers applied all final design concepts approved by the secretary of treasury.
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The same engravers produced a book titled Stemmatographia, published in Vienna in 1741. Part of it included copperplates of 29 rulers and saints, among whom were two cephalophores, Jovan Vladimir and Lazar. Stemmatographia was very popular among the Serbs, stirring patriotic feelings in them. The Holy Prince would often be represented as a cephalophore in subsequent works, created in various artistic techniques.
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Curated by Thomas Homan, it included works by the most notable gem engravers of the 18th and 19th centuries and several gems from the fabled collection of George Spencer, 4th Duke of Marlborough and Classical antiquity. A collector queued day and night outside the shop over the weekend before it opened in order to be the first to view the show.
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In 1949, Hermes was elected an associate of the Royal Society of Painter-Etchers and Engravers. She was elected Associate of the Royal Academy in 1963 and a full Royal Academician in 1971. In 1961, she was awarded first prize in the Giles Bequest competition at the Victoria and Albert Museum for her linocut Stonehenge. She was appointed an OBE in 1981.
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Hale, 73. Encouraged by the enthusiasm of British artists, students, and high society for his art, Rodin donated a significant selection of his works to the nation in 1914. After the revitalization of the Société Nationale des Beaux-Arts in 1890, Rodin served as the body's vice-president. In 1903, Rodin was elected president of the International Society of Painters, Sculptors, and Engravers.
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National Portrait Gallery John Samuel Agar (1773–1858), was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806Bryan and at the British Institution until 1811. He did not exhibit again until 1836. He had been declared bankrupt in February of the previous year. He was at one time president of the Society of Engravers.
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This was especially true in Paris, where the parlement was often asked to contribute to her costs. Ronsard captured the mood in a poem: > The queen must cease building, Her lime must stop swallowing our wealth... > Painters, masons, engravers, stone-carvers Drain the treasury with their > deceits. Of what use is her Tuileries to us? Of none, Moreau; it is but > vanity.
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The petroglyphs that were engraved directly on the monolith have an Amazonian origin. There is also a strange engraving that resembles a key. These petroglyphs can be abstract representations of mythological or cosmological beliefs, made by people that have consumed ayahuasca (yajé). It is possible that the engravers were ancestors of Huachipaeri, an indigenous group that live until now in the Kosnipata valley.
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They focused on high-quality travel cases and accessories. Craftsmen were employed and patents were taken out to protect industrial secrets. 250 workers and 17 separate traders were involved in the manufacture, including goldsmiths, woodworkers, engravers, leather craftsmen, lacquer workers, and locksmiths. S.T. Dupont transferred its workshops from rue Dieu in Paris back to the family's hometown of Faverges in Savoy in 1924.
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Other minor variations on Gin Lane exist – the second state gives the falling child an older face, perhaps in an attempt to diminish the horror,Hogarth p.233 but these too were widely available and thus inexpensive. Copies of the originals by other engravers, such as Ernst Ludwig Riepenhausen, Samuel Davenport, and Henry Adlard were also in wide circulation in the 19th century.
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He apprenticed with Joseph Burn-Smeeton (fl.1840-1880), a British-born artist who worked with the French wood-engraver Auguste Tilly (?-1898). Later, he was able to become part of a small, exclusive group of wood-engravers who worked for Louis Hachette; consisting of , Henri Théophile Hildibrand and Charles Barbant. He did not remain there long, however; being dismissed for "serious misconduct".
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June 6, 2011. by the American Federation of Labor (AFL) and its then president, Samuel Gompers, to offer health and life insurance products specifically to working men and women. Matthew Woll, president of the Photo Engravers Union, became the company’s first president. Ullico is one of the largest insurance and investment services companies for trade union members in the United States.
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Several gained distinction as engravers, including John Anderson, Luke Clennell, Charlton Nesbit, William Harvey, Robert Johnson, and his son and later partner Robert Elliot Bewick.Uglow, 2006. pp. 407–408. The partners published their History of Quadrupeds in 1790, intended for children but reaching an adult readership, and its success encouraged them to consider a more serious work of natural history.
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26 March 2015 Hieronymus Cock, Philip Galle and Cornelis Cort were the principal engravers involved in this effort but others such as Johannes Wierix, Balthazar van den Bos, Pieter van der Heyden, Frans Huys, Dirck Volckertsz. Coornhert and Jan Sadeler I also made engravings after the works of Frans Floris. Floris also made original designs for series of prints engraved in Antwerp.
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Like many artists of his time, Coxie provided designs for the printers and engravers. An important graphic series by Coxi recounts the story of Amor and Psyche. The series was attributed for a long time to Raphael, which testifies to Coxcie's excellence as a draughtsman. The Italian artist biographer Giorgio Vasari who knew Coxie personally recounts that Coxie made the design sketches.
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Robert Leake (1824 – 1 May 1901) was a British Liberal politician. Leake was the eldest son of Robert Leake of Manchester and Mary Lockett of Salford, Lancashire. After a private education he became head of Lockett, Leake and Company, engravers to calico printers.The New Members of Parliament, The Times, 13 April 1880, p.10Obituary, The Times, 2 May 1901, p.
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He was born in County Wexford, and became a pupil of John Brooks. He came to London before 1756. There he mainly worked making copies of plates by other engravers, for Robert Sayer and Carington Bowles, the printsellers. Spooner died in London on 5 December 1767, his life being shortened by drink, and was buried beside his friend James Macardell, in Hampstead churchyard.
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Pontius was able to develop early in his career a personal style characterized by precise drawing that renders the original painting accurately. He was a master in suggesting the effects of light and the colours in a very subtle manner. Pontius worked as one of the principal engravers for Rubens' workshop. Pontius also worked after the work of pupils or imitators of Rubens.
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These editions are highly prized by bibliophiles. A skilled lithographer, he worked with the greatest engravers of his time including Gusman, Eugene Decisy, Raoul Serres, Florian and Perrichon. His first works were full of symbolism and art nouveau mixed with many references to mythological and allegorical subjects. His later works show greater academic rigor and an obvious fascination for the female anatomy.
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Dutch Guilder printed in this plant. In 1919, the plant employed 2,000 workers. In the 1960s, the plant was processing over 5 million pieces of paper a day, and printing half of the securities of the New York Stock Exchange. The company employed what were said to be the world's most skilled engravers, who served apprenticeships of ten years or longer.
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Stephen Frederick Gooden R.A., R.E., C.B.E. (born Tulse Hill, London, 9 October 1892, died Chesham Bois, Buckinghamshire 21 September 1955) was an English artist, engraver and illustrator. He was elected a Fellow of the Royal Society of Painter-Etchers and Engravers in 1933Hopkinson, M. (1999). No day without a line. The History of the Royal Society of Painter-Printmakers 1880–1999.
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In December 1873, Monet, Renoir, Pissarro, Sisley, Cézanne, Berthe Morisot, Edgar Degas and several other artists founded the Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs ("Cooperative and Anonymous Association of Painters, Sculptors, and Engravers") to exhibit their artworks independently.Bomford et al. 1990, p. 209. Members of the association were expected to forswear participation in the Salon.Jensen 1994, p. 90.
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It has long been recognised that Master's style was closely related to that of paintings from south-western Germany and Switzerland in the period 1430–50, by artists of whom the best known is Konrad Witz. In addition, the Alpine cyclamen – a flowering plant native to the region – very frequently appears in the engravings. Although the theory proposed by Leo Baer to identify the Master as Witz has not been widely accepted, the Master does appear to have been trained as an artist rather than a goldsmith like many other early engravers. His prints show an engraving technique closely related to drawing, with forms conceived in three dimensions and delicately modeled; other engravers were usually trained as goldsmiths, such as Master E. S. or Israhel van Meckenem, and their works display a different set of stylistic conventions.
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He was born at Bolton, Lancashire and was brought up in Staffordshire. At the age of 18 he became a pupil of James Heath, for about two years. Robinson was one of the nine eminent engravers who, in 1836, petitioned the House of Commons on the state engraving in this country, and who with others in 1837, addressed a petition to the king asking for the admission of engravers to the highest rank in the Royal Academy: which was not conceded until some years later. In 1856, Robinson was elected an "associate engraver of the new class", and in the following year missed election as a full member only by the casting vote of Sir Charles Eastlake, which was given to George Thomas Doo; on the retirement of the latter in 1867 he was elected a royal academician.
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Soubeyran soon became one of the most qualified engravers of his time. On 14 May 1748 he was appointed as Head of the Public Drawing School in Geneva, École publique de dessin de Genève that opened in 1751. Soubeyran wrote the article "Montre" for the Encyclopédie by Denis Diderot and d’Alembert. Pierre Soubeyran is often mistaken with his cousin, Jean-Pierre Soubeyran (1708-1774), a miniaturist.
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The selected design was the result of an internal competition among the Mint's engravers. Gasparro did not go in person to see the Lincoln Memorial, a place he had never visited. According to Anderson, Gasparro created an "impressive" image of the Memorial, however, Taxay states that the design "looks at first glance like a trolley car". Numismatic historian Walter Breen describes Gasparro's design as "an artistic disaster".
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He received his first lessons from his father, the set painter Johann Valentin Tischbein. In 1768, he went to Kassel to work in the studios of his uncle, Johann Heinrich Tischbein.Biographical notes from the Dictionary of Painters and Engravers by Michael Bryan @ Google Books. Four years later, he took a long trip through France, ending in Paris, where he studied with Johann Georg Wille.
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The loss of the job provided the impetus to paint for a living. His Clouded Leopard became a best-selling print in America in the 1970s. During his painting career he has exhibited at the Royal Academy, The Society of Wood Engravers, The Graphic Society, The Society of Wildlife Artists and The Pastel Society. He has staged five one-man exhibitions, two in London.
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Mayor, 422–426. Meanwhile, numerous other engravers in the Netherlands continued to produce vast numbers of reproductive and illustrative prints of widely varying degrees of quality and appeal—the two by no means always going together. Notable dynasties, often publishers as well as artists, include the Wierix family, the Saenredams, and Aegidius Sadeler and several of his relations. Philippe Galle founded another long-lived family business.
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Four of Crispijn I's children were also notable engravers for the family business, as was his grandson Crispijn III. His eldest son, Simon de Passe (c. 1595 – 6 May 1647) worked in England from about 1616 before moving to Copenhagen as royal engraver and designer of medals in 1624, where he remained until his death. He is best remembered for his early London print of Pocahontas (1616).
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In 1959, together with fellow artists, Raúl Anguiano, Jesús Guerrero Galván, and Carlos Orozco Romero, O'Gorman founded the militant Unión de Pintores y Grabadores de México (Mexican Painters and Engravers Union). He died on 17 January 1982, as a result of suicide. Authorities believe the artist grew despondent after being diagnosed with a heart ailment which curtailed his work. O'Gorman was found dead at his home.
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Having achieved the rank of colonel, he retired from the Coldstream Guards in 1878 to concentrate on his art work, having learned etching from a fellow officer. He was elected Fellow of the Royal Society of Painter-Etchers and Engravers in 1887. In 1877 he married Beatrice Teresa Testaferrata-Abela, daughter of Baron Testaferrata- Abela of Malta and had a son, Francis who died in 1891.
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The two older brothers of Tony, Charles and Alfred, were engravers, and Alfred also worked as a painter and draughtsman. Tony learnt engraving from his brothers and helped Alfred produce illustrations of books by James Fenimore Cooper and Walter Scott. Tony came to prefer wood-engraving, but resumed etching in 1845. His historical paintings were exhibited at the Paris Salon for the first time in 1831.
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Meanwhile, his business failed, and before his death he became a bankrupt. A fund was raised for his support, to which Montgomery subscribed £100, while Chantrey privately gave Rhodes £50 a year. Rhodes thenceforth made a small income by preparing steel plates for engravers by a novel process. He died a poor man, on 16 December 1839 at his home in Victoria Street, Sheffield.
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Charles E. Barber was born in London in 1840. His grandfather, John Barber, led the family to America in the early 1850s. Both John and his son William were engravers and Charles followed in their footsteps. The Barber family initially lived in Boston upon their arrival to the United States, though they later moved to Providence to allow William to work for the Gorham Manufacturing Company.
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Other important engravers represented are Francisco de Goya (Los disparates), William Hogarth and Joseph Mallord William Turner. Modern prints include several works by Pablo Picasso, Joan Miró, Jacques Lipchitz, Marc Chagall, Wassily Kandinsky and Jacques Villon. Another highlight of the collection is the ensemble of more than one hundred 17th- and 18th-century Japanese woodcuts (ukiyo-e) by artists such as Utamaro and Hiroshige.
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Egide Linnig was born in Antwerp as the son of Pieter-Josef Linnig (born in Aschbach, Rhineland-Palatinate in Germany) and Catharina Josephina Leys. His father was a cabinetmaker. He had two older brothers (Jan Theodoor) Jozef Linnig and Willem Linnig the Elder who both became painters and engravers. River scene at dusk From 1834 Linnig studied at the Antwerp Academy of Fine Arts.
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Erin Corr (1803 – August 10, 1862) was an Irish engraver, who was born in Brussels of Irish descent. He spent 10 years engraving the copper-plate for Rubens's Descent from the Cross. In 1833, he was elected into the National Academy of Design as an Honorary Academician. He was among the illustrators and engravers who worked on Charles Morren's horticultural review, La Belgique Horticole.
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However, the engraver was the highest paid entity of a book production (but based on hours worked, he was the lowest paid). Most annuals had engravings of portraits. Today, as in the 19th century, the engravers do not get much credit, and their "art" can now be done in photo editing software. The Wall Street Journal uses a photo etching technique to put etchings in every edition.
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Charles B. Norton, a bibliographical agent at the Appleton Building, secured for sale in New York City, fine paper copies of a series of impressions of Raphael cartoons. These were obtained from the government plates at Hampton Court in December 1859. They measured 38 X 25 inches. Produced by Day & Son, engravers to Queen Victoria, a set of seven cartoons sold for $10 in New York.
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During this time many Hungarian painters, including Mihály Munkácsy worked as wood engravers. Morelli worked in the trade independently for Balázs Orbán and work for the Sunday News. In 1869, he traveled to Paris on a scholarship to study woodcutting, remaining there throughout the Franco- Prussian War. He later went to Leipzig, returning to his hometown in the spring of 1872, and settling there permanently.
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"Melencolia I", engraving by Albrecht Dürer, one of the most important printmakers. The process was developed in Germany in the 1430s from the engraving used by goldsmiths to decorate metalwork. Engravers use a hardened steel tool called a burin to cut the design into the surface of a metal plate, traditionally made of copper. Engraving using a burin is generally a difficult skill to learn.
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Grover's family moved to Chicago early in his life. There he spent much of his time sketching at the Academy of Design. Showing great promise he was enrolled at Munich’s Royal Academy in 1879, where he studied under Frank Duveneck.Opitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, NY, 1988 At the age of 19 he exhibited at Munich’s International Exposition.
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His theological career ended as Jindřichův Hradec provost. In art he became famous because of his popular engravings of city views. Juhn captured the character of local cities such as České Budějovice, Jindřichův Hradec, Pacov, Počátky, Prachatice, Kamenice nad Lipou, Písek, Tábor, and Vodňany. He collaborated with leading engravers George Karl Dobler and Postle, who was the first Czech classical landscape painter and printmaker.
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Private collection, Russia Pillement's illustrations are a mixture of fantastic birds, flora & fauna, large human figures and chinoiserie. He often worked with print makers such as Anne Allen (artist). His designs were used by engravers and decorators on porcelain and pottery, but also on textiles, wallpaper and silver. Pillement had discovered in 1764 a new method of printing on silk with fast colours (recorded in his Memoirs).
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GeorgMartinPreislerValentinDanielPreisler1756 Georg Martin Preisler (fl. 1750) was a German engraver. Born in Nuremberg, he was the son of Johannes Daniel Preisler. He was most notable for his portraits and a series of twenty-one engravings of classical and neo-classical sculptures in Rome, based on drawings made there by his brother Johan Martin PreislerJoseph Strutt, A biographical dictionary: containing an historical account of all the engravers...
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His works during the 1830s were more successful, and displayed a freshness that was previously lacking. In 1834 he published his admired Scenery of the Rivers of Norfolk, which consisted of thirty-six etchings produced by specialist engravers after his own paintings. This ambitious work was well-received at the time, but as with similar works published by other artists, it was financially unsuccessful.
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In 1673 Leclerc married one of the daughters of a royal dyer named Vandenkerchoven. Leclerc and his wife had six sons and four daughters. One of these, Sébastien "the Younger"Bryan, Biographical Dictionary of Painters, Engravers (1676–1763), gained a reputation in painting.Note: Sébastien the Younger's art collection was sold in 1764, putting many drawings and prints he had inherited from his father onto the art market.
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" Samuel Schoenbaum was equally dismissive: Northrop Frye said that the portrait makes Shakespeare "look like an idiot." Cooper notes that "the art of printmaking in England was underdeveloped and there were relatively few skilled engravers. Yet even by the less exacting standards observed in England, the Droeshout engraving is poorly proportioned." Benjamin Roland Lewis observes that "virtually all of Droeshout's work shows the same artistic defects.
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It isn't clear how Dempster's manuscript descended from ownership by Cosimo II to Salvini's extensive and famous collection. This he published apparently at his own expense; however, the publication was not exactly of the original. Filippo Buonarroti of Florence emended the text and added a critical apparatus. The duke had his own engravers enhance Dempster's illustrations with new ones drawn from artefacts in various collections.
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It also manufactures photo-engravers plates/strips for printing, castings, hard facing and tube rods, carbon electrodes and other related products. The company also produces and markets tea. The Group's operating facilities are located at Kolkata, Bengaluru, Chennai, Hyderabad, Noida, Gurgaon and Navi Mumbai. During the fiscal year 2002, the group sold its wholly owned subsidiaries Dufflaghur Investments Limited and Natex Investment and Marketing Limited.
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At the top were the Honorable hommes, a category which included the most successful merchants, artisans who had ten or fifteen employees, and a considerable number of successful painters, sculptors and engravers. Below them were the marchands or merchants, successful members of all the different professions. Twenty percent had their own shops. Below them were the maîtres and then the compagnons, craftsmen who had finished their apprenticeships.
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He had three sons who became engravers. His eldest son Peter Schenk the Younger was also a noted cartographer and art dealer who continued his father's shop in Leipzig.Peter Schenk biography on Geographicus Rare Antique Maps His sons Jan and Leonard stayed in Amsterdam and probably continued their father's workshop. His daughter Maria married Leonard Valck, the son of Gerard, who continued Gerard's workshop.
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Austin acted as an advisor on the design of banknotes to the Bank of England between 1956 and 1961 and designed the ten shillings and one pound notes issued in the early 1960s. Austin was elected a Fellow of the Royal Society of Painter-Etchers and Engravers (R.E.) in 1927 and succeeded Malcolm Osborne to become the Society's President from 1962 to 1970.Hopkinson, M (1999).
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Mariette was born to a long-established and highly successful family of engravers, book publishers and printsellers in Paris.The papers of the Mariette family are deposited at the University of Essex. His father was Jean Mariette (1660-1742). In 1657 his father's father, Pierre Mariette (ii) (1634-1716), had bought the family business from his ailing father, Pierre Mariette (i) (1596–1657), for 30,000 livres.
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In 1952 she was elected to Royal Society of Painters in Watercolours, she exhibited with them for the rest of her life and was the featured artist in their 1990 Spring Exhibition. In the 1970s she exhibited a number of etchings at both the Royal Academy and with the Royal Society of Painter-Ethchers and Engravers. Later in life she focused more on portraiture work.
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Marco Dente's skill as an imitator was clear. The artist is said to have 'forged so precisely' in so many of his prints. It is common to see evidence of Dente's precision through his replication of arduously minute details of the master copy. Michael Bryan, in his Dictionary of Painters and Engravers, portrays Dente as a professional forger, with deceptive intents of his imitation.
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Alberto Henschel was born 13 June 1827 in Berlin to Moritz and Helene Henschel. Moritz and his brothers August, Friedrich, and Wilhelm, of Jewish origin, had arrived in Berlin around 1806. They were recognized as engravers and signed their works as the Henschel Brothers. There are no records of Alberto Henschel's person or professional life in Germany or his reasons for emigrating to Brazil.
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Simplice Sicut Columbae, engraved by Gilles Rousselet, after alt= Sibille Tiburtine or Sibylle Tiburtine, from the series Douze Sybilles, engraved by Gilles Rousselet after Abraham Bosse Gilles Rousselet, also known as Aegidius Rousselet (1610–1686) was a French burin engraver, print dealer, and draftsman, active during the Baroque-era. He was one of the most skilled engravers of the seventeenth century and a member of the Académie.
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Around 1507 he began to use formulae such as "IO.AN.BX.", and signed some prints more fully.Zucker, 58–59; Sheehan, 235; BM The real Zoan Andrea was a very obscure painter, documented as working in Mantua in the 1470s, who produced no engravings.Zucker, 59 The newly expanded oeuvre comprises at least 150 engravings, making Giovanni Antonio one of the most prolific Italian engravers of this period.
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Van Werden is known for his drawings and the prints that were made after his designs. His works are mostly topical views, maps and also city views. He also made drawings as precursors for prints in various publications. The drawings of van Werden were engraved by various engravers including Lucas Vorsterman the Younger, Wenceslaus Hollar, Cornelis Galle the Younger, Richard Collin and Gaspar Huybrechts.
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Peintre officiel de la Marine Shoulder insignia of André Hambourg. Peintre de la Marine (Painter of the Fleet) is a title awarded by the minister of defence in France to artists who have devoted their talents to the sea, the French Navy and other maritime subjects. It was set up in 1830 by the July Monarchy and can be awarded to painters, photographers, illustrators, engravers, and sculptors.
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Instead, the AF of L continued to recognize the LIPBA, which had affiliated with the Federation in 1904 but which no longer existed as an independent entity following the 1915 merger. The next year, the AF of L ordered the new Amalgamated union to join either the International Photo- Engravers Union (IPEU) or the International Printing Pressmen and Assistants' Union (IPPAU), a demand resisted by the ALA.
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His illustrations appeared in publications published by Hamish Hamilton, Longmans, Methuen, Oxford University Press, Penguin Books, etc. He also produced small linocut and pen illustrations for listings in the Radio Times for the BBC. In 1966, Tavener was elected to the Royal Society of Painter-Etchers and Engravers. He was a senior fellow of the society and was also a member of the Society of Sussex Painters.
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They are also known as pariya in Parkari Koli language and loharti in Dahatki languages of Sindh. Loharti may be derived from term Lohar which means iron-smith which were commissioned in past to engrave memorial stones instead of stone-engravers. The term may also refer to tablet or stone engraved with hammer. Khambhi is derived from Sanskrit term Stambha which means a column.
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Vinzenz Stürler, now in the Jegenstorf Castle Robert Gardelle (1682-1766) was a Swiss artist,ULAN born in Geneva, then in the Republic of Geneva. Gardelle studied under Largillière in Paris, where he distinguished himself as a portrait painter, producing also etchings of portraits and of views of Geneva.Michael Bryan, Bryan's Dictionary of Painters and Engravers: Volume 2, D-G. Robert Edmund Graves and Walter Armstrong, eds.
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The architect Charles-Nicolas Cochin worked for several years for the Menus-Plaisirs du Roi, 1735–51, making detailed renderings for the engravers of architectural designs by the Slodtz brothers.Carter E. Foster, "Charles-Nicolas Cochin and Festival Design for the Menus-Plaisirs" Master Drawings 39.3 (Autumn 2001), pp. 260-278; p. 276 note 3 gives a bibliography concerning Cochin's work for the Menus-Plaisirs.
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Nicolas-Henri Tardieu, called the "Tardieu the elder", (18 January 1674 - 27 January 1749) was a prominent French engraver, known for his sensitive reproductions of Antoine Watteau's paintings. He was appointed graveur du roi (King's Engraver) to King Louis XV of France. His second wife, Marie-Anne Horthemels, came from a family that included engravers and painters. She is known as an engraver in her own right.
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Tautenhayn was born in Vienna, where he studied at the academy (1854–60) under Carl Radnitzky (1818-1901) and sculpture under Franz Lukas Bauer (1798-1872), then in the engravers' academy of the Imperial mint. After his return from a study trip through Italy, France, and England, undertaken in 1869-72, he was appointed Imperial engraver of coins and medals, and in 1881 professor at the academy.
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He was the eldest son of the publisher and bookseller, Samuel Girardet (1730-1807). In 1783, he moved to Paris, where he took lessons in drawing and printmaking from Bénédict Alphonse Nicollet (1743-1807), a fellow Swiss immigrant. His siblings, , , and Julie (1769-1817) also worked as engravers. He remained in Paris during the early stages of the Revolution, creating depictions of major events.
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He served as colonial assistant surgeon in New South Wales and Norfolk Island.Dictionary of Australian Artists: Painters, Sketchers, Photographers and Engravers to 1870, James Stuart. Retrieved 19 May 2020 He took charge of the sick who arrived at Sydney on board the emigrant ship Minerva on 24 January 1838. Of the 198 steerage passengers, 86 contracated typhus, 14 of whom died during the passage.
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In 1955, the employees in Munich moved to a newly acquired publishing house in Schongauerstraße 24. For several decades, engraving was done by the Universitätsdruckerei H. Stürtz (Würzburg), and were later joined by engravers in Leipzig and Darmstadt. The first works published were Wolfgang Amadeus Mozart’s Piano Sonatas in two volumes, edited by Walther Lampe, and Franz Schubert’s Impromptus and Moments Musicaux, edited by Walter Gieseking.
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Powell exhibited her work in the Woman's Building at the 1893 World's Columbian Exposition in Chicago, Illinois. She also exhibited at the 1901 Pan-American Exposition in Buffalo, New York. Powell's wood engravings reproduced art work by her contemporaries including Fritz von Uhde, Abbott H. Thayer, John La Farge, and James Abbott McNeill Whistler. She became the first woman admitted to the Society of American Wood Engravers.
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Because seals are commissioned by individuals and carved by artists, every seal is unique, and engravers often personalize the seals that they create. The materials of seals and the styles of the engraving are typically matched to the personalities of the owners. Seals can be traditional or modern, or conservative or expressive. Seals are sometimes carved with the owners' zodiac animals on the tops of the seals.
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Comfort was born in London on 11 November 1864, where he attended the Graphic School of Wood Engraving, and afterwards worked as an engraver for almost 15 years at The Graphic, a national illustrated journal founded in 1869 by William Luson Thomas and his brother Lewis Samuel Thomas. During that time, he achieved some renown for his watercolours, especially of flowers, and his work was exhibited in Brussels and at the Royal Academy in London. He was regarded as one of the few engravers of high rank at the end of the nineteenth century in Great Britain along with Charles Roberts, William Biscombe Gardner and Charles Frederick Ulrich. He became the chairman of the international Society of Wood Engravers, but, with the development of half-tone and screen blocks for illustrations, wood-engraving became obsolete, and he left the journal and moved north. 35\.
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Cumberland was also a collector of fossils and from 1810 was an honorary member of the Geological Society. In 1826 he published Reliquiae conservatae, a study of some fossil encrinites. In 1827 he published Essay on the Utility of Collecting the Best Works of the Ancient Engravers of the Italian School, which catalogued his collection of prints. He presented his collections to the Royal Academy and the British Museum.
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Ipsen eventually moved to New York, where he established a studio on 19th Street.Fielding, Mantle, "Ipsen, Ernest L.," Mantle Fielding's Dictionary of American Painters, Sculptors and Engravers (New York: James F. Carr, 1965). Ipsen would continue to work out of the National Arts Club Studio on 19th Street until 1934, when he moved to South Dartmouth, Massachusetts. Following the death of his wife in 1941, Ipsen settled in Coconut Grove, Florida.
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However, his reputation rests upon his compilation of biographical information about American artists. In 1926, he published Dictionary of American Painters, Sculptors, and Engravers, his best-known work. He participated in the 1895 and 1896 U.S National Championships tennis tournament and reached the final of the mixed doubles event with his future wife Amy Williams. Fielding was married to Amy Reeve Williams; they had two children, Richard M. and Frances.
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For these trifles his mother, to whose energy and common sense he was greatly indebted, soon found a purchaser, through whom he was brought to the notice of the Whympers, the wood-engravers. This led to his being bound to them as apprentice for five years. His earliest known design is the frontispiece, signed Chas. Keene, to The Adventures of Dick Boldhero in Search of his Uncle, &c.
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His drawing is correct, his line excellent and his textures are varied and intelligent in expression. Such of his plates as the "Holy Family" after Nicholas Poussin, "Christ Bearing the Cross" after Murillo, the portrait of the marquis of Buckingham after Thomas Gainsborough and that of Pitt occupy a high place among the productions of the English school of line-engravers. He also worked after Pine, Dance and Kauffman.
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They were some of the first women to use a microscope. Susanna and her sisters work was used by their father because he considered that the best engravers were not equally reliable. The illustrations were thought to be essential by her father as he wanted them to distract observers from his interest in molluscs. He was a physician and he worried that his interests may be seen as eccentric.
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Finlay's designs were most often built by others. Finlay respected the expertise of sandblasters, engravers and printers he worked with,Exhibition catalogue 'Beauty and Revolution: The Poetry and Art of Ian Hamililton Finlay' Kettle's Yard, Cambridge 2014 having approximately one hundred collaborators including Patrick Caulfield, Richard Demarco, Malcolm Fraser, Christopher Hall, Margot Sandeman. He also worked with a host of lettering artists including Michael Harvey and Nicholas Sloan.
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George Washington is a marble bust portrait of George Washington, done in the style of a Roman emperor, by the Italian sculptor Giuseppe Ceracchi. It was created as part of a campaign by Ceracchi to build a larger monument to Washington. The bust was thought by many to be one of the most lifelike. It was later used as a model of Washington for works by other sculptors and engravers.
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Rembrandt would have been familiar with Elsheimer's work through high-quality engravings made by his friend Hendrick Goudt. The influence of Goudt's prints on the work of other engravers, especially that of Jan van de Velde, was immediate. Elsheimer also inspired later artists, such as the German Romantic painter Caspar David Friedrich. The fire's illumination in Friedrich's Evening on the Baltic Sea (1831) recalls The Flight into Egypt.
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In the technical realization of the etchings, honed during the years of the Academy, Betto Lotti showed an untimely natural inclination. His first collective exhibitions received praise. He was awarded the Second Prize from the Ministry of Education in Florence in 1912. The activity lasted for about a decade and culminated in 1922, when Lotti was selected among the artists featured at the Exhibition of Tuscan engravers in Montreal, Canada.
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Between 1803 and his death in 1821 Bartsch published in French in 21 volumes Le Peintre Graveur, a pioneering catalogue of old master prints by Dutch, Flemish, German, and Italian painter-engravers from the 15th to the 17th century. References to "Bartsch" normally mean this work. It has been reprinted five times, most recently in 1982. In 1821 he also published the Kupferstichkunde (The Art of Engraving) in German.
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Henri Berckmans (died 1950) was a Belgian trade union leader. Berckmans became a wood engraver, and by the 1910s, he was the secretary of the Union of Wood Engravers of Brussels. In 1913, he merged the union into the new Central Union of Workers in Lithography and Kindred Trades. The union's leader, François Poels, was seconded to government work during World War I, so Berckmans became acting general secretary.
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They had one son, Nicholas (b. 1977) and one daughter, Briony (b. 1980). In 1971, at the age of 28, Chaplin was elected as an associate of the Royal Society of Painter-Etchers and Engravers, one of the youngest people ever to receive this honour. He was later elected to full membership, subsequently serving as Honorary Secretary and Vice President, and is now a senior fellow of the society.
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François Joullain (1697-1778) was a French etcher, engraver and art dealer. His career and that of his son, François-Charles Joullain (died 1790), expanded from their initial roles as engravers and printmakers to merchants of paintings and publishers. He became a noted publisher for producing books of engravings which were of high quality and very popular in the 18th century and a prominent art dealer in Paris.
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Balzer was born at Kuks, in Bohemia, in 1738. He was first instructed in art by Michal Rentz, but subsequently completed his education by travelling through Germany, where he visited several Academies. He chiefly resided at Prague, where he produced numerous works, mostly portraits, and died in 1799. He left two sons, Anton (1771-1807) and Johann Karl (1771-1805), who were both engravers, together with his brothers Mathias and Gregor.
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Claude Mellan was one of many 17th-century engravers with a very well-developed technique of using parallel lines of varying thickness (known as the "swelling line") to give subtle effects of tone (as was Goltzius) – see picture below. One famous example is his Sudarium of Saint Veronica (1649), an engraving of the face of Jesus made from a single spiraling line that starts at the tip of Jesus's nose.
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Giovanni Battista Scultori (1503 - 29 December 1575), also Giovanni Battista Mantovano or Mantuana, was an Italian painter, sculptor and engraver. Scultori was born in Mantua. He was a pupil of Giulio Romano, and supported himself through work in the Palazzo del Te. Most of what we know of him is through his 20 or so engravings that have survived. His son Adamo Scultori and daughter Diana Scultori also became engravers.
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Subjects became more ethnically and socially diverse (e.g., a Chinese woman with triangular hat, hippies with long hair and glasses, men wearing floppy hats, etc.). Some of these new artists used new techniques such as power engravers, vibrating tools, and felt marker pens to add color to hair. By the end of the 1970s, most Buffalo nickels had disappeared from circulation, and the majority of engravings were performed on worn coins.
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John Paas (name used legally) was murdered in Leicester by James Cook, in a criminal case that attracted wide attention. He was aged 49, a partner in the firm Paas & Co. of High Holborn, London, engravers. He was in Leicester as a travelling salesman of specialist hardware. Cook, a printer and bookbinder, was exhibited on a gibbet after being hanged, the last British criminal to be so treated.
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Oeuvres completes, Volume 1 (Hardouin, 1788). and the illustrations, after Monsiau, for "La Pitié", a poem by Jacques Delille (1803), which he completed with three other engravers working under his supervision (Courbe, Berthaud and Duparc).Delille, Jacque La Pitié (Paris : Giguet et Michaud, 1805). Anselin was nominated, with Bervic, to the "education committee" for "La société populaire des arts" serving during one of the most violent times of the revolutionary era.
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His father was Edward William Wyon (1811–1885), a sculptor born in Christchurch, Surrey,Census 1861: RG/9/102/138; p.37. who belonged to the Wyon family of engravers and medallists. Edward Alexander's grandfather was Thomas Wyon the elder (1792–1817), and his uncles were Thomas Wyon the younger, and Benjamin Wyon (1802–1858). Edward Alexander's mother was Elizabeth Smyth, (born St James's 1820; died Barnet 1890).
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Fluorine etching is a printmaking technique developed by a circle of artists working in Cracow and Warsaw in the first two decades of the twentieth century. It is likely that both the detrimental effects on the health of engravers and the fragility of the material resulted in this technique being abandoned.Waldemar Deluga, ‘Fluorine Etching in Cracow, Warsaw and Vilnius, 1901–20’, Print Quarterly, xxxvi, no. 2, June 2019, pp. 162–68.
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His most frequent subjects are landscapes of rivers or canals with sailing boats in old cities in Flanders and The Netherlands. He had a preference for showing the reflection of the moonlight on river landscapes.Egide François Leemans at the Netherlands Institute for Art History Adrien Jean Joseph Delen, 'Modern Belgian Etchers and Copper Engravers', Belgian Government Information Center, 1951, p. vii Most of his works have a silvery gray undertone.
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Best was born in Amport in Hampshire and studied at the Slade School of Art in London during 1909. She continued to live in London throughout her life, settling in Richmond. Best exhibited at the Royal Academy several times, with the New English Art Club and also at the Royal Society of Arts and the Royal Society of Painter-Etchers and Engravers. She also exhibited in the United States and Sweden.
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204, 408–13 He worked as an engraver for the leading Flemish painters of his age. In Rubens' studio he belonged to the 'new generation' of engravers with the likes of Hans Witdoeck. There are 18 engravings made by van der Goes on the basis of Rubens’ designs. The technique of van der Goes was more free than that of Vorsterman and was thus extremely well suited to the Rubens’ style.
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Lake George, 1860 John William Casilear (June 25, 1811 – August 17, 1893) was an American landscape artist belonging to the Hudson River School. Casilear was born in New York City. His first professional training was under prominent New York engraver Peter Maverick in the 1820s, then with Asher Durand, himself an engraver at the time. Casilear and Durand became friends, and both worked as engravers in New York through the 1830s.
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Stevens & Williams vase, circa 1890 Stevens & Williams was an English glass company located in Stourbridge, established in 1776 under the name of Honeybourne. Its most notable cameo glass dated from the 1880s when the studio was under the direction of John Northwood. He was also known for the very unusual and complex Moss agate glass vases. Other engravers at the Stevens & Williams company included Joshua Hodgetts (1858 -1933).
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In urban workplaces, the occupations of slaves included fullers, engravers, shoemakers, bakers, mule drivers, and prostitutes. Farm slaves (familia rustica) probably lived in more healthful conditions. Roman agricultural writers expect that the workforce of a farm will be mostly slaves, managed by a vilicus, who was often a slave himself. "Eros, Posidippus' Cook, this is his site" ("SER" presumably short for "SERVUS", "slave"): epitaph on a steleCIL VI, 6246.
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Back in London, Strange exhibited pictures which he had collected, and prepared critical and descriptive catalogues. In 1768, troubles in the Incorporated Society of Artists, of which Strange was a member, led to the foundation of the Royal Academy. Strange opposed those breaking away, and he came to believe that the exclusion from the Academy of engravers was levelled against himself. His rival Francesco Bartolozzi was elected, ostensibly as a painter.
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With other engravers (William Sharp, John Hall, and William Woollett), Strange declined associate membership. In 1775 he published on his grievances in An Inquiry into the Rise and Establishment of the Royal Academy of Arts. He then took his family over to Paris, where they remained in the Rue d'Enfer until 1780. Strange wished to engrave Anthony van Dyck's portrait of Queen Henrietta Maria, which belonged to George III.
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In London, she met Henry Snowden Ward, an editor of photography journals, who soon became her husband. She settled in England and with him edited in London The Photogram (1894–1905), continued from 1906 as The Photographic Monthly; The Process Photogram (1895–1905), continued from 1906 as The Process Engravers' Monthly; also Photograms of the Year (from 1896) and The Photographic Annual (from 1908).Owen, William Benjamin (1912). "Ward, Henry Snowden" .
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The American Magazine of Useful and Entertaining Knowledge (1834–1837) was a monthly magazine based in Boston, Massachusetts. It was established by a group of engravers to "give to the public a work descriptive, not merely of subjects, scenes, places, and persons existing in distant climes, but also of those which are to be found in our own fine and native country."American Magazine, v.1, no.1; p.1.
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During the voyage he dedicated an ode to a fellow passenger, the pioneer photographer George Cherry, signing himself "a Knight Templar, XIth Foot (late the Bard of New Brunswick)".Candice Bruce, "George Cherry", in The Dictionary of Australian Artists: Painters, Sketchers, Photographers and Engravers to 1870, ed. Joan Kerr, Melbourne: OUP, 1992, 146–7; also online at Design & Art Australia Online. The original poem is held among Cherry family papers, Sydney.
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Gerard Seghers,Salome with the head of St John the Baptist. Philip Fruytiers, Annibale Carracci and Theodoor van Thulden. He collaborated on various printing projects with the leading engravers of his time including Mattheus Borrekens, Cornelis Galle the Younger, Wenceslaus Hollar, Pieter de Jode II, Theodoor van Merlen, Michel Natalis and Paulus Pontius. Between 1635 and 1659 Jacob Neeffs illustrated about 10 books, mainly published in Antwerp and Leuven.
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In 1817, he published Walks Through London (2 vols.) which contained 96 copper engravings and 24 on wood. The principal engravers and artists were J. Greig, T. Higham and W. Wallis. J. C. Varrall, E.J. Roberts, W. Morland and C. J. M. Whichelo also contributed."121 Hughson's Walks Through London (1817)" in Bernard Adams (1983) London Illustrated 1604–1851: A Survey and Index of Topographical Books and their Plates.
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2011.0053, Royal Society, Retrieved 15 April 2020 Anne and her sisters work was used by their father because he considered that the best engravers were not equally reliable. The illustrations were thought to be essential for the book as her father wanted them to distract critics from his interest in molluscs. He was a physician and he worried that his interest in shells would be seen as eccentric.
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After 1828 he produced little work of his own, but his studio was productive through his pupils Doo and Watt, and his sons. Thomas Garner was taken on by the studio in the 1820s, to work uncredited on annuals. As did his competitor Edward Finden, Heath outsourced work to a substantial group of engravers into the 1830s and 1840s, and employed a production line technique with division of labour.
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Born in Spokane, Washington, Rich received a B.A. from Smith College in 1931. In 1933 she met sculptor, Malvina Hoffman, and studied with her in Paris for two years.Opitz, Glenn B, Editor, Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Book, Poughkeepsie NY, 1986 p. 770 Upon returning to America, she did intensive work at the Boston Museum School and established her own studio in New York City.
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The Bartholomew Archive is a notable map collection that was gifted to the NLS in 1995 by the Bartholomew family in memory of Scottish cartographer John Bartholomew (1890 - 1962). The Archive is also a rich resource of information on the Edinburgh-based firm of map engravers, printers, and publishers, John Bartholomew and Son Ltd. It is one of the most extensive cartographic archives available for research in a public institution.
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Paul Rodgers gave the opinion that Elliott "has been sorely handled by the painters and engravers.... The published portraits convey scarcely any idea at all of the man."“Recollections of Ebenezer Elliott”, pp. 275–276. Of those that remain, two have been attributed to John Birch, who painted other Sheffield worthies too. One shows him seated with a scroll in his left hand and spectacles dangling from the right.
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J. Maxwell Miller, aka Joseph Maxwell Miller (December 23, 1877 - 1933) was an American sculptor born in Baltimore, Maryland. He studied at the Maryland Institute School of Art and Design and at the Rinehart School of Sculpture with William Rinehart in Baltimore. He also studied with Raoul Verlet at the Julian Academy in Paris.Opitz, Glenn B, Editor, Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Book, Poughkeepsie NY, 1986 p.
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Marie-Anne Rousselet was born in Paris, France on December 6, 1732 to medal engraver Alexis Étienne Rousselet. All four of her siblings were also engravers. She was related to engraver, Gilles Rousselet (1614–1686), and the sculptor, Jean Rousselet (1656–1693), both of whom were members of the Académie royale de peinture et de sculpture. In 1757, she married engraver and cartographer, Pierre François Tardieu, as his second wife.
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Knight resided in 1781 in Berwick Street, Soho, London, enrolled in London's Royal Academy Schools in 1788, and in 1792 resided in Brompton. He is best known for his engravings, but he also worked as a miniature painter. In 1803 Knight was one of the original governors of the Society of Engravers. While residing in Hammersmith, at 83 years of age (1826), he published a portrait of the Rev.
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From 1903 he exhibited at the New English Art Club, and was a member from 1906 to 1920. In 1905 he was elected an associate of the Royal Society of Painter-Etchers and Engravers, and became a fellow in 1915. He was also an active member of the Society of Graver-Printers in Colour. From 1906 he taught wood-engraving at the Central School of Arts and Crafts, London.
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Manchester was expanding rapidly, and in 1758 one family in trade became prosperous enough to acquire a private carriage. Manchester became an increasing important market, and Liverpool- based Jewish hawkers worked in Manchester in the week, returning to Liverpool to celebrate Sabbath. The Manchester press was anti-Semitic. Jews traditionally traded in slop, jewellery and calligraphy and became pawnbrokers, quack doctors, seal cutters, engravers, watchmakers and miniature painters.
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His compositions were engraved by leading Antwerp engravers including Hans Witdoeck, Wenceslaus Hollar and Lucas Vorsterman although he was an accomplished etcher himself. Cornelis made etchings after his own works. For instance, he made a series of etchings on the theme of the liberal arts which are similar to his designs for cartoons on the same subject. He also created many small, decorative etchings of naked children or putti.
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When the war ended Nash was determined to continue his career as an artist but struggled with periodic bouts of depression and money worries. Throughout 1919 and 1920 Nash lived in Buckinghamshire and in London where he made theatre designs for a play by J. M. Barrie. Along with several other artists, Nash became prominent in the Society of Wood Engravers and in 1920 was involved in its first exhibition.Horne, Alan.
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Through his knowledge of Florentine and Italian art and his international contacts with engravers and editors in Antwerp, Stradanus contributed to the development of printmaking. He was one of the earliest members of the prominent Accademia e Compagnia delle Arti del Disegno established in Florence in 1563. Stradanus also worked on various commissions in Rome. He resided in Napels from 1576 but returned to Florence in 1580, where he died.
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Kieser was the son of a pastor. He learned the goldsmith's trade. In the early summer of 1609, through his marriage with Anna Christina Hoffmann, a painter's daughter, he received citizen's rights in Frankfurt am Main, worked as a goldsmith in Sachsenhausen and began to draw and engrave. From 1612 he illustrated and published books and produced illustrative prints in his publishing workshop with several engravers as assistants.
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Another major influence on Dürer's works was the rise of Nuremberg as an intellectual center and as a leader in engravings. One of the main reasons behind Nuremberg's prominence was the release of the Nuremberg Chronicle in 1493. This book contained around 650 original illustrations from Michael Wolgemut, one of the leading engravers of the late-Gothic era, and his workshop.Fred Kleiner and Helen Gardner. Gardner’s Art Through the Ages.
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Ball then taught at the Birmingham School of Art, until he became principal at the Stroud Art College. His preferred mediums were printing, painting and wood engraving. He was an Associate of both the Royal Birmingham Society of Artists and the Royal Institute of Engravers in 1943, and became a full Member of the RBSA in 1949. Ball is considered to be the greatest printmaker of his generation.
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The shop of engravers and printsellers Mary and Matthew Darly in the fashionable West End of London sold their sets of satirical "macaroni" caricature prints, published between 1771 and 1773. The new Darly shop became known as "the Macaroni Print-Shop". The Italian term maccherone, when figuratively meaning "blockhead, fool", was apparently not related to this British usage, though both were derived from the name of the pasta shape.
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In 1887 he became a member of the New English Art Club. In 1889 he was made an associate of the Royal Academy, and in 1907 he was elected as a full member. In 1903 he became a member of the Royal Society of Painter-Etchers and Engravers. In 1920 he painted a mural for the Royal Exchange, London Blocking of Zeebrugge Waterway, St George’s Day, 23rd April 1918.
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The Mint obtained special legislation to allow MacNeil to redesign the coin as he desired. One change made by the sculptor was the addition of a chain mail vest that covered Liberty's formerly bare breast. In circulation, the coin's date wore away quickly, and Mint engravers modified the design in 1925 to address the issue. The Standing Liberty quarter was discontinued in 1931, a year in which no quarters were struck.
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He cut, after 15 years, a Hercules in Combat with the Nemean Lions, a generally admired piece. His gems, both recessed and embossed, are of outstanding clarity and sharpness and he was one of the most sought after engravers of his age, leaving him with a prolific 379 pieces to his name. He also worked in pastel painting. In 1790 he produced a catalogue of 200 examples of his work.
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The Centre for Visual Art at the University of Natal has been entrusted with a donation of her works. Rosa Hope designed the tile tableau of the Great Trek Centenary in the Irene Post Office in 1939. In January 1923 she was elected an Associate of the Royal Society of Painter-Etchers and Engravers. She exhibited drawings at the New English Art Club, the Redfern Gallery, Old Bond Street and Messrs.
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Bruntjen, 15. He was not subject to the whims of public taste: if his engraves did not sell well, he could supplement his earnings by trading in the prints of other artists. He also understood the concerns of both the engraver and the publisher. In fact, as a publisher, he did much to help raise the level of respect for engravers in addition to furnishing them with better paying commissions.
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Works by Copeman were also shown at the Royal Cambrian Academy, the Royal Glasgow Institute of the Fine Arts and the Royal Society of Painter-Etchers and Engravers. The latter society elected Copeman as an associate member in 1897. She was also a member of the Liverpool Academy of Arts. The Walker Art Gallery in Liverpool holds examples of her work while Liverpool City Libraries holds some of her sketching albums.
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The second volume has 161 plates and covers all royal palaces and other buildings of note in the rest of Denmark. Buildings are shown in plan, section and elevation as well as many bird's-eye perspective. All prospects are drawn by Johan Jacob Bruun. Many of the plates were executed by Michael Keyl and C.L. Wüst, two German engravers who were commissioned by Thurah especially for the project.
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Dancker Danckerts (baptized 5 February 1634 in Amsterdam - buried 8 December 1666 in Amsterdam entry in the RKD) was a well known Dutch engraver and publisher. Danckerts was the son of Cornelis Danckerts of Amsterdam and Anne Minne of Leiden. The Danckerts belonged to a large Amsterdam family of engravers, cartographers, print-sellers and publishers. Danckerts was known for both his etchings of paintings, maps and his publications.
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Wallace exhibited regularly with the International Society of Sculptors, Painters and Engravers (London), the Royal Academy of Arts (London), the Royal Scottish Academy (Edinburgh), and also at The Royal Glasgow Institute of the Fine Arts(Glasgow). From 1905, she usually exhibited under her married name. Wallace was an Associate Member of the Royal British Society of Sculptors. William Wallace's A Suite in the Olden Style for piano is dedicated to her.
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Hunting Scene, perhaps Death of Acteon. Signed "Bologna", for Primaticcio. Very little is known about his life; his dated prints run between 1540 and 1556,Boorsch, 469 when he left a series incomplete, which may indicate his death.Grivel There is no evidence that he trained as a painter, and like many early engravers he may have been trained as a goldsmith, a trade where engraving was still important.
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Aikman presented two items as an American artist at the Exposition Universelle (1900), an original landscape and a jade screen engraving."Drawings, Etching and Engravings." Official Illustrated Catalogue, Fine Arts Exhibit, United States of America, Paris Exposition, 1900. Page 76. He led the group of engravers and artists illustrating of the printed catalog of the Heber R. Bishop jade collection donated to the Metropolitan Museum of Art in 1902.
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Ibarra studied at Cervera, in the province of Lleida, as an apprentice to his brother Manuel, who was serving as first officer of Printing Pontifical and Royal University. He also studied academics, learning Latin and classical culture bases. As teacher, he moved to Madrid in 1754, setting up a print shop with 16 presses. Working alongside the best painters and engravers of his time, Ibarra was a well recognized printer.
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The name ultimately derives from the Latin sigillum, meaning "seal" as in the "Seal of the City of New York": "Sigillum Civitatis Novi Eboraci." The Germanicized derivative of the name was given to professional seal makers and engravers. Some researchers have attributed the surname to Sigel, referring to Sól (Sun), the goddess of the sun in Germanic mythology (Siȝel or sigel in Old English / Anglo-Saxon), but that is highly speculative.
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Aegidius Sadeler, in Het Gulden Cabinet Raphael Sadeler, in Het Gulden Cabinet Jan Sadeler, in Het Gulden Cabinet The Sadeler family were the largest, and probably the most successful of the dynasties of Flemish engravers that were dominant in Northern European printmaking in the later 16th and 17th centuries, as both artists and publishers. As with other dynasties such as the Wierixes and Van de Passe family, the style of family members is very similar, and their work often hard to tell apart in the absence of a signature or date, or evidence of location.Mayor, 417 Altogether at least ten Sadelers worked as engravers, in the Spanish Netherlands, Germany, Italy, Bohemia and Austria. Much of their best work was high quality reproductive prints of contemporary artists such as Bartholomeus Spranger (Aegidius II) or the Venetian Bassano family (Jan I and Rafael I), that were important in spreading the reputation and style of these artists.
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The unique atmosphere made mapmaking a form of art. Cartography and visual arts were related activities: art and mapmaking interacted with each other: many cartographic elements, such as images, colour, and lettering, were shared with art; tools and methods used to produce maps and artistic works were very similar in printmaking and in mapmaking: copperplate engravings, which were hand coloured in later, required specific artistic skills; a significant number of both little-known and the most outstanding artists were involved in decorating maps; maps and art works were often performed by the same artists, engravers and publishers who worked for both areas; artists, engravers and mapmakers belonged to the same group of society that determined the development of culture in many areas. Gemma Frisius was the first to propose the use of a chronometer to determine longitude in 1530. In his book On the Principles of Astronomy and Cosmography (1530), Frisius explains for the first time how to use a very accurate clock to determine longitude.
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The use of drawing to specify how something was to be constructed later was first developed by architects and shipwrights during the Italian Renaissance. In the 17th century, the growth of artistic patronage in centralized monarchical states such as France led to large government-operated manufacturing operations epitomised by the Gobelins Manufactory, opened in Paris in 1667 by Louis XIV. Here teams of hundreds of craftsmen, including specialist artists, decorators and engravers, produced sumptuously decorated products ranging from tapestries and furniture to metalwork and coaches, all under the creative supervision of the King's leading artist Charles Le Brun. This pattern of large-scale royal patronage was repeated in the court porcelain factories of the early 18th century, such as the Meissen porcelain workshops established in 1709 by the Grand Duke of Saxony, where patterns from a range of sources, including court goldsmiths, sculptors and engravers, were used as models for the vessels and figurines for which it became famous.
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From 843, after the conclusion of the Treaty of Verdun, Alzey was assigned to the eastern realm. In 897 Alzey was first mentioned as a German fiefdom. The ruin of the fort probably marked the view of the city until around 1620, since the engravers of the early 17th century depicted them on vignettes at that time. After that, the fort almost completely cleared for the extraction of building materials by the urban population.
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He published two books, The nine churches of Rome (Le nove chiese di Roma 1639), and The Lives of Painters, Sculptors, Architects and Engravers, active from 1572–1642 (Le Vite de' Pittori, scultori, architetti, ed Intagliatori dal Pontificato di Gregorio XII del 1572. fino a' tempi de Papa Urbano VIII. nel 1642, 1642). The latter is still seen as an important historical source for artists living in Rome during the lifetime of Baglione.
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Born in Kolpino, Saint Petersburg Governorate in a lower-middle-class family of Russian ethnicity, Tomsky moved to Estonia (then part of the Russian Empire) and was involved in the 1905 Revolution. He helped form the Revel Soviet of Workers' Deputies and the Revel Union of Metal Workers. Tomsky was arrested and deported to Siberia. He escaped and returned to St. Petersburg where he became president of the Union of Engravers and Chromolithographers.
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Rafail Levitsky is considered to be the first artist in history to be also a fine art photographer. During his lifetime many of the Levitsky famous photographic portraits became partial or complete replacements of the model by artists, lithographers, illustrators and even engravers as in the case of Levitsky's portrait of Alexander III which was used on the Russian ruble bank note. Alexander III. by Sergei Lvovich Levitsky and Rafail Sergeevich Levitsky.
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The crayon manner of engraving allowed engravers like Gilles Demarteau to produce faithful reproductions of these designs. These prints in red ink so much resembled red chalk drawings that they could be framed as little pictures. They could then be hung in the small blank spaces of the elaborately decorated paneling of homes.Alpheus Hyatt Mayor, Prints & People: A Social History of Printed Pictures, Metropolitan Museum of Art (New York, N.Y.), 1 January 1971, p.
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His father and brother were goldsmiths, so he may well have had experience with the burin from an early age. His 116 engravings have a clear authority and beauty and became well known in Italy as well as northern Europe, as well as much copied by other engravers. He also further developed engraving technique, in particular refining cross-hatching to depict volume and shade in a purely linear medium.Shestack (1967a), numbers 34–115.
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All the visual art schools, styles and media were represented. The CSGA was among the eight art societies that contributed to the show. Jo Manning, who made prints between 1960 and 1980, was an executive member of the Canadian Society of Graphic Art and a member of the Society of Canadian Painter-Etchers and Engravers. In June–August 1971 the two organizations held a joint exhibition at the Montreal Museum of Fine Arts.
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Engravers from the BEP also later used space on the west of the building as it provided excellent natural light for their work. By the 1960s, the building had become underutilized and in need of major renovation. It was slated for demolition in 1966, but was postponed due to lack of funding. The building was listed on the National Register of Historic Places in April 1978 for its architectural and historical significance.
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François Joullain began his career as an engraver, etcher and print-maker. He received some of his early art education from the engraver, Claude Gillot and was entered as a member the Académie de Saint-Luc, 13 August 1733, as an engraver, and became its director, 19 October 1747.Guiffrey 1915. In his early career, he illustrated a number of books, sometimes in collaboration with other engravers, especially his former teacher, Claude Gillot.
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Strang was elected an Associate member of the Royal Society of Painter-Etchers and Engravers in 1925 and became a full member in 1930. He also visited and studied in Italy, Belgium, Spain and Sicily. Among his paintings was a notable portrait of James Dickson Innes. In 1944 Strang submitted five drawings of bomb damaged buildings in central London to the War Artists' Advisory Committee, WAAC, and the Committee purchased four of them.
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Plate 11, showing the marginal glosses. The line directly above the centre image reads: Satan himself is transformed into an Angel of Light & his Ministers into Ministers of Righteousness In 1823 Linell formally commissioned Blake to engrave plates for printing. Unlike Blake's own productions in relief etching, this, like other commissioned work, was produced using the intaglio method of engraving. However, Blake rejected the "mixed method" popular among commercial reproductive engravers of his time.
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Paintings commissioned by senior naval officers and displayed in the Royal Academy (as were many marine paintings) were not necessarily accessible to the larger British population. However, this does not mean that marine art was confined to the upper classes. Some marine artists and engravers made etchings and aquatints of the pictures bought by art collectors and such, and these copies could be sold to the general public at more affordable prices.Tracy, 5.
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Caelum is a faint constellation in the southern sky, introduced in the 1750s by Nicolas Louis de Lacaille and counted among the 88 modern constellations. Its name means “chisel” in Latin, and it was formerly known as Caelum Sculptorium (“the engravers’ chisel”); It is a rare word, unrelated to the far more common Latin caelum, meaning “sky, heaven, atmosphere”.Charlton T. Lewis, Ph.D. and. Charles Short, A Latin Dictionary Oxford University Press, 1879.
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A Ge is a Grade 1 National Artist, a member of the China Artists Association and the Chinese Engravers Association, and is chairman of the Sichuan Artists Association, and the vice chairman of the Sichuan federation of literary and art circles, the director of the Shenzhou printmaking museum, and the vice President of the printmaking institute of the Chinese national academy of painting. Her works have been collected by the British Museum in London.
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Buffalo nickels When the Indian Head nickel, or Buffalo nickel, was introduced in 1913, it became popular among coin engravers. The big Native American head was a radical departure from previous designs and would not be seen on any subsequent coins. The large, thick profile gave the artists a larger template to work on and allowed for finer detail. On earlier coins, the head was much smaller in relation to the size of the coin.
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Many talented coin engravers, as well as newcomers, started creating hobo nickels in 1913, when the Buffalo nickel entered circulation. This accounts for the quality and variety of engraving styles found on carved 1913 nickels. More classic old hobo nickels were made from 1913-dated nickels than any other pre-1930s date. Many artists made hobo nickels in the 1910s and 1920s, with new artists joining in as the years went by.
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Malcolm C. Salaman, Modern Woodcuts and Lithographs (London, Studio, 1919). She exhibited in the second exhibition of the Society of Wood Engravers in 1921, and continued to do so until 1925. In 1922 she contributed two wood engravings to Contemporary English Woodcuts, an anthology of wood engravings produced by Thomas Balston, a director at Duckworth and an enthusiast for the new style of wood engravings. She also produced the cover vignette for the book.
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He engraved the portraits of Artus Quellinus II, Joris van Son, Pieter van Bredael, Pieter Boel, and Pieter Verbruggen for Cornelis de Bie's book of biographies, Het Gulden Cabinet. De Bie included a short poem about him on page 562 of his book, with the remark that Lauwers' travels to Paris resulted in his bringing back engravings of works by the French engravers François Polly and Robert Nanteuil, that he sold in his shop.
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Saint Joseph of Cupertino in ectasy, church of San Lorenzo, Vicenza Felice Boscaratti (1721 in Verona - 1807) was an Italian painter. A pupil of the Rotari, he soon became established as a painter and teacher. He moved to Vicenza but also worked in his birthplace of Verona - his works at the latter include Saints Ignazio and Bonaventura in the cappella Canossa a S. Bernardino. His works were reproduced by engravers such as Domenico Cunego.
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Moss found a more amenable investor and in 1873 founded the Moss Photo-Engraving Company. Scientific American and Puck and other periodicals gave him contracts that paved the way for success. He invented new machinery and techniques to speed up the process of photo-engraving. By the early 1880s, according to Lossing, his 200 employees were annually turning out an amount of work that would have required at least 2,000 wood engravers.
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After difficulties with printers and engravers the first volume of this series appeared in 1820. It was not till 1827 that Hodgson was able to publish the second volume of his original prospectus, dealing with the parochial history of Northumberland, towards which he was helped by a subscription of £200 from Bishop Barrington. In 1828 was published the sixth volume, containing fresh documents and records. In 1832 another volume of the parochial history followed.
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Some sources say that he met Benjamin Trott in 1798, and the two friends left New York and stayed in Albany for a few months to avoid an epidemic of yellow fever. From that time he alternated between Connecticut and New York City. In 1798 he founded the Hartford Engraving Company in Hartford, Connecticut. He joined the Graphic Co. in Hartford, an association of engravers, though he designed vignettes but did not engrave them.
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In 1755, Haas was appointed official engraver for the University of Copenhagen. In addition to a large amount of small portraits of contemporary and deceased people (including 15 Zealand bishops) he produced works for The Danish Atlas and vignettes of Frederic Louis Norden's travels. In Hamburg, he had married Anna Rosine Fritsch, the daughter of an acquaintance engraver, and they had four children. Three of his sons, Georg, Meno, and Peter were all engravers.
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Lychnis dioica L. is a synonym of Silene dioica (L.) Clairv., hand-colored engraving by Peter Haas, 1809 Peter Haas (12 April 17541804) was a German- Danish engraver. Born and initially working in Copenhagen, two of his brothers, Georg and Meno, and his father Jonas all were engravers. Haas engraved a number plates documenting Carsten Niebuhr's travels in Arabia and idealizing and moralistic genre art of Daniel Chodowiecki and related works of Erik Pauelsen.
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These poorly based testoons became known as "base testoons". In total, Bowes "generated" around a third of Crown's profits from the debasement of currency - £421,693 (33% on top of input metal value, or 24% out of face value produced). His production overheads, at 1/26 of net profits, were higher than those of his peer Thomas Knight (Tower II), because Bowes bore the costs of management, engravers and potmakers for both facilities.
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Marcos Claudio Marcelo Antonio Pompeyo Blas Juan Linati y Prevost was born into a noble family in Carbonera de Parma, in the Duchy of Parma, on 1 February 1790, just after the start of the French Revolution. His father, count Filippo Linati, was active in the politics of his time. Claudio Linati was educated by the jurist Giuseppe Caderini. At the age of seventeen Claudio Linati joined the Society of Engravers of Parma.
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His work was show at galleries and museums throughout the United States including a one-man show at the Smithsonian Institution in Washington D.C. His work is held in the collections of The New York Public Library, the Library of Congress, Art Institute of Chicago, the King of Belgium's private collection in Brussels, the British Museum, and private collections throughout the United States and Europe. Pescheret was a member of the Society of American Engravers.
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Yet the Valois monarchy was crippled by debt and its moral authority in steep decline. The popular view condemned Catherine's building schemes as obscenely wasteful. This was especially true in Paris, where the parlement was often asked to contribute to her costs. Ronsard captured the mood in a poem: :The queen must cease building, :Her lime must stop swallowing our wealth… :Painters, masons, engravers, stone-carvers :Drain the treasury with their deceits.
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Notes of chords, dynamic markings, and other notation line up with vertical accuracy. If text is included, each syllable matches vertically with its assigned melody. Horizontally, subdivisions of beats are marked not only by their flags and beams, but also by the relative space between them on the page. The logistics of creating such precise copies posed several problems for early music engravers, and have resulted in the development of several music engraving technologies.
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Hans von Aachen and the Netherlandish Bartholomeus Spranger were the leading painters at the Imperial courts in Vienna and Prague, and the productive Netherlandish Sadeler family of engravers spread out across Germany, among other counties.Trevor-Roper, Levey In Catholic parts of South Germany the Gothic tradition of wood carving continued to flourish until the end of the 18th century, adapting to changes in style through the centuries. Veit Stoss (d. 1533), Tilman Riemenschneider (d.
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The first 48 volumes of The Illustrated Bartsch present every old master print in Adam von Bartsch's Le Peintre-Graveur, and are referred to as “picture atlases.” Abaris Books coined this term in the General Plan to refer to the volumes which illustrate the original list of painter-engravers. While "picture atlases" are notable in their faithful presentation of Bartsch's list, time and scholasticism have ascertained accuracies and inaccuracies in the attributions made by Bartsch.
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Wood engraving blocks are typically made of boxwood or other hardwoods such as lemonwood or cherry. They are expensive to purchase because end-grain wood must be a section through the trunk or large bough of a tree. Some modern wood engravers use substitutes made of PVC or resin, mounted on MDF, which produce similarly detailed results of a slightly different character. The block is manipulated on a "sandbag" (a sand- filled circular leather cushion).
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He was born in Paris, where he studied engraving under Jacques-Philippe Le Bas before moving to London in 1750, where he founded a school of line engraving and is credited with the revival of engraving in England. He died in London. Some of his work remains on display at the National Portrait Gallery as well as at the Cleveland Museum of Art. His pupils included the engravers John Hall and William Wynne Ryland.
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1971: Participates in the Colombian Illustrators and Engravers Exhibition organized in the BLAA by Germán Rubiano Caballero and in the First American Biennial of Graphic Arts in Cali. 1972: Exhibits at the Second Latin American Engraving Biennial in San Juan. 1980: Make a mural about the strength of the union movement in Antioquia in Sintradepartamento, with the support of Alexis Forero, Teresa Quiñones and Felipe Larrea. 1983: Decides to start and study in New York.
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Prior to the modern era, coin dies were manufactured individually by hand by artisans known as engravers. In demanding times, such as the crisis of the Roman Empire in the 3rd century, dies were still used even when they became very worn or even when they cracked. The die that was on the hammer side, usually the reverse (back), tended to wear out first. The planchets were usually hot prior to striking.
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Medieval engravers were guild members who created coins. The vast majority of medieval coins were cold struck; the planchets were not heated. While medieval coin dies were largely made of iron, some dies have been discovered with a small region at the face of the die which is made of steel. As technology and the economy changed over the course of the Middle Ages, so did the techniques used to create coin dies.
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Middlesex South Registry of Deeds, Cambridge, Massachusetts. He resigned as editor of The Print Collector’s Quarterly in 1917, but became the American editor of the same periodical in 1921, the year he resigned from the Museum of Fine Arts. He is the author of Engravers and Etchers (Scammon Lectures, 1921) and On Print Collecting (1929). Carrington died at the age of 85 while visiting friends in the Connecticut town of Old Lyme.
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Alleyne exhibited with the Society of Wood Engravers in 1933, 1936 and 1938. Her wood engravings were reproduced in the London Mercury; the September 1933 issue reproduced Night, and the July 1934 issue Flower Study. The 4th edition of Beedham's Wood Engraving (1935) reproduces Autumn Rain. In 1926 the Saint Loup Press, San Remo, published an edition of 100 copies of Nursery Rhymes, written and illustrated by Alleyne with hand coloured wood engravings.
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Farquharson was known to create several versions of his best works, either to sell as replicas or to retain as aides memoires. Often artists painted replicas for engravers to work from when the original painting was not available and it is possible that one of these replicas served such a purpose; a highly popular print of The Shortening Winter's Day is near a Close sold in the many thousands by Farquharson's publisher Frost & Reed.
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Dictionary of American Painters, Sculptors and Engravers, Enlarged Edition. Greens Farms CT: Modern Books and Crafts, 1926/1974, p.189 Back in California after Louis St. Gaudens' death in 1913, he moved into the studio that his brother-in-law had created during a visit to Claremont. Johnson remained active in both California and New York, and is well known for his statues honoring American soldiers of World War I, known as doughboys.
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The Sadelers were descended from "chasers," engravers of armour, from Aalst. Jan de Saeyelleer or Sadeleer had three sons, all usually called "Sadeler":All from Getty, who have a page for each of the 10 main Sadelers Jan I (1550 Brussels - 1600 Brussels or possibly Venice),Brussels according to ULAN, Venice? from Bowen, 348 Aegidius I (c. 1555 Brussels - c. 1609 Frankfurt am Main) and Rafael I (1560/61 Antwerp - 1628 or 1632).
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Philip Hagreen (12 July 1890 to 1988) was a wood engraver who was active at the beginning of the twentieth century. He was a founder member of the Society of Wood Engravers.Joanna Selborne, ‘The Society of Wood Engravers: the early years’ in Craft History 1 (1988), published by Combined Arts. He was closely associated with Eric Gill and was a member of the Guild of St Joseph and St Dominic at Ditchling.
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He enabled Gill and Gibbings to produce a volume of engravings that would have been beyond them with his help. He was sympathetic to the modern generations of wood engravers, and wrote in a new chapter to the 5th edition of his book:R. John Beedham, Wood Engraving (London, Faber & Faber, 1938). The modern revival of wood-engraving, which came just after the war, is quite different in style from any that preceded it.
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Zéphyrin Ferrez undertook various works with his brother Marc Ferrez, including decorating the facade of the Academy building. This included the bas-reliefs of Phébé on her chair of light and the Genius of Art. He sculpted the scrolls and Ionic capitals of the entrance to the Academy, now in the Botanical Garden. Ferroz was one of the first medal engravers in Brazil, and made various medals commemorating events in the country.
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Die Faule Mette in Braunschweig by Johann Georg Beck, 1717 Johann Georg Beck or Johann Georg Baek (24 April 1676 in Augsburg - 7 August 1722 in Braunschweig) was a German engraver. Notices of Engravers and their Works, Google Books He taught fellow-Augsburger Johann Georg Schmidt, who married his widow Anna Elisabeth and took over the family studio. Johann's son Anton August Beck trained in this studio and inherited it on Johann's death.
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He studied engraving at the "Atelier ABL""Andrew-Best-Leloir", @ BnF, founded in 1832 by Jean Best (1808-1879), Isidore Leloir (born c.1803) and the English engraver, John Andrew, to create vignettes for the Magasin pittoresque. In the early part of his career, he was an associate of . At that time, he became one of the best known engravers of the works of Gustave Doré and a master of colored engraving.
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Oxford University Press. Web. 18 July 2014 While Seghers typically worked on a large scale, he also produced various works on a small scale and on copper for the export market or private use. These smaller works were often reduced copies or variations of his own works.Gerard Seghers, The Annunciation at Sotheby's Many of Seghers' compositions were engraved by the Antwerp engravers such as Jacob Neefs, Paulus Pontius and Schelte a Bolswert.
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On-screen proof- reading was rudimentary on the Acorn Business Computer, which used the BBC Micro for screen output. The Arthur version initially ran at the command line, but was later converted to use the WIMP and outline fonts. Sibelius was released in 1993. Hazel later observed that composers and arrangers generally preferred such WYSIWYG editors, while music engravers tended to prefer text input scorewriters, because of the increased degree of control available.
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The Antwerp engravers Cornelis Galle the Elder and Christoffel Jegher engraved the frontispieces and woodcut book illustrations designed by Sallaert. This attests to Sallaert's close links with artistic circles in Antwerp. Examples of publications on which he worked were the "Perpetua Crux sive Passio Jesu Christi", written by the Jesuit Jodocus Andries. The book was first published in 1649 in Antwerp by Cornelis Woons and frequently re-published between 1649 and 1721.
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Here he worked for the governor generals of the Habsburg Netherlands Archduke Albrecht of Austria and Isabella Clara Eugenia for whom he made many drawings. He was courtier at the court and given the title of Archer de la Garde (Archer of the Guard), a quasi-military ceremonial role. He drew many portraits and other subjects which were engraved by prominent engravers for books and prints. He died in 1646 in Brussels.
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In 1891, Mitchell was invited by the Secretary of the Treasury to join a committee to evaluate the artistic design proposals for a new issue of U.S. coins. The two other members were Charles E. Barber, Chief Engraver of the United States Mint, and Augustus Saint-Gaudens. In addition to being considered an expert on heraldry, Mitchell was regarded as one of the best engravers and medal designers in the United States.
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Edmund Blampied's illustrations for books published by Thomas Nelson and Sons. Annual Bulletin of the Société Jersiaise vol 27, no 3, 410-425. Blampied quickly re- established himself in London in September 1919 after his return from Jersey and his etchings were acknowledged by the Royal Society of Painter-Etchers and Engravers who elected him an Associate in March 1920 at the same time as the wood engraver Gwen Raverat.Newbolt, F. (1930).
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Johnson was a member of the Philadelphia Typographical Society, to which he made significant contributions. Late in his life, Johnson, along with other leading type-founders of Philadelphia successfully petitioned Congress to modify copyright law to extend protection to letter-cutters, engravers, and originators of designs. In 1886, the Type Founders Association of the United States chose the dimensions of the Johnson Pica, named after Lawrence Johnson, as the official standard for the pica.
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His second sister, Marie-Jeanne Ozanne (12 February 1736, Brest – 16 February 1786, Paris), married the engraver Le Gouaz, whilst her own works include Vue de Livourne and Temps serein, after Vernet ; the Ferme flamande and the Relais flamands, after Wouwerman. His brother, Pierre Ozanne (3 December 1737, Brest – 10 February 1813, Brest) was an engraver and marine engineer. as engravers to give them a livelihood; his sister Marie-Élisabeth also took up pastels.
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This particular suggestion however was not taken up by Butler & Carpenter, but instead, after a period of experimentation, they responded to the problem by producing stamps of a lighter shade and on a paper that more readily absorbed cancellation ink. The Internal revenue was frequently sending stamps suspected of having cancellation ink washed to the engravers and printers for inspection to determine if they had been tampered with.Toppan, Deats & Holland, 1899, p.
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Maerten van Heemskerck or Marten Jacobsz Heemskerk van Veen (1 June 1498 - 1 October 1574) was a Dutch portrait and religious painter, who spent most of his career in Haarlem. He was a pupil of Jan van Scorel, and adopted his teacher's Italian-influenced style. He spent the years 1532–6 in Italy. He produced many designs for engravers, and is especially known for his depictions of the Wonders of the World.
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To this end, he hired William Woollett, the foremost engraver in England, to engrave Richard Wilson's Destruction of the Children of Niobe. Woollett had already successfully engraved Claude Lorrain's 1663 painting The Father of Psyche Sacrificing at the Temple of Apollo for Boydell in 1760. Boydell paid him approximately £100 for the Niobe engraving, a staggering amount compared to the usual rates. This single act of patronage raised engravers' fees throughout London.
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Gwen Raverat (1885–1957, née Darwin, granddaughter of the naturalist Charles Darwin) was a wood engraver, artist, and illustrator, who co-founded the Society of Wood Engravers. She was the daughter of Sir George Darwin FRS, astronomer and mathematician, and his wife Maud du Puy. During her childhood, she lived in Newnham Grange on Silver Street in a house that now forms part of Darwin College. She was born and died in the house.
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Paulus PontiusName variations: Paulus Du Pont, Pauwels du Pont, Paul Dupont, Pauwel De Pon, Paulus Poncius (May 1603 in Antwerp - 16 January 1658 in Antwerp) was a Flemish engraver and painter. He was one of the leading engravers connected with the workshop of Peter Paul Rubens. Ater Rubens' death, Pontus worked with other leading Antwerp painters such as Anthony van Dyck and Jacob Jordaens.Max Rooses, Rubens, Volume 1, 1904, London, Druckworth & Co., p.
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There are no indications of a family link with the Dutch van der Does family. Portrait of Francisco de Melo Antony van der Does commenced his study of engraving as a pupil of Jan Collaert II in 1627. In 1633 he was admitted as a master in the Guild of Saint Luke of Antwerp. In 1634 he married Anna du Pont, the sister of Paulus Pontius, one of the leading engravers in Rubens’ studio.
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From 1792 publication of his "Unterhaltungen aus der Naturgeschichte" (Discourse on Natural History) in weekly instalments from his father's publishing house, with illustrations by renowned Augsburg engravers such as Jacob Xaver Schmuzer. Overall scope of the work: 25 volumes (with a total of 1469 illustrations), 19 volumes by Wilhelm himself. From 1808 it was reprinted by Pichler of Vienna. From 1798 a French translation of "Insects" at Haag in Basel (3 vols.).
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An early commission was for the war memorial at Zennor in Cornwall. Working in the local granite, Edgcumbe produced a frieze surmounted on a column designed by Kennedy. Another early commission was for a fireplace frieze at Bilbury Court in Gloucestershire. She exhibited with the London Group, the Royal Society of British Artists, the Women's International Art Club and was, in 1929, a founding member of the National Society of Painters, Sculptors, Engravers and Potters.
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John Potts (1791–1841) was the inventor of a method of calico printing by the use of copper rollers onto which patterns had been engraved. He was born in Manchester, he moved to New Mills, Derbyshire in 1820. He founded the firm of engravers to calico printers known as Potts, Oliver and Potts, with his brother William Wainwright Potts, at St. George's Works. John was an artist and engraver, William was more interested in pottery.
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Alternatively the scene may depict the content of a German folk song.Shestack #148; British Museum page It is clear from analysis of the watermarks on the papers used, and the plate wear evident in many impressions, that most of the prints continued to be printed well into the 16th century. The watermarks suggest that later impressions were mostly printed in Cleves, Augsberg and Nuremberg.Hutchison, 61; Shestack, biography His engravings were also copied by other engravers.
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Jacques Fouquier at the Netherlands Institute for Art History He earned great success and a very high reputation during his lifetime and was even referred to as the 'Flemish Titian'.W. Stechow, 'Drawings and etchings by Jacques Foucquier', Gazette des Beaux-Arts 6 (1948), pp. 419-465 Very few of his paintings have been preserved. His work was influential in his time and was widely circulated thanks to reproductions by various contemporary engravers.
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Mitchell engraved in mezzotint Tapageur, a fashionable Member of the Canine Society, after Sir Edwin Landseer (1852) and The Parish Beauty (1853) and The Pastor's Pet, a pair after Alfred Rankley (1854). In the mixed style he engraved The Happy Mothers and The Startled Twins, a pair after Richard Ansdell, R.A. (1850), and Christ walking on the Sea, after Robert Scott Lauder (1854). Several of his etched plates were completed in mezzotint by other engravers.
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Reynolds was born on 4 July 1773. His father was born in the West Indies, the son of a planter, but, being sent in his youth to England for education, settled there permanently, and married Reynolds' mother, Sarah Hunt. Reynolds studied in the schools of the Royal Academy, and under the mezzotint engravers Charles Howard Hodges Whitman, p.1; an early mezzotint is inscribed "Engraved by S.W. Reynolds, late pupil to C.H. Hodges." and John Raphael Smith.
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Florence Meyer Blumenthal (1875–1930) was an American philanthropist who founded the Fondation franco-américaine Florence Blumenthal (Franco-American Florence Blumenthal Foundation), which awarded the Prix Blumenthal from 1919-1954 to painters, sculptors, decorators, engravers, writers, and musicians — to promote Franco- American relations. For their altruism, Florence Blumenthal and her husband George Blumenthal received the French Legion of Honor in 1929. Both a street as well as a public square in Paris are named in her honor.
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Anderson's artistic career began in earnest in 1909. He won an engraving scholarship of £50 per year from the British Institution and studied at the Royal College of Art under Frank Short, and at Goldsmith's College, New Cross. Anderson claimed, however, to be mainly self-taught from visits to the National Gallery and the British Museum. He joined the Royal Society of Painter-Etchers and Engravers as an associate in 1910, becoming a fellow in 1923.
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Due to the lack of experienced engravers in Portugal he hired, in France, the Polish lithographer Jan Nepomucen LewickiNote: Jan Nepomucen Lewicki (1795–1871), Polish graphic artist, engraver, lithographer, painter and photographer and made him responsible for the drawing and lithography of the maps. Chełmicki took part in the team led by Lewicki and produced some of the most important Portuguese cartography works of that period.Exhibition "Portugallia Cartographica"Luis Urteaga and Francesc Nadal Piqué (1991). Geo crítica 88 -I-.
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Among the artists and engravers employed were Aaron Arrowsmith (1750–1823) who engraved the maps; William Blake (1757–1827) who made engravings to illustrate some of the sculpture articles; Thomas Milton (1743–1827) who engraved most of the natural history plates; Wilson Lowry (1762–1824) who engraved numerous of the plates especially those relating to architecture, machinery and scientific instruments. With the exception of the botanical articles by Sir James Edward Smith, none of the articles are signed.
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He was also interested in poetry, as well as in cartography and historical and scientific works; he corresponded with Galileo. Notable painters and engravers Władysław supported and who attended his royal court included Peter Paul Rubens, Tommaso Dolabella, Peter Danckerts de Rij, Wilhelm Hondius, Bartłomiej Strobel, and Christian Melich. His royal orchestra was headed by kapellmeister Marco Scacchi, seconded by Bartłomiej Pękiel. One of the most renowned works he ordered was the raising of the Sigismund's Column in Warsaw.
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Louis Amateis, American sculptor born in Turin, Italy on December 13, 1855. Studying architecture at Istituto Italiano di Tecnologia and sculpture at the Royal Academy of Fine Art. He also studied in Milan and Paris before moving to New York City in 1884.Opitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, NY, 1988 While working as an architectural sculptor for McKim, Mead, and White he married his wife, Dora Ballin, in 1889.
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Gulland received many recognitions for her work and was elected a member of the Society of Engravers. She had her work exhibited at many institutions including the Royal Academy, showing eleven pieces there between 1887 and 1910, the Royal Scottish Academy (1878–1885), and the Royal Glasgow Institute of the Fine Arts (1888–1890). Gulland had also been commissioned by the Trustees Academy in Edinburgh, Scotland to design the 1886 Exhibition Catalogue for Queen Victoria’s visit.
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The materials included cardboard, egg cartons and cigarette butts. In 2012, she exhibited Experimentando con gatos at the Garros Galería. Her work was featured in 1997 in the Trabajo Social magazine published by UNAM. Watabe belongs to a group of Japanese and Mexican female artists in Mexico City called the Flor de Maguey (maguey flower) which also has sculptors Beatrix Lazo, Keiko Toda, painters Shoko Sumi and Midori Suzuki and engravers Patricia Medillín and Sumi Hamano.
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In 1754, Thomas made eight drawings of the lake which were engraved on copper by Paul Sandby and other engravers and dedicated to the Duke of Cumberland. They were republished by John Boydell in 1772. George III, who took great interest in the undertaking, honoured Sandby with his confidence and personal friendship, and on the death of Cumberland in 1765, the king's brother, Henry Frederick (also Duke of Cumberland, and ranger of the park), retained Sandby as deputy.
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Guérin Gabriel-Christophe Guérin (9 November 1790 – 20 September 1846) was a 19th-century portraitist and history painter. He was born in Kehl and died in Hornbach in Rhenish Bavaria. He studied under Jean-Baptiste Regnault and his pupils included Hippolyte Pradelles. He came from a major French artistic family - his grand-father Jean and his father Christophe were both engravers, his uncle Jean Urbain was a miniaturist and his brother Jean-Baptiste was a painter.
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He is listed in Mantle Fielding's Dictionary of American Painters, Sculptors and Engravers and the Dictionary of Contemporary American Artists by Paul Cummings. Amen was also a member of the Society of American Graphic Artists. He was elected member of Accademia Fiorentina Delle Arti Del Disegno, an organization to which Michelangelo, his idol, belonged. Born in New York City, he taught at the Pratt Institute and at the University of Notre Dame in the early 1960s.
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The Taylor sisters were part of an extensive literary family, daughters of the engraver Isaac Taylor and the writer Ann Taylor. Ann was born in Islington and lived with her family at first in London and later in Lavenham, Suffolk, in Colchester, and briefly in Ongar. The sisters' father, Isaac Taylor, and her grandfather were engravers. Her father later became an educational pioneer and Independent minister and wrote a number of instructional books for the young.
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In tandem with this, an attempt was made to conduct a similar mandatory censorship of books, but only to new publications, not canonical church writings. In addition, Peter put an end to the monopoly of the Church in matters of printing. In 1708 he began to take steps to introduce a civil alphabet, for which he prepared the first drafts. He also invited foreign engravers to Russia to ensure the quality of the illustrations in published books.
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The International Association of Manufacturing Photo-Engravers (IAMPE) then chose Flader as its executive director. Although some in IPEU labeled this "labor treason," Flader and Woll came to a quick accommodation which led to labor peace throughout the publishing industry. In 1913, IAMPE and IPEU agreed to a cost-setting agreement to standardize rates in the publishing industry. Although challenged under federal antitrust laws, the courts refused to strike down the agreement as an unfair trade practice.
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An example of Meenakari from Iran. Enamel working and decorating metals with colorful and baked coats is one of the distinguished courses of art in Isfahan . Mina, is defined as some sort of glasslike colored coat which can be stabilized by heat on different metals particularly copper. Although this course is of abundant use industrially for producing metal and hygienic dishes, it has been paid high attention by painters, goldsmiths and metal engravers since long times ago.
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The exact moment of the pattern's invention is not certain. During the 1780s various engravers including Thomas Lucas and Thomas Minton were producing chinoiserie landscape scenes based on Chinese ceramic originals for the Caughley 'Salopian China Manufactory' (near Broseley, Shropshire), then under the direction of Thomas Turner.S.B. Williams, Antique Blue and White Spode, 3rd Edn, (Batsford, London 1949), p. 129. These included scenes with willows, boats, pavilions and birds which were later incorporated into the Willow pattern.
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Austen was elected to the Society of Women Artists (1902), the Royal Society of Painter-Etchers and Engravers (1907), the Royal Institute of Painters in Water Colours (1933), and from 1903, she was a fellow of the Royal Zoological Society. Austen married her agent Oliver O'Donnell Frick in 1917 and was widowed in 1923. In 1926 she moved to a cottage in Suffolk where she remained for the rest of her life. She died at Bickley, in 1964.
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Smith was born in Niagara Falls, Ontario in 1880. He studied art in Boston in his early 20s and worked for the Forbes Lithographing Company. He relocated to Toronto in 1909, and worked for Stone Limited and Brigdens Limited, as a staff artist for R.G. McLean and Grip Limited, for the art department at General Motors (1917), and as an artist for Photo Engravers Limited (1937). He was a member of the Canadian Society of Graphic Art.
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Siderography enabled the steel plates to be copied with greater frequency. It was first used for printing banknotes of the United States dollar. Counterfeiting had become an important issue in Europe in the late 1700s and early 1800s, primarily because the banknotes were produced with no standardized process or design, using readily available technology and techniques familiar to over 10,000 copper engravers. France offered a prize contest in the 1790s as a result of the counterfeiting of assignats.
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In later years, he helped obtain in 1865, the admission of engravers to the honour of full academician. In 1837, he was appointed lithographer to the queen, and in 1840 to Albert, Prince Consort. In 1864, when he had almost given up lithography, he became director of the etching class in the science and art department at the South Kensington Museum, and retained the post almost till his death, which took place on 21 November 1872.
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Kotozuka was an adherent of the sosaku hanga style of illustration, which emphasized a print process with greater direct artist involvement, resulting in a somewhat more crude illustration, but one with stronger emotional impact. Prior to sosaku hanga, an artist would create an illustration which would be passed to a team of engravers, printers, and publishers who would each control the production of the final print. In sosaku hanga, the artist was directly involved with each step.
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Smith was born in Cheapside, London, where his father was a silk merchant. He was educated at Merchant Taylors' School, and at first articled to an uncle named Hoole, a solicitor; but he transferred to James Taylor, an engraver and younger brother to Isaac Taylor, with whom he remained until 1782. Subsequently, he became an assistant to James Heath, and then one of the leading English line engravers. Smith died of apoplexy on 23 June 1819.
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A range of unique rifles from Musgrave's custom shop includes beautiful custom rifles that were built according to customer specifications, usually sporting high quality metal components, beautiful high grade wood, inspiring engraving and metal inlet work, and fine checkering. The Musgrave Custom Shop housed capable smiths, of which one mainly focussed on barrels and three were engravers. Historic rifles were refurbished or rebarrelled here and a number of "prototype" hunting rifles built. Some limited series runs, e.g.
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At this shop, Jean-François engraved portraits of local notables as well as vignettes for the works that were being published in Lyon. He also engraved the titles and frontispieces of the books for the libraries of Lyon. He had several presses and employed several Lyonnaise engravers, including Claude Séraucourt and especially his own brother, François Cars fils. Jean-François moved to Paris at the beginning of the 18th century, followed by his younger brother, François.
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Apart from these his Palemon and Lavinia, the Shipwrecked Sailor Boy, and Youths relieving a Blind Man were very well received, and all were engraved. His subject choice and execution place him with Wheatley and George Morland. Bigg produced many small portraits in oil and pastel, as well as rustic genre paintings. His genre paintings and portraits have great charm and were highly popular in his day, the best engravers being used to render his work.
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The hobby of collecting elongated coins has expanded throughout the United States and the world. Most modern coin elongating machines can be found in museums or landmark gift shops, souvenir stores, zoos, amusement parks and other locations of this kind. Private engravers make special-issue elongated coins to commemorate historical events, personal landmarks (such as marriage or birth of a child), or other events warranting celebration. They also design elongated coins for private clubs and organizations.
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Sébastien Leclerc or Le Clerc ([baptized] 26 September 1637— 25 October 1714) was a French artist from the Duchy of Lorraine. He specialized in subtle reproductive drawings, etchings, and engravings of paintings; and worked mostly in Paris, where he was counseled by the King's painter, Charles Le Brun, to devote himself entirely to engraving.Bryan, Biographical Dictionary of Painters and Engravers. Leclerc joined the Académie Royale de Peinture et de Sculpture in 1672 and taught perspective there.
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In 1884 he joined the British Museum's Department of Prints and Drawings, at the suggestion of the Keeper Sidney Colvin. Unusually for a British scholar of his time, Cust had a predilection for the artistic schools of Northern Europe, not those of Italy. He compiled two catalogues of works on paper in the British Museum collection, in 1893 and 1896. Cust contributed a number of entries to Bryan's Dictionary of Painters and Engravers and the Dictionary of National Biography.
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"Journal of Art", p 14 By the mid-1980s Kerr was a major figure in not only teaching about Australia's art and architectural history, but in how that cultural heritage should be preserved."Journal of Art", p 21 Her work on the book with Falkus brought her an awareness of how little was known about Australia's artists and led her to compile her magnum opus, the Dictionary of Australian Artists: Painters, Sketchers, Photographers and Engravers to 1870.
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It has always hosted the best glass artists working on small scales, but closed its factory in Crieff, Scotland in January 2002. Glass artists in the UK have a variety of exhibitions. The Scottish Glass Society hosts a yearly exhibition for members, the Guild of Glass Engravers exhibit every two years and the British Glass Biennale, begun in 2004 is now opening its third show. British Glass Art owes much to the long history of craft.
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Boston, C. E. Goodspeed & Co. Smith showed an interest and aptitude in artistic efforts from a young age, and in 1863, his parents sent him to apprentice to Reuben Carpenter in Boston to learn steel engraving. Although his mother admonished him to stay in his apprenticeship, in 1864 Smith enlisted with the Union Army and saw active service at the end of the Civil War.McNeely Stauffer, David; Fielding, Mantle. (1907) American Engravers Upon Copper and Steel: Biographical sketches, illustrated.
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Overview of San Lorenzo Del Escorial, 1589 Born in Antwerp around 1555, he was a pupil of engravers Maarten de Vos and Gerard de Jode. Prior to 1578 he studied engraving in Rome with Cornelis Cort. After that, he returned to Antwerp, eventually moving to Bavaria, where he was appointed engraver to William IV, Duke of Bavaria and the Elector of Cologne. During this time, he may also have worked in Paris for publisher Nicolas Le Bon.
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Margaret Pilkington (25 November 1891 - 2 August 1974) was a British wood- engraver who was active at the beginning of the twentieth century. She was a pupil of Noel Rooke at the Central School of Art and Design and was a member of the Society of Wood EngraversJoanna Selborne, ‘The Society of Wood Engravers: the early years’ in Craft History 1 (1988), published by Combined Arts. and the Red Rose Guild. She was awarded the OBE in 1956.
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Pilkington's output is quite limited when compared to many of her contemporaries, and her importance lies not in her production or artistic merit, but in her encouragement to and patronage of her fellow practitioners. She was Secretary of the Society of Wood Engravers from 1924 and revived the moribund society in 1949. She was chairman from 1952 to 1967. She bought regularly at the annual exhibitions of the society and donated the wood engravings to the Whitworth.
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Except for periods in Canada and California (1909), from 1905 to 1912 Cory lived among the Hopi at Oraibi and Walpi.Opitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, NY, 1988 In Oraibi she lived at the top of a Hopi pueblo, her space rented to her by a Hopi friend, that she accessed via stone steps and ladders.Stewart B. Koyiyumptewa; Carolyn O'Bagy Davis. The Hopi People. Arcadia Publishing; 2009. . p. 41.
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Andrade studied at the Central School of Arts and Crafts in London and at both the Bromley School of Art and the Beckenham School of Art. She often painted and sketched actors and theatre scenes. She exhibited at the Royal Academy in London, with the New English Art Club, the Society of Women Artists and with the National Society of Painters, Sculptors and Engravers. Andrade lived in Bromley in Kent and for a time taught at schools in London.
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His father was listed in the "Registre aux Bourgeois" and he received his first lessons in his hometown from Arnould de Vuez.Biographical notes from the Dictionary of Painters and Engravers: Biographical and Critical, Volume 2 @ Google books. Later, he studied porcelain painting at the local manufactory and went to Paris, where he worked in the studios of Pierre-Jacques Cazes. Around 1706, he painted his first major work: "Saint John Preaching in the Wilderness", commissioned by the Lancry family.
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Shelton was a member of the Alberta Society of Artists, the Calgary Sketch Club, the Canadian Society of Graphic Art, and the Society of Canadian Painter-Etchers and Engravers. She had major exhibitions at the Burnaby Art Gallery, British Columbia in 1981, and at the Glenbow Museum, Calgary in 1985. Shelton died in 1984 in Calgary. Shelton was included in the 2012 exhibition Alberta Mistresses of the Modern: 1935-1975 at the Art Gallery of Alberta.
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In this method, a mirror image of a complete page of music was engraved onto a metal plate. Ink was then applied to the grooves, and the music print was transferred onto paper. Metal plates could be stored and reused, which made this method an attractive option for music engravers. Copper was the initial metal of choice for early plates, but by the eighteenth century, pewter became the standard material due to its malleability and lower cost.
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Nearly all his compositions have been reproduced by celebrated engravers. In his posthumously published treatise, Méthode pour apprendre à dessiner les passions (1698), he promoted the expression of the emotions in painting. Le Brun's view on emotions, which were known as "passions" at the time, drew heavy influence from the work of René Descartes. The facial expressions, which Le Brun outlined as a template for subsequent artists to follow, were believed to reveal the condition of the soul.
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He had one brother, married 2 times, had a daughter from his second marriage and a grandson. He studied chemistry but became one of the greatest engravers of the 20th century. He did not study further, but since he was familiar with a number of languages, he acquired his own, deep education, particularly around issues of art and philosophy. It has been written about him "if etching had not been discovered, surely he would have discovered it".
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Every year the Société Nationale des Beaux Arts, an association of artists created in 1861 by Louis Martinet and Théophile Gautier to break with the Official Exhibition, organizes its Salone in the Carrousel du Louvre. In 2018, 600 artists exhibited their works in front of about 15,000 visitors in just four days. The Salon des Beaux Arts welcomes painters, sculptors, engravers, photographers and illustrators, offering its guests a complete overview of the world of contemporary art.
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In return, Simpson's promised not to build any stores outside of those five cities. Simpsons-Sears mail-order business, however, was free to operate anywhere in Canada, and so was the new Simpsons-Sears Acceptance Company, the credit arm of the operation. The business operations of Simpsons-Sears began when the first Simpsons-Sears Spring/Summer Catalogue rolled off the presses of Photo-Engravers and Electrotypers, Ltd. and were delivered to 300,000 Canadian homes in early 1953.
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By 1555, he had his own print shop and was an accomplished printer. The first book he is known to have printed was La Institutione di una fanciulla nata nobilmente, by Giovanni Michele Bruto, with a French translation. This was soon followed by many other works in French and Latin, which in point of execution rivalled the best printing of his time. The art of engraving then flourished in the Netherlands, and Dutch engravers illustrated many of his editions.
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The account appeared in numerous newspapers, journals and periodicals. Societies and guilds joined to raise subscriptions to reward Rogers and his crew. In addition to sums of money, Rogers received two swords, a piece of plate worth 100 guineas, a vase worth £60, and command of another packet ship. The artist Samuel Drummond painted Rogers' portrait, and also created a depiction of the action, while other engravers and artists produced versions to illustrate the stories carried in the papers.
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Joan Kerr: Dictionary of Australian Artists: painters, sketchers, photographers and engravers to 1870, Oxford University Press 1992.Miles Lewis: Notes on Jane Cannan's Drawings in Victorian Historical Journal, vol 81(1) 2010.Stephanie Owen Reeder: The Vision Splendid, National Library of Australia, 2011 pp 96–101. Jane Cannan had three children: Louisa, who died in Melbourne as an infant, Charles Cannan who became an Oxford don, and Edwin Cannan who became a professor at the London School of Economics.
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Until the fall of Antwerp (1585), the Dutch and Flemish were generally seen as one people. The center for cartographic activities in sixteenth-century Low Countries was Antwerp, a city of printers, booksellers, engravers, and artists. But Leuven was the center of learning and the meeting place of scholars and students at the university. Mathematics, globemaking, and instrumentmaking were practiced in and around the University of Leuven as early as the first decades of the sixteenth century.
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Cianfarani was born in Italy in 1895 and emigrated to the United States in 1913. He studied at the Rhode Island School of Design as well as in France and Italy.Opitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, NY, 1988 He worked for the Gorham Manufacturing Company in 1917 and 1919, and the International Silver Company from 1923 to 1925. He started his own studio in Providence, Rhode Island in 1926.
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The public was subjected to advertising stunts that cheerfully enumerated von Stroheim's directorial eccentricities and excesses, real or imagined. One true story demonstrates the director’s penchant for realistic artifacts, in which facsimile 1000 franc notes used in the casino sequences had been ordered manufactured by photoengrave technique—a counterfeiting method. Treasury Department officials were alerted and promptly took von Stroheim and the engravers into custody, then released them. The matter was finally resolved after protracted litigation.
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In 1752 he was able to reduce the land tax from 4 s. to 2 s in the pound (an effective reduction from 20% to 10%). One social consequence of the press gangs going to sea in an expansive navy fleet was to the growth of industrial processes necessary for warfare. In the ports the distillation of gin demonstrated clearly by engravers such as Hogarth in "Gin Lane" the depravity issuing forth from the demon drink.
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Laser engraving can also be used to create works of fine art. Generally, this involves engraving into planar surfaces, to reveal lower levels of the surface or to create grooves and striations which can be filled with inks, glazes, or other materials. Some laser engravers have rotary attachments which can engrave around an object. Artists may digitize drawings, scan or create images on a computer, and engrave the image onto any of the materials cited in this article.
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Union Labor Life aimed to provide a new level of stability for workers and increase their standard of living. Samuel Gompers, the first president of the American Federation of Labor (AFL), saw the value in a union-owned insurance company. Matthew Woll, then president of the Photo Engravers Union, became Union Labor Life's first president. Soon more than 60 international unions, hundreds of local unions, and more than 300 individuals, including AFL president William Green, owned stock.
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The family descends from John Barbee, of French-Huguenot ancestry, who settled in Virginia. Barbee was born in "Hawburg", in a part of Culpeper County, Virginia, that later became Rappahannock County. (Alternatively, he was born near Luray in Page County).Opitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, NY, 1988 He was one of the eleven children of Andrew Russell Barbee, Sr. (alternate: Andrew Russel Barbee, Sr.) and Nancy (née Britton) Barbee.
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Lesbia Thorpe (in private life - Lee Baldwin) (1919-2009) was an Australian artist, possibly best known for her printmaking. From 1931-1937 Thorpe studied under Dattilo Rubbo, and was elected in 1937 to Painter-Etchers Society and in 1943 to the Royal Art Society. In 1953 she studied printmaking with Gertrude Hermes at the Central School of Art and Design in London. In 1954 she was elected an associate member of the Society of Wood Engravers of Great Britain.
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Studio portrait of Patrick H. Reason, c. 1890s Patrick Henry Reason, first named Patrice Rison (March 17, 1816 – August 12, 1898), was one of the earliest African-American engravers and lithographers in the United States. He was active as an abolitionist (along with his brother Charles Lewis Reason). He was a leader in a fraternal order, gaining recognition for Hamilton Lodge No. 710, New York, as part of the Grand United Order of Odd Fellows in America.
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Johann Eberhard Ihle (5 June 1727, in Esslingen - 17 January 1814, in Nuremberg) was a German painter. Portrait eines Nürnberger Edelfräuleins by Ihle He was the son of portraitist Johann Jakob Ihle (1702–1774), from whom he first learned painting.Bryan's Dictionary of Painters and Engravers, Volume 3 by Michael Bryan In 1749 he settled in Nuremberg, where in 1751 he became a member of the Nürnberger Malerakademie. From 1771 to 1811 he served as director of the Academy.
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He recorded historical events and wars, the state of the Serbian people at that time in the Belgrade and Valjevo districts. Hadži-Ruvim is regarded as one of the last great Serbian woodcarvers, graphic artists and artists-engravers of the 18th century. He was also known as the "carver of the Cross." He engraved Krušedol Monastery, and the covers for the Gospel with twenty-eight scenes from the lives of Christ, Mother of God and St. Stevan.
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William Monk R.E. (1863–1937) was a British etcher, wood-engraver and painter in oils and watercolours. Born in Chester, the son of gunmaker William Henry Monk, he studied art at the Chester School of Art and etching at the Antwerp Academy, Belgium. temporary cenotaph in Whitehall, London, in 1919, published in his calendar for 1920. He was an Associate of the Royal Society of Painter-Etchers and Engravers from 1884 and elected a full member (R.
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The Prix Blumenthal (or Blumenthal Prize) was a grant or stipend awarded through the Fondation franco-américaine Florence Blumenthal (Franco-American Florence Blumenthal Foundation), which Florence Blumenthal had founded. Grants were given from 1919-1954 to painters, sculptors, decorators, engravers, writers, and musicians. Juries including Paul Signac and Aristide Maillol, awarded a Prix Blumenthal purse of six thousand francs per year for two years. This was increased from 1926 until her death in 1930 to ten thousand francs a year.
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An annual review of Contemporary Etching and Engraving, Volume 16. London: Halton & Truscott Smith Limited; New York: Minton, Balch & Company just before the start of the Second World War in Europe brought about rationing of paper and presumably put an end to the series. The 16 volumes published in the series reproduced over 1,700 prints and remains an important visual and factual record of the work of etchers and engravers, many of whom were once well known and whose prints commanded high prices.
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The Beethams established their residence and businesses at 26 and 27 Fleet Street in 1785. In the 18th century the area included publishers, engravers, bookstores, and quaint gabled houses. At Fleet Street, the Beetham's entertained artist John Opie, writer William Godwin, publisher John Murray, Lidford Bellamy, poet George Dyer, Dr. Priestley, artist John Smart, and Admiral William and Elizabeth (née Betham) Bligh, who was a relative. She gave lessons to Amelia Alderson, who was also in her circle of friends.
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He engraved Declaration of Independence for John Trumbull during 1823, which established Durand's reputation as one of the country's finest engravers. Durand helped organize the New York Drawing Association during 1825, which would become the National Academy of Design; he would serve the organization as president from 1845 to 1861. Asher's engravings on bank notes were used as the portraits for America's first postage stamps, the 1847 series. Along with his brother Cyrus he also engraved some of the succeeding 1851 issues.
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Before the invention of photography, people commonly hired painters and engravers to "re-create" an event or a scene. Artists had to imagine what to illustrate based on the information available to them about the subject. Some artists added elements to make the scene more exotic, while others removed elements out of modesty. In the 18th century, for example, Europeans were curious about what North America looked like and were ready to pay to see illustrations depicting this faraway place.
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A folio of his work was published in 1919 as Architectural Watercolours and Etchings of William Walcot. He was elected to the Royal Society of British Artists in 1913, as an associate of the Royal Society of Painter-Etchers and Engravers in 1916 and a Fellow of the RIBA in 1922. He was also an associate of the British School at Rome. Walcot's successful practice was ruined with the outbreak of World War II, and, in 1943, Walcot committed suicide at Hurstpierpoint, Sussex.
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The mapmaker Diego Gutiérrez was appointed as cosmographer in the Casa on October 22, 1554, after the death of his father Diego in January 1554; he also worked on the Padrón Real. In 1562 Gutierrez published the map entitled "Americae...Descriptio" in Antwerp. It was published in Antwerp instead of Spain because the Spanish engravers did not have the necessary skill to print such a complicated document. Other cosmographers included Alonso de Chaves, Francisco Falero, Jerónimo de Chaves, Sancho Gutiérrez (Diego's brother).
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Upon returning to Leipzig, he attempted to teach himself oil painting. In 1720, with the financial support of Augustus William, Duke of Brunswick-Luneburg, he went to Paris, where he studied with Hyacinthe Rigaud and Nicolas de Largillière.Biographical notes from Bryan's Dictionary of Painters and Engravers @ Archive. After that, he was supposed to become court painter to the Duke but, while passing through Darmstadt in 1724, Ernest Louis, Landgrave of Hesse-Darmstadt offered him 400 Florins per year if he would remain there.
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A number of photoengraving locals held a national convention in Philadelphia in November 1900. Photoengravers from the ITU voted to disaffiliate and — along with some independent unions — voted to establish the International Photo-Engravers' Union of North America. The ITU, then the American Federation of Labor's largest member, prevented AFL president Samuel Gompers from officially recognizing IPEU for several years. In May 1904, however, ITU agreed to give up jurisdiction over photoengravers and the AFL issued a charter to IPEU.
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The 1940s, 1950s, 1960s and 1970s were a transitional period for hobo coin engravers, during which the Buffalo nickel was gradually replaced by the Jefferson nickel. Some veteran nickel carvers such as Bo and Bert continued making hobo nickels in the classic old style. Bo, in fact, did his best work in the early 1950s, when he carved many spectacular cameo portrait hobo nickels. During this 40-year period, many new carvers appeared, and style and subject matter became decidedly modern.
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Sadeler was born in Antwerp in the Sadeler family of print dealers and engravers. He was the son of Emmanuel de Sayeleer and the nephew of Aegidius I, Jan I en Raphael Sadeler.Aegidius Sadeler in the RKD He was trained by his uncle Jan I and became a member of the Antwerp Guild of St. Luke in 1589. He was active in Munich the next year in 1590, in Rome in 1593, in Naples and then again in Munich in 1594–1597.
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During World War II, Wells served as an ambulance driver and in 1951 she married George Wells, a dermatologist. The couple lived in Chicago for several years during which time Wells studied at the city's Art Institute. During her career Wells exhibited at the Royal Academy and with the Society of Wood Engravers and became an honorary member of the latter in 1995. She lived in Suffolk for the last two decades of her life and continued working until her death at Sibton.
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Byron ceded the editorship of the paper to Hood in 1865 and sold Fun to engravers and publishers George and Edward Dalziel in 1870, who had previously engraved drawings for Punch. Two years later they transferred it to their nephew Gilbert Dalziel (1853–1930). After the death of Hood and the end of contributions from Gilbert by 1874, the quality of the content began a slow decline. During the 1870s, the circulation of Fun is estimated at 20,000, compared with Punch's 40,000.
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Thomas Jefferson judged Wright's portrait of Washington very highly. "I have no hesitation in pronouncing Wright's drawing to be a better likeness of the General than Peale's," he wrote in 1795. Early in his Presidency, Washington and Secretary of State, Thomas Jefferson, diligently sought after talented European engravers to design the first United States coins. However, they failed in this endeavor and ultimately decided that Wright would become the unofficial Engraver at the nascent Philadelphia Mint in the second half of 1792.
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Nevertheless, Vermeule deprecated the piece, as well as the earlier American gold commemorative, the Louisiana Purchase Exposition dollar. "The lack of spark in these coins, as in so many designs by Barber or Assistant Engraver (later Chief Engraver) Morgan, stems from the fact that the faces, hair and drapery are flat and the lettering is small, crowded, and even." According to Vermeule, when the two engravers collaborated on a design, such as the 1916 McKinley Birthplace Memorial dollar, "the results were almost oppressive".
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He was born in Vienna on 9 August 1866. During his years in Austria, Germany and Rome he was a sculptor and medallist who eventually began to study painting as well. He studied at the Academy of Fine Arts Vienna under Edmund von Hellmer and Viktor Oskar Tilgner.Opitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, NY, 1988 He then attended the Prussian Academy of Arts in Berlin where he studied under Fritz Schaper and Anton von Werner.
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He was born in Haarlem as the son of the engraver Jacob Matham and his wife Marijtgen or Maria van Poelenburgh.Adriaen Matham in the RKD He was the brother of the engravers Jan and Theodor Matham, and became a member of the Haarlem St. Adriaen civic guard from 1624 to 1627. Adriaan van der Willigen, "Adriaen Jacobsz. Matham" in Les artistes de Harlem: Notices historiques avec un Précis sur la Gilde de St. Luc, Les héritiers F. Bohn, 1870, p.
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William Randolph Hearst had opened up two newspapers in Chicago: an evening edition the Chicago American, and a morning edition the Chicago Examiner. Hearst Management had signed a joint contract for five years covering the printers, stereotypers, pressmen, engravers, and mailers. All but the pressmen were part of the International Typographical Union; the pressmen belonged to the International Printing Pressmen and Assistants' Union of North America. In 1905 Hearst Management renewed an agreement separately with each organization for another five years.
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He Zhen, also known as Zhou Cheng, Chang Qing, Xue Yu (1541 - 1606) was a Chinese artist during the Ming Dynasty, who specialised in carving personal seals. Along with his teacher Wen Peng, he was one of the first seal-engravers to use soapstone as a medium for his work. He Zhen was from Wuyuan County, but spent much of his time in Nanjing. He had a wide-ranging influence, and founded the Huizhou (Xingyuang) or Wan (Anhui) school of seal-carving.
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In the UK Micromodels were well known for very small card models. Models to cut out were also a feature of paperboard folding cartons. For many years breakfast cereal makers had models to cut out on their packets. The hobby has been revived through the use of IT-based printers, especially the ink-jet and laser colour printers, with the availability of inexpensive cutting plotters and laser engravers also reducing the time, effort, and tedium associated with cutting out the many parts.
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Wright was first apprenticed to a silversmith in Utica, New York, then came to New York City in 1823 and established a partnership with the painter Asher Brown Durand until 1827, named Durand and Wright, Engravers. Together with Samuel Morse, Durand and others, Wright was one of the "First Fifteen" founders of the National Academy of Design in 1825. Charles Cushing Wright has been called "The First American Medalist". He both designed and cut his medalsCharles Cushing Wright in: AskART.
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An example is the Card Players, an engraving after Cornelis de Vos' original which is now in the Nationalmuseum in Stockholm. Stylistically this print is very close to the engraving style of Paulus Pontius in its sharpness. He further published and may also have engraved some plates of two series of prints after designs by Cornelis de Wael, one on the five senses and one on the four seasons. Melchior Hamers and Willem Peeters were the principal engravers for these sets.
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Nudity and mythological themes were banned, but other than that fancy collection of Western paintings were in vogue. Sigismund III brought from Venice Tommaso Dolabella. A prolific painter, he was to spend the rest of his life in Kraków and give rise to a school of Polish painters working under his influence. Danzig (Gdańsk) was also a center for graphic arts; painters Herman Han and Bartholomäus Strobel worked there, and so did Willem Hondius and Jeremias Falck, who were engravers.
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Say was one of the engravers employed by J. M. W. Turner on his Liber Studiorum, for which he executed eleven of the published and two of the unpublished plates. He also engraved two of the plates in Turner's River Scenery of England. These, with a view of Lincoln Cathedral after Frederick Mackenzie, were his main work in landscape. In 1820 Say scraped a small portrait of Queen Caroline after Arthur William Devis, the first attempt made in mezzotint on steel.
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A Fab Lab consists of off-the- shelf, industrial-grade fabrication and electronics tools, wrapped in open source software and programs written by researchers at MIT's Center for Bits & Atoms. The Fab Lab suite of equipment supports design and fabrication activities. 2D and 3D software as well as micro scribes and scanners support the design portion of the project. To support the fabrication portion of the project vinyl cutters, laser engravers, 3D printers, mini-mills, CNC routers and plasma cutters.
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The work was illustrated with about 800 plates executed by Holloway himself, Francesco Bartolozzi, William Blake, and other engravers, under the direction of Henry Fuseli. Thomas Holloway, illustration for Lavater's Essays on Physiognomy. His portraits included those of Charles Howard, 11th Duke of Norfolk, after Robert Edge Pine, and of Timothy Priestley, 1792, and Richard Price, after Benjamin West, 1793. He was also employed on the illustrations to John Boydell's Shakespeare, Robert Bowyer's History of England, and Bell's British Theatre.
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The union was formed in 1964 by the merger of two long-term rival unions, the Typographical Association and the London Typographical Society. It was joined by a large number of small craft print unions including the National Society of Electrotypers and Stereotypers, National Union of Press Telegraphists, Association of Correctors of the Press, Amalgamated Society of Lithographic Printers. Society of Lithographic Artists, Designers and Engravers (SLADE) and National Union of Wallcoverings and Allied Trades. By 1982 it had a membership of 136,300.
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Virtue selected accomplished artists, employed the best engravers, and produced books that were rarely surpassed in elegance and correctness for the period. Chief among his publications were the following, all illustrated by William Henry Bartlett: Switzerland, by William Beattie, 2 vols. 1836; Scotland, by W. Beattie, 1838; The Waldenses, by W. Beattie, 1838; American Scenery, 2 vols. 1840; Description of the Beauties of the Bosphorus, by Julia Pardoe, 1840; and The Danube, its History and Scenery, by W. Beattie, 1844.
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Unsuccessful as miners, Wenderoth and Nahl opened art studios, first in Sacramento and later in San Francisco, collaborating as painters, engravers and photographers. After a trip to South Seas and Australia, Wenderoth married and moved to Philadelphia, where he established a photography studio. In the late 1850s he worked for a period in South Carolina, going into partnership with Jesse Bolles. There, and later when he returned to Philadelphia, he innovated a number of photographic techniques, such as the ivory-type and photozincography.
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Her name recurs consistently in all contemporary reviews, and the first book devoted to a modern wood engraver was Herbert Furst's Gwendolen Raverat.Herbert Furst, Modern Woodcutters 1: Gwendolen Raverat (London, Little Art Rooms, 1920). She illustrated the first book illustrated with modern wood engravings, Spring Morning, and she exhibited at every annual exhibition of the Society of Wood Engravers between 1920 and 1940, exhibiting 122 engravings, more than anyone else. Raverat had to give up wood engraving after a stroke in 1951.
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There he met his future wife, sculptor Annetta Johnson. Their son, Paul Saint-Gaudens, was a master potter who became known for his Orchard Kiln Pottery Works. In 1900 the family relocated to Cornish, New Hampshire, a mile away from Louis's brother's studio.Opitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, New York, 1988 For the rest of his life, Louis Saint-Gaudens not only worked as his brother's assistant but also pursued commissions of his own.
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The set of the first production featured an elaborate mockup of the abbey ruins seen in the moonlight. The earliest surviving depiction of the abbey is by the engravers Samuel and Nathaniel Buck, who specialised in landmarks and great ruins. Their engraving (1733) shows the church of the abbey much as it is today, with the exception of the high vault of the south transept still present. The picture has notable errors and was clearly done from memory and rough sketches.
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Willem Linnig (known as "The Younger") was born in Antwerp as the son of Willem Linnig the Elder. There were a number of artists in his family. His father was a painter and engraver who is known for his history and genre scenes.Willem Linnig (I) at the Netherlands Institute for Art History He had two uncles (Jan Theodoor) Jozef Linnig and Egide Linnig who were both painters and engravers. His younger brother Ben Linnig (1860-1929) was also a painter.
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Other women students in her classes included Anna Vaughn Hyatt and Malvina Hoffman. In Paris she studied with Andrew O'ConnorOpitz, Glenn B, editor, Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Book, Poughkeepsie NY, 1986 and also received criticism from Auguste Rodin in Paris.Friedman, B.H., Gertrude Vanderbilt Whitney, Doubleday and Company New York, 1978 Her training with sculptors of public monuments influenced her later direction. Although her catalogs include numerous smaller sculptures, she is best known today for her monumental works. Mrs.
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The French Jesuits provided paintings, engravers, enamels and even the painters themselves to the Imperial court, and these designs found their way into porcelain decoration. Colorful enamel paints, used in German tin-glazed pottery, gave rise to new techniques such as famille rose coloring in Chinese porcelain. Designs of European origin found their way onto many porcelain items made in China for export to Europe. At least 60 million pieces of Chinese porcelain were imported to Europe in the 18th century.
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Hagreen was a founder member of the Society of Wood Engravers in 1920, and exhibited with them from 1920 to 1922. It was Hagreen who suggested that a society be formed, and the first meeting was held in his studio. He was at his most active in the early 1920s and virtually all his wood engravings proper, as opposed to woodcuts, date from this period.Joanna Selborne, The Wood Engraving Revival in Britain 1900-1930 (A selling exhibition at Wolseley Fine Arts, 2000).
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Her original world showed such colorful features as charm, overflowing humor, and severely shaved form, but always with the theme "repeated life and death" at the bottom. At big halls, in small spaces, outdoors, and so on, her inspiration spread out in three dimensions and caught and kept the audience interested. She also tackled collaboration with artists of other genres: direction with engravers, improvisation with musicians, joint production with Ms. Abakanovitch, etc., and continued searching for the possibility of new expression.
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In ambitious original compositions, the brothers could not match the work of their contemporary Hendrik Goltzius and other Dutch engravers, and they produced few works of this sort. Their association with the Jesuits began with the illustrations for the Adnotationes et Meditationes in Evangelia, a project initiated by the order's founder, St. Ignatius Loyola before his death in 1556. He had asked the literary Jesuit Jerome Nadal to prepare the text, and 154 drawings had been produced by various artists, mostly Italian.
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There were also cameos by Italian masters Pistrucci, Berini and Girometti. The value of her donation stemmed from the good documentation of the art works, especially those from European and American engravers and designers. From her Japanese collections were jizai okimono, articulated iron animals, as well as netsuke. Another recipient of Grundy's gift was the Kelvingrove Art Gallery and Museum in Glasgow, which obtained nearly a thousand pieces of jewellery tracing the history of European jewellery over a period of two centuries.
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Jacqueline Caurat (born 23 July 1929) is a retired French television presenter and journalist. After a film career during the 1940s and 1950s, Caurat became an in-vision continuity announcer (or speakerine) for the ORTF's first channel. For 22 years, she presented and co-produced Télé-Philatélie, a series about philately also co-presented by her husband Jacques Mancier. It was during this series that she interviewed high-profiled philatelists such as Prince Rainier III of Monaco and stamp designers/engravers.
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Nash was also an accomplished printmaker. He was a founder member of the Society of Wood Engravers in 1920. He produced woodcuts and wood engravings first as illustrations to literary periodicals, and then increasingly as illustrations for books produced by the private presses; these include Jonathan Swift's Directions to Servants (Golden Cockerel Press, 1925) and Edmund Spenser's The Shepheard's Calendar (Cresset Press, 1930). His interest in botanical subjects is shown by his illustrations to Bob Gathorne- Hardy's Wild Flowers in Britain (Batsford 1938).
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He was Anthony and she was Cleopatra, wearing a bodice made out of copper wire. Stevens joined various other artists' associations in Canada including the Federation of Canadian Artists, the Ontario Society of Artists and the Society of Canadian Painter-Etchers and Engravers. During World War II (1939–1945) she arranged dances for soldiers at the Heliconian Club to raise money for the war effort. In 1949 she was elected a full member of the Royal Canadian Academy of Arts.
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The Perkins D Cylinder Printing Press Perkins created some of the best steel plates (as noted from English Engravers) for engraving, and started a printing business with engraver Gideon Fairman. They began with school books, and also made currency that was not being forged. In 1809 he bought the stereotype technology (prevention of counterfeit bills) from Asa Spencer, and registered the patent, and then employed Asa Spencer. Perkins made several important innovations in printing technology, including new steel engraving plates.
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Halte de l'armée française à Syène 2 février 1799 Jean-Charles Tardieu was born on 3 September 1765 in Paris, son of Jacques-Nicolas Tardieu and Elisabeth Claire Tournay. His father and his grandfather, Nicolas-Henri Tardieu, were both members of the Academy and the King's engravers. His father's cousin was the engraver Charles-Nicolas Cochin, who left him a small legacy when he died in 1790. Cochin also treated him as a sort of pupil and gave him advice.
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The Church of Saint Demetrius was built in 1830 with voluntary contributions of local merchants and craftsmen. It is plain on the outside, as all churches in the Ottoman Empire had to be, but lavishly decorated with chandeliers, a carved bishop throne and an engraved iconostasis on the inside. According to some theories, the iconostasis is a work of the Mijak engravers. Its most impressive feature is the arc above the imperial quarters with modeled figures of Jesus and the apostles.
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Other engraved wood items include the bishop's throne made in the spirit of Mijak engravers, several icon frames and five more-recent pillars shaped like thrones. The frescoes originate from two periods: the end of the 19th century, and the end of World War I to the present. The icons and frescoes were created thanks to voluntary contributions of local businessmen and citizens. The authors of many of the icons had a vast knowledge of iconography schemes of the New Testament.
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Membership of the Royal Academy is composed of up to 80 practising artists, each elected by ballot of the General Assembly of the Royal Academy, and known individually as Royal Academicians (RA, or more traditionally as R.A.). The Royal Academy is governed by these Royal Academicians. The 1768 Instrument of Foundation allowed total membership of the Royal Academy to be 40 artists. Originally engravers were completely excluded from the academy, but at the beginning of 1769 the category of Associate-Engraver was created.
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His career began when he was apprenticed to engraver Ralph Beilby in Newcastle upon Tyne. He became a partner in the business and eventually took it over. Apprentices whom Bewick trained include John Anderson, Luke Clennell, and William Harvey, who in their turn became well known as painters and engravers. Bewick is best known for his A History of British Birds, which is admired today mainly for its wood engravings, especially the small, sharply observed, and often humorous vignettes known as tail-pieces.
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Bewick's art is considered the pinnacle of his medium, now called wood engraving. This is due both to his skill and to the method, which unlike the wood cut technique of his predecessors, carves against the grain, in hard box wood, using fine tools normally favoured by metal engravers. One of Bewick's wood blocks Boxwood cut across the end-grain is hard enough for fine engraving, allowing greater detail than in normal woodcutting. This been the dominant method used since Bewick's time.
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The government eventually discovered its error, and demanded return of the lot, with most of it being returned. After selling his revenue collection to Deats, Sterling became a stamp dealer, still specializing in revenue stamps. He made several important purchases, such as the archives of Philadelphia, Pennsylvania security printers and engravers Butler and Carpenter which contained both private and government revenue stamps. The archives contained essays, proofs, “special tax stamps” and other collateral material, most of which he subsequently sold to Deats.
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He also wrote smaller poems, including some highly religious songs and choruses, some dialogues, three 'lamentations', a translation of the five lamentations of Jeremiah and arrangements of the Psalms, partly recorded in the hymnbook of the Dutch Lutheran church. He published many prints during a fairly brief period between 1577 and 1580. During this period he worked closely with the Antwerp engravers Hieronymus Wierix, Johannes Wierix and Anton Wierix the younger. Some of the prints were engraved by Hans Bol.
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Jan Collaert was the son of Anna van der Heijde and Jan Collart I and the brother of Adriaen Collaert.Jan Collaert (II) at the Netherlands Institute for Art History Adriaen Collaert at the Netherlands Institute for Art History He trained under his brother Adriaen as well as with leading Antwerp engravers Philip Galle and Gerard de Jode. He became member of the Antwerp Guild of Saint Luke in 1585 and was the Guild's dean in 1612. From 1580 through his death c.
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He established himself in this medium so quickly that, in 1885, he was elected an associate of the Royal Society of Painters in Water Colours; becoming a full member shortly before his death. He also served as Vice-President of the Royal Society of Painter-Etchers and Engravers. A major retrospective of his work was organized by the Fine Art Society in 1892. His paintings may be seen at the Walker Art Gallery and in the National Gallery of Australia.
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Another set of paintings are positioned in the foreground leaning against chairs for inspection. This painting is dated 1653 and was painted after earlier, larger versions that David Teniers the Younger prepared to document the Archduke's collection before he employed 12 engravers to publish his Theatrum Pictorium, considered the "first illustrated art catalog". He published this book of engravings after the Archduke had moved to Austria and taken his collection with him. It was published in Antwerp in 1659 and again in 1673.
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He can be regarded as one of the principal engravers of van Dyck's work. Altogether Pontius produced 42 plates after Rubens. As several of these works were portraits of the rulers of the Spanish Netherlands such as the king and queen of Spain and the governors and ministers of the Spanish Netherlands, Pontius can be seen as the official portrait engraver. An example is the Portrait of Gaspar de Gusman, Count of Olivares, which Pontius made in 1626 after a design by Rubens.
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The quality of the reproductions, using a mixture of engraving and etching following the practice of the Rubens engravers, varied according to the skill of the people employed by Jullienne, but was often very high. Such a comprehensive record was hitherto unparalleled. This helped disseminate his influence round Europe and into the decorative arts. Watteau's influence on the arts (not only painting, but the decorative arts, costume, film, poetry, music) was more extensive than that of almost any other 18th- century artist.
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Clérisseau created works on paper using a variety of media, often in combination, including pencil, chalk, ink, watercolor, and gouache. Many of his works were reproduced as etchings by engravers including Domenico Cunego (the series Views of Antique Buildings and Famous Ruins in Italy), Francesco Bartolozzi, Francesco Zucchi and Paolo Santini. The largest cache of Clérisseau's work (almost 200 items) is in the collection of the Hermitage in St. Petersburg. Another large group is conserved at the Fitzwilliam Museum, Cambridge.
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King George III and King George IV were both patrons of the arts. King George IV commented that art needs to be signed so that the people can tell good art from bad. It is unknown if this was tongue in cheek or if King George was sincere in this comment, but the result was that engravings were then marked by the engraver. Especially engravings from artists who wished to be inducted into the Royal Academy, or engravers already belonging to the Academy.
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She taught engraving at the Museum of Modern Art in Rio de Janeiro from 1960 to 1966, where she especially studied engraving on metal also called metalcuts. She worked there with many other engravers who became also well- known, like Anna Bella Geiger and Ruth Bessoudo. She taught engraving in Santiago; in 1961, she was named an honorary professor at the Pontifical Catholic University of Chile. From 1977 to 1998, she taught an engraving workshop at the Museu do Ingá in Niterói.
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Aaron Isaac (; lived 1730–1817) was a Jewish seal engraver and merchant in haberdashery. He came from Pommery (Swedish Pomerania), a German-speaking area then part of the Swedish Empire, during the reign of Gustav III, and was persuaded to come to Sweden where there were no seal-engravers at the time. He did this on condition that he could bring with him at least ten Jews, in order to have a minyan (quorum) for prayer. His native language was Yiddish.
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On 26 July 1620 the painter's return to Utrecht after about ten years in Italy was celebrated in the Utrecht tavern "Het Poortgen" at a welcome party attended by merchants, painters and copper engravers. It was extensively reported in the diary of lawyer, archaeologist and art dealer Aernout van Buchel. The painting may depict the gathering and the central figure in a blue shirt may be a self-portrait.Rose-Marie and Rainer Hagen, What Great Paintings Say, Benedikt Taschen Verlag, Keulen, 1994.
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ITU President S. B. Donnelly refused to support the local, fearing employers might retaliate. The New York City photoengravers won their strike, but the lack of ITU support led most of the union's photoengraver locals to seek disaffiliation. A national convention in Philadelphia in November 1900 saw the photoengravers leaving the ITU and establishing the International Photo-Engravers' Union of North America. ITU President James M. Lynch, pressured the AFL into refusing to recognize the photoengravers' union until May 1904.
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She was elected an associate member of the Royal Society of Painter-Etchers and Engravers in 1955 and a full member in 1966. For many years Blakely lived at Rose Cottage at Pin Mill in Suffolk and she was a member of, and regular exhibitor with, the Ipswich Art Club from 1974. Blakely was married twice, first in 1948 to the artist Keith MacKenzie (1924-1983), with who she had three sons, and after their divorce she remarried in 1977.
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Between 1820 and 1826 he issued, a series of 357 small plates in four volumes, reproducing all the then accessible works of Sir Joshua Reynolds, with whom he claimed relationship. Upon the completion of this he revisited Paris, where his work, both in painting and engraving, created much enthusiasm among French artists, several of whom became his pupils. An article, which appeared at the time in L'Artiste, describing Reynolds's extraordinary talents, is quoted by Beraldi in Les Graveurs du XIXe Siècle ("Engravers of the 18th century").
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The class of the work has entirely changed, however, partly through the reduction of prices paid for it, partly through the change of taste and fashion, and partly, again, through the necessities of the situation. French engravers were driven to simplify their work in order to satisfy public impatience. To compensate for loss of color, the art developed in the direction of elegance and refinement. In Italy, line engraving decayed just as it had in England, and outside Europe, line engraving seems almost nonexistent.
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Sara Jane Lippincott remarked that his miniatures "were always remarkable for purity and simplicity of character as well as tone". However his extreme modesty always precluded him from ever exhibiting his miniatures save only to his friends. In 1928 the New York Public Library displayed examples of his engravings in a presentation of the works of one hundred notable American engravers. A group of his miniatures were publicly displayed front and center at the Retrospective Exhibition of the Columbian Exposition in Chicago in 1893.
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François Gérard was born in Rome to J. S. Gérard and Cleria Matteï.Henri Gérard 1888 At the age of twelve, Gérard obtained admission into the Pension du Roi in Paris. From the Pension, he passed to the studio of the sculptor Augustin Pajou, which he left at the end of two years for the studio of the history painter Nicolas-Guy Brenet,Nicolas-Guy Brenet (1728–1792), professor at the Académie royale de peinture et de sculpture, 1778. Michael Bryan, Dictionary of Painters and Engravers, s.v.
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He was employed by engravers to make drawings for them, and, for example, for Volpato, he drew Parnassus by Raphael and a Sibyl and two Prophets by Michelangelo, Martyrdom by Guido Reni, Aurora and Day & Night by Guercino, and a Landscape by Claude Lorraine. For the artist Morghen, he completed a drawing of Poussin's Dance of the Hours, of Raphael's Jurisprudence, Transfiguration, and Miracle of Bolsena; and of Murillo's Magdalene. He also worked for Bettelini, Fontana, and Giovanni Folo. Tofanelli also painted altarpieces, portraits, and mythological scenes.
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Eckstein, who was dismissed by Walter Breen as a "local artistic hack" and described by a contemporary artist as a "thorough-going drudge" due to his willingness to carry out most painting or sculptural tasks at the request of clients, was paid thirty dollars for his work preparing models for both the obverse Liberty and reverse eagle and wreath. After the plaster models were created, the engravers of the Philadelphia Mint (including Scot) began creating hubs that would be used to make dies for the new coins.
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4, pp.416-417 The union's general secretary, Charles Kean, recognising that many of the union's members worked in the wallpaper trade, formed the Wallpaper Stainers' Trade Union Federation in 1917. This was a success, and in 1920 Kean took the union's wallpaper workers into a new Wallpaper Workers' Union along with other unions in the industry. The remainder of the union, still covering both the cotton and paper printing industries, renamed itself as the United Society of Engravers of Great Britain and Ireland.
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Middleton travelled to various parts of Britain during his working life. As well as spending time sketching and painting during an excursion to Tunbridge Wells in Kent, he produced paintings of the area around Clovelly during a visit to the Devon coast. Included amongst works he exhibited in London were Scene near Tunbridge Wells (1847) and Clovelly, on the coast of Devonshire (1851). Whilst in London he and other members of the Norwich School attended the evening meetings of the Graphic Society of Painters and Engravers.
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Even then, it was careful to exclude commercial methods of silkscreen printing. Between 1960 and 1974 the Society's annual exhibitions were each held in a different city in Ontario. Jo Manning, who made prints between 1960 and 1980, was an executive member of the Canadian Society of Graphic Art and a member of the Canadian Society of Painter-etchers and Engravers. In June–August 1971 the Society held a joint exhibition at the Montreal Museum of Fine Arts with the Canadian Society of Graphic Art.
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His known work includes more than one hundred and seventy engravings and etchings on a variety of subjects, including maps, vedutes, portraits, illustrations for pamphlets, coats of arms, and depictions of the saints. He added to the fame of Šibenik and of his compatriot Antun Vrančić, called Antonius Verantius. The art collector George Cumberland wrote in 1827 thatCumberland, George, An Essay on the Utility of Collecting the Best Works of the Ancient Engravers of the Italian School (London, Payne and Foss, 1827) page 6 online at books.google.co.
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Elliott's View of the Fall of Montmorenci after Hervey Smith Elliott was born at Hampton Court Palace, London, England in 1727. Joseph Strutt, in his Biographical Dictionary of Engravers (1785), said that he was a man "of an amiable and benevolent disposition, and greatly beloved by all who knew him"; that he "excelled in landscape etchings, which he executed with great taste" and that "the freedom of his point, in particular, was admired". He died at his home in Church Street, Soho, in London in 1766.
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From the beginning, the gallery represented contemporary artists, especially engravers and graphical artists as f.e. Miklós Borsos, Lajos Szalay, János Kass, Vladimir Szabó and Gyula Hincz. The Koller Gallery also represents modern and contemporary sculptors such as Miklós Borsos, Imre Varga, Miklós Melocco and Péter Párkányi and modern and contemporary painters, such as István Szőnyi, István Csók, Bertalan Por, István Mácsai and among the young artists Gábor Szenteleki and Mózes Incze, just to name a few. The gallery also offers art appraisals and services for art collectors.
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Barlow was born in Oldham in Lancashire, the son of Henry Barlow, an ironmonger living in the High Street, and Sarah (née) Oldham. He was educated at the Old Grammar School, Oldham, and was then articled to "Stephenson & Royston", a firm of engravers in Manchester. He studied at the Manchester School of Design, where he won a prize of 10 guineas in 1846 for a drawing entitled 'Cullings from Nature'. Portrait of Richard Quain (engraving after Daniel Maclise) He moved to Ebury Street, London, in 1847.
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Sharpening a graver or burin requires either a sharpening stone or wheel. Harder carbide and steel gravers require diamond-grade sharpening wheels; these gravers can be polished to a mirror finish using a ceramic or cast iron lap, which is essential in creating bright cuts. Several low-speed, reversible sharpening systems made specifically for hand engravers are available that reduce sharpening time. Fixtures that secure the tool in place at certain angles and geometries are also available to take the guesswork from sharpening to produce accurate points.
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Pistrucci submitted a report, in which he settled some old scores. The reforms abolished the positions of chief engraver (Wyon died in 1851) and chief medallist, with Pistrucci appointed a modeller and engraver to the Mint, to receive a salary in addition to payment for any work done. Pistrucci in 1850 moved from Old Windsor to Flora Lodge, Englefield Green, near Windsor, where he lived with his daughters Maria Elisa and Elena, both gem engravers. He continued to accept private commissions for cameos and medals.
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A physician and a blacksmith, among other ranks, had an even lower honour-price—less than half what the brithem could achieve, and the honour-price apparently did not vary based on skill. Other professionals, such as makers of chariots or engravers, had still lower honour-prices (less than that of a bóaire). Finally a few professions received only meagre ranks, as with the lowest poets, and the authors may be actively making fun of some of the professions, such as comb makers.Kelly 1988, p.
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General "Mad" Anthony Wayne statue, located in Freimann Square, Fort Wayne, Indiana. George Etienne Ganiere (April 26, 1865 – 1935) was an American sculptor born in Chicago, Illinois. There he studied at the Art Institute of Chicago where he eventually became an instructor and then the head of the Sculpture Department.Opitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, NY, 1988 Ganiere was a member of the National Sculpture Society and exhibited at their 1923 show, held in New York City.
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Unlike most engravers of the 19th century who worked directly for firearms manufacturers, Nimschke maintained his own shop in New York City and took work on a contractual basis. His main client was New York outfitter Schuyler, Hartley and Graham. When a special custom order that required utmost detail needed to be filled the firearms companies would commission Nimschke for the work. Ninschke engraved firearms for Theodore Roosevelt, George Armstrong Custer, Maria Christina of Austria, Buffalo Bill, Ben Thompson, and Napoleon III, Emperor of France.
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He was born in Amsterdam where he is known in period accounts as Hopffer.Bartholomäus Hopfer in the RKD He is sometimes referred to as "the Younger" to differentiate him from the Renaissance painter by the same name who was the father of Daniel Hopfer. It is unclear if he was a distant relation, but several generations of the Hopfer family were active as engravers in Augsburg, and this younger Hopfer was also active there and in Wickersheim before moving to Strasbourg, where he died.
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The principal achievements of de Bie are his ability to create systematic and clear publications on numismatics and his creativity in devising new ways to combine numismatics and history. His earliest known works are the prints he contributed to the Vita, passio et Resvrrectio Iesv Christi published by de Bie's master Adriaen Collaert in 1598. This was a series of prints depicting the life of Christ, based on illustrations by the Flemish painter and draughtsman Marten de Vos. Four other engravers produced engravings for this publication.
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During the 1790s the London gallery that showed the original paintings emerged as the project's most popular element. The works of William Shakespeare enjoyed a renewed popularity in 18th-century Britain. Several new editions of his works were published, his plays were revived in the theatre and numerous works of art were created illustrating the plays and specific productions of them. Capitalising on this interest, Boydell decided to publish a grand illustrated edition of Shakespeare's plays that would showcase the talents of British painters and engravers.
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Jacques Callot (1592–1635) from Nancy in Lorraine (now part of France) made important technical advances in etching technique. He developed the échoppe, a type of etching-needle with a slanting oval section at the end, which enabled etchers to create a swelling line, as engravers were able to do. Etching by Jacques Bellange, Gardener with basket c. 1612 Callot also appears to have been responsible for an improved, harder, recipe for the etching ground, using lute-makers' varnish rather than a wax- based formula.
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Among other fine pictures, he returned with two by the baroque Spanish artist Murillo - "The infant Christ as the Good Shepherd", and "The infant St. John with the lamb". In 1804 Bryan retired from the art world, and settled at his brother's home in Yorkshire, where he remained until 1811. In 1812 Bryan again visited London, and commenced writing his "magnum opus" - the Biographical and Critical Dictionary of Painters and Engravers in 2 volumes. The first part appeared in May 1813, and concluded in 1816.
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Bindman (2000: 7) As such, relief etching tackled the problem of the division of labour of publishing. Blake's new method was autographic; "it permitted—indeed promoted—a seamless relationship between conception and execution rather than the usual divisions between invention and production embedded in 18th-century print technology, and its economic and social distinctions among authors, printers, artists and engravers. Like drawings and manuscripts, Blake's relief etchings were created by the direct and positive action of the author/artist's hand without intervening processes".Eaves et al.
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Bindman (2000: 7) As such, relief etching tackled the problem of the division of labour of publishing. Blake's new method was autographic; "it permitted – indeed promoted – a seamless relationship between conception and execution rather than the usual divisions between invention and production embedded in eighteenth-century print technology, and its economic and social distinctions among authors, printers, artists and engravers. Like drawings and manuscripts, Blake's relief etchings were created by the direct and positive action of the author/artist's hand without intervening processes."Eaves et al.
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They had four children – the painter Edward Stone (1940), the designer Humphrey Stone (1942), the illustrator Phillida Gili, and Emma Beck, wife of artist Ian Beck. The family were friends of the poet Cecil Day-Lewis and his family. In 2017 his son, the actor Daniel Day-Lewis named the character of his final film 'Reynolds Woodcock', as a reference to him, and his typeface designs were used for the titles of the film. He was elected a member of the Society of Wood Engravers in 1948.
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During the war he served in the Middlesex Yeomanry and the Royal Field Artillery in Ireland, Flanders and France. After the war he continued serving the army, becoming an education officer for the Woolwich Garrison. He went on to become a professional naturalist lecturing on zoology at Toynbee Hall and became a member of the Society of Wood Engravers and was taught wood engraving by close friend and fellow member Paul Nash. In 1920 he exhibited three wood engravings at the opening exhibition of the Society.
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Some twentieth-century slab serifs (ones designed after the modern system of names for fonts had taken hold), have 'Egyptian' names as a reminder of this: Cairo, Karnak, and Memphis are examples of this. The term Egyptian was adopted by French and German foundries, where it became Egyptienne. A lighter style of slab serif with a single width of strokes was called 'engravers face' since it resembled the monoline structure of metal engravings. The term 'slab-serif' itself is relatively recent, possibly twentieth-century.
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From 1948 to 1971 Gross's work was exhibited in London and New York in one-man shows and as part of The London Group. In 1965 he became the first president of the Printmakers Council. He became an honorary member of the Royal Society of Painter-Etchers and Engravers in 1979, the same year being elected as an Associate of the Royal Academy; becoming a Senior Academician in 1981, and receiving an CBE in 1982. In 1965-66 Gross was a Minneapolis School of Art visiting professor.
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On the basis of this, Haas was a member of the Academy in Paris and also in January 1783 the Academy in Copenhagen, to which city he almost simultaneously thus returned. Being a member of two academies was a prudent, but Haas needed to find employment. But he had difficulties with this, because the time was cool to both the arts and artists. In addition, there was no shortage of engravers in Denmark, and there were more artists than Haas (Clemens, Johan Martin Preisler) .
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Cathelin was born in Paris in 1738. He was one of the best pupils of Le Bas. He engraved some excellent small portraits of historical personages, literary men, and artists; and, although his work was singularly unequal, he may be classed with Le Mire, Ficquet, Gaucher, and other engravers of the 18th century, who were distinguished by the skill and delicacy of their work. He was received into the Academy in 1777, on which occasion he executed the portrait of the Abbé Terray, after Roslin.
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The text typically gave no information about the date and place of the find. The largest four images from the portico are depictions of Theseus, Hercules and Telephus, Achilles and Chiron, and Marsyas and Olympus. The engravers treat them as flat paintings, although in fact they were concave, and their shape shows where they were originally placed in the building. The book contains only a small selection of the paintings that were taken to Portici, although it seems that drawings were made of all these paintings.
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Portrait of Czesław Słania Czesław Słania (22 October 1921 Czeladź; 17 March 2005 Kraków) was a Polish-born postage stamp and banknote engraver, living in Sweden from 1956. According to the Guinness Book of World Records, Słania was the most skilled and prolific of all stamp engravers, with over 1000 stamps to his credit. His 1000th engraved stamp, based on the 17th-century painting "Great Deeds by Swedish Kings" by David Klöcker Ehrenstrahl (2000), is in the Guinness Book as the largest engraved stamp ever issued.
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Similar to book printing, music printing began in the fifteenth century with the use of movable type. The central problem posed to early music engravers using moveable type was the proper integration of notes, staves, and text. Often, staff lines were hand drawn prior to printing, or added to the printed music afterward. Ottavio Petrucci, one of the most innovative music printers working at the turn of the sixteenth century, used a triple impression technique that printed staves, text, and notes in three separate steps.
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His father was the Flemish painter and engraver Matthieu van Plattenberg, originally from Antwerp, who specialized in maritime scenes. In addition, his uncle was the well-known engraver, Jean Morin, who gave him his first lessons in that subject. In his youth, after learning the basics from his father, he studied with Philippe de Champaigne, one of the greatest painters and engravers in the Classical style. He also became a collaborator in the workshop belonging to Champaigne's nephew, Jean- Baptiste, who also became his lifelong friend.
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Ships, harbor views, life at port in Deauville, and women in their fashionable seaside attire became subjects for many vivid and spirited works. Femme avec hortensias, vers 1897-1898. Musée Bonnat In 1904, Helleu was awarded the Légion d'honneur and became one of the most celebrated artists of the Edwardian era in both Paris and London. He was an honorary member in important beaux-arts societies, including the International Society of Painters, Sculptors, and Engravers, headed by Auguste Rodin, and the Société Nationale des Beaux-Arts.
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According to the architectural historian Emil Kaufmann, the majority of these prints were designed and engraved by Jacques-François Blondel (who published his own Architecture françoise in 1752–1756), although other engravers, including Pierre Lepautre, , and Claude Lucas, and other designers, such as Delamonce, J. M. Chevotet, P. C. Prevostel, and Pineau, were also involved.Kaufmann 1949. A fourth volume, published the same year under the same title, was a reedition of the Grand Marot, and a fifth volume in a larger format was published in 1738.
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This is a large wood-engraving on an 1883 cover of Frank Leslie's Illustrated Newspaper. Such news prints were composed of multiple component blocks, combined to form a single image, so as to divide the work among a number of engravers. In 15th- and 16th-century Europe, woodcuts were a common technique in printmaking and printing, yet their use as an artistic medium began to decline in the 17th century. They were still made for basic printing press work such as newspapers or almanacs.
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In 1860, however, the engraver Thomas Bolton invented a process for transferring a photograph onto the block. At about the same time, French engravers developed a modified technique (partly a return to that of Bewick) in which cross-hatching (one set of parallel lines crossing another at an angle) was almost entirely eliminated. Instead, all tonal gradations were rendered by white lines of varying thickness and closeness, sometimes broken into dots for the darkest areas. This technique appears in wood-engravings after Gustave Doré.
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Other, more flexible, tools include the spitsticker, for fine undulating lines; the round scorper for curved textures; and the flat scorper for clearing larger areas. Wood engraving is generally a black-and-white technique. However, a handful of wood engravers also work in colour, using three or four blocks of primary colours—in a way parallel to the four-colour process in modern printing. To do this, the printmaker must register the blocks (make sure they print in exactly the same place on the page).
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In 1857, at the age of 19, Neal settled in San Francisco. He was hired as a draughtsman on wood by a friendly wood-engraver, who took an interest in him, and taught him the art."Modern School of Art", Edited by Wilfrid Meynell Soon after, he became the city's best ink drawer upon blocks used by engravers. In fact, his sketching ability was so good that he was hired, from time to time, by the police for likenesses of criminals for the Rogue's Gallery.
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Charles Heath believed that custom entitled engravers to make and keep a limited number of impressions of their work. When he was sued by the publisher, John Murray, in 1826, as a result of having made and kept such impressions, he relied on that supposed custom, but, in 1830, a jury denied its existence. Then, in 1831, the judges of the Court of King's Bench held that his conduct had been unlawful at common law, though not a breach of the Prints Copyright Act 1777.
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The sixth plate, Paul and Barnabas at Lystra, was almost finished in 1827, and the seventh, Peter and John at the Beautiful Gate, begun. The former appeared in the following year, 1828, but the completion of the latter was delayed until 1839, when it was published with a dedication to the Queen, and like the rest bore the names of Holloway, Slann, and Webb as the engravers and publishers. Mrs. Elizabeth Montagu, engraved by Thomas Holloway, published by John Sewell (died 1802), 32 Cornhill, London, 1785.
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183 The quality of the 23 prints was outstanding as they had been made by some of the leading engravers of the time such as Jan Wierix, Adriaen Collaert and Cornelis Cort. The portraits are rendered with a metallic sharpness and brilliance. The prints constitute a visually harmonious series. Hendrik Hondius I published in 1610 a book with almost the same title ('Pictorum aliquot celebrium, præcipué Germaniæ Inferioris', in English: 'Effigies of some celebrated painters, chiefly of Lower Germany') that contained 69 engraved portraits of painters.
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One of his earliest engraved works, Britannia Depicta, published in 1720, contained over two hundred road maps together with a miniature county map of each of the counties of England and Wales. It followed on John Ogilby's earlier work with updated style of historical and heraldic detail. It was an unusual feature of the atlas that the maps were engraved on both sides of each page, resulting in a handier- sized book. By 1726 he was noted as one of the leading London engravers.
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Raverat was one of the first wood engravers recognised as modern. She went to the Slade School in 1908,Reynolds Stone, The Wood Engravings of Gwen Raverat (London, Faber & Faber, 1959). but stood outside the groups growing up at the time, the group that gathered around Eric Gill at Ditchling and the group that grew up at the Central School of Arts and Crafts around Noel Rooke. She was influenced by the Impressionists and Post-Impressionists and developed her own painterly style of engraving.
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Basket of flowers on a ledge There are very few details about Bouttats' early life and training. He was a member of the Bouttats family of artists, who were active in Antwerp and worked mainly as engravers and painters. He was likely born in Antwerp where he became master in the Guild of Saint Luke in 1707. He was part of a group of artists who worked in 1687 for Wenzel Albert Duke of Sternberg on the decoration of the Troja Palace in Prague.
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Obverse of the Bonaparte Premier Consul struck in 1803 at Paris, the first year of issue. Note the youthful portrait of Napoleon and compare to later issues reflecting contemporaneous appearances of the Emperor. Engravers: Jean-Pierre Droz (1746–1823) & Pierre-Joseph Tiolier (1763–1819) Reverse of the same coin 1803 Paris (AN XI indicates the 11th year after the French Revolution, or the latter part of 1803). A coin not often seen (58,262 were minted), this example exhibits Extra Fine details for a 206-year-old coin.
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The development in various directions of process work, by facilitating and cheapening the reproduction of beautiful and elaborate designs, has no doubt helped much to popularize the bookplate—a thing which in older days was almost invariably restricted to ancestral libraries or to collections otherwise important. Thus the great majority of plates of the period 1880–1920 plates were reproduced by process. Some artists continued to work with the graver. Some of the work they produce challenges comparison with the finest productions of bygone engravers.
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There she authored several comic strips, the longest running being Reggie and the Heavenly Twins. Organ also published two strips, The Man Hater Club and Strange What a Difference a Mere Man Makes,Opitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, NY, 1988 in the New York World. In early 1908 she met painter Robert Henri and soon began joined a class of his at the New York School of Art. On May 5, 1908, the two were married.
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Maria de Abarca, often referred to as Doña Maria de Abarca, was a seventeenth century Spanish painter active between 1630 and 1656 in Madrid, Spain. She was born in Madrid, but the dates of her birth and death are unknown. Little is known of her family, but an entry in Dr. Coombe's Catalogue of Engravers' Specimens suggests that her father may have been Marius Abacus. She was known for her work as an amateur portrait painter, and praised for her ability in taking likenesses.
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In 1845, he was one of a group of engravers that composed over 200 illustrations for "Mysteries of the Inquisition, and other secret societies of Spain" by "Victor De Féréal" (a pseudonym). Published by Boizard, it became a great success and a bit of a scandal. He also worked with the publishing firm of Hetzel; notably on illustrations for the novels of Jules Verne. Together with , Charles Barbant and, for a time, Fortuné Méaulle, he worked with Hachette on their series for young readers.
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Geographical Distribution of Plants and Distribution of Plants in a Perpendicular Direction in the Torrid, the Temperate, and the Rigid Zones, first published 1848 by Johnston in The Physical Atlas Johnston, Alexander Keith: Turkey in Asia, Transcaucasia. 1861 Johnston combined cartography with a painstaking and scholarly approach to map production. He went on to establish a reputation for scope and accuracy. Thematic atlases became the hallmark of the company he had founded and W & A K Johnston were appointed engravers to King William IV in 1834.
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Green acted on the information he collected by secretly authorizing AFL Executive Council member Matthew Woll to investigate Brookwood even further. Woll was president of the International Photo-Engravers Union of North America, an AFL vice president, one of the most conservative of all the AFL union leaders, and chairman of the executive committee of the WEB. William Green, President of the American Federation of Labor, who was personally antagonistic to Brookwood. Woll's report was delivered to the AFL Executive Council in August 1928.
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Failing to establish himself in London, Hoare settled in Bath, an expanding spa town popular with the wealthier classes. He obtained numerous commissions, the most important being for official portraits of social leaders of the day (including George Frideric Handel) and political men (e.g., Prime Ministers Robert Walpole and William Pitt, 1st Earl of Chatham, c.1754). There are several versions of most of these, suggesting that he had a studio, and they were further publicised by the production of mezzotints by leading engravers of the day.
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Marsigli mapped the 850 km-long Habsburg- Ottoman border in the former Kingdom of Hungary (today including Croatia, Serbia, Romania). During the twenty years he spent in Hungary he collected scientific information, specimens, antiques, took measurements and observations for his work on the Danube. He was assisted by Dr Johann Christoph Müller who prepared manuscripts for printing and commissioned the engravers in his home town of Nuremberg. The sample of the work, Prodromus, was published in 1700 and the large work was expected by 1704.
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Museums in France and England include examples of his etchings in their permanent collections. In 1882, he was elected a member of the Royal Society of Painter-Etchers and Engravers. Museums in France and England include examples of his etchings in their permanent collections. Many of his works appeared in The Art Journal, an important Victorian annual dedicated to the visual arts and publishing original etchings by artists such as Axel Haig, James McNeill Whistler, Seymour Haden, Hubert von Herkomer, John MacWhirter, Birket Foster and others.
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SCORE is a scorewriter program, written in FORTRAN for MS-DOS by Stanford University Professor Leland Smith (1925–2013) with a reputation for producing very high-quality results. It was widely used in engraving during the 1980s and 1990s and continues to have a small, dedicated following of engravers, many of whom regard it as the world's best music-engraving program due to its ability to precisely position symbols on the page. Several publications set using SCORE have earned Paul Revere and German Musikpresse engraving awards.
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Smith also reissued many plates by Beckett, Bernard Lens, Williams, and others, retouching them and erasing the original engravers' names. Smith's latest print appears to have been the portrait of the young Prince William, Duke of Cumberland, after Joseph Highmore, dated 1729. Loves of the Gods, after Titian The bulk of Smith's copperplates eventually came into the hands of publisher John Boydell, who reprinted them in large numbers. In 1696, Kneller painted a portrait of Smith holding a Kneller engraving and gave it to him.
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In 1984, McCurdy and Robert Hauser formed a partnership to produce Face to Face: Twelve Contemporary American Artists Interpret Themselves in a Limited Edition of Original Wood Engravings. Engravers who submitted self-portraits for this were McCurdy, Fred Becker, Jack Coughlin, John DePol, Fritz Eichenberg, Raymond Gloeckler, James Grashow, Judith Jaidinger, Stefan Martin, Barry Moser, Gillian Tyler, and Herbert Waters. Penmaen Press was discontinued in 1985, as McCurdy devoted himself increasingly to writing and illustrating trade books, as well as limited editions for other publishers.
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He was taught by his father, who was recognized as one of the most eminent engravers France has produced. He was received at the Académie française on 24 October 1749 for his engraved portraits of Bon Boullogne (after Gilles Allou) and Le Lorrain (after Donat Nonnotte). He became graveur ordinaire du roi (Official Engraver to the King) and is also described as graveur ordinaire of the Elector of Cologne. Tardieu married in turn two print makers, Jeanne-Louise-Françoise Duvivier and Élisabeth-Claire Tournay.
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Being also a skilful drawer, in the 1950s and 1960s she dedicates principally to Portrait. The paintings of geometric atmosphere are made in these years, 1951 and 1952. In 1966 and 1967 she also cooperates with the Sociedade Cooperativa de Gravadores Portugueses (Portuguese Engravers Cooperative Society), known as Cooperativa Gravura, participating in the exhibitions of the courses‘ end. But it is only in the end of the 1960s that Tereza Arriaga starts to dedicate more to painting, adopting the style which she maintains until today.
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After 1560 his work became more Mannerist and the sculptural handling of the figures gave way to a more painterly approach. His palette evolved towards the monochrome. Later he may have been influenced by the school of Fontainebleau as his figures became more elegant and the works more refined. Just like his brother Cornelis was able to exert influence on contemporary architecture across the borders of Flanders through the medium of the Antwerp publishers, Floris’ work found wide circulation through engravings made by the leading Antwerp engravers.
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David Kresz Rubins was born in Minneapolis in 1902.Staff, Charles, "Indiana Arts Awards Going To Six Hoosiers", "The Indianapolis News", January 11, 1983. As a young man, he was apprenticed to James Earle FraserOpitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, NY, 1988 before moving on to study at Dartmouth College and the Beaux-Arts Institute of Design in New York. He then traveled to Europe to study in Paris, where he was awarded the Paris Prize in Sculpture.
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Son of Jacques Darchis and Marguerite Froidmont, he was baptised in the church of Notre-Dame aux Fonts in Liège. From 1646 to his death he worked in Rome for the Roman Curia. His will was proven on 22 October 1696 and funded the creation of the 'fondation Lambert-Darchis', which granted travel bursaries to young artists, art restorers, art historians, engravers, composers and would- be ecclesiologists who had been born or were living in the city of Liége or the surrounding diocese. It still exists.
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Austrian Nationalbibliothek A re-discovery of Cellini's book by the public at the end of the 18th century brought up an acute need for the portrait of the author, in order to illustrate the publications. Many artists and engravers received orders from the publishers to produce Benvenuto's images. The earliest sample of the portraits of the "new wave" was an engraving made by the Italian master Francesco Allegrini in 1762. Allegrini used a drawing of Giuseppe Zocchi as the basis for this work. (1711–1767).
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Hahn worked in various media and was especially known for her murals and wood engravings. She was a member of the Ontario Society of Artists, the Society of Canadian Painter-Etchers and Engravers, and the Toronto Metal Crafts Guild, among others. Her religious artworks, which include altar pieces and sculptures, can be seen in more than fifteen churches across Canada. Some of her mural work can be seen at Havergal College school for girls in Toronto and at Emmanuel College at the University of Toronto.
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During the Victorian period, the art of book illustration gained popularity, supported through the work of wood engravers. Woodcut extended back centuries in Europe and further in Asia. Typically the parts to be printed in black were left in relief by the carver, allowing illustrations to be printed along with the text. Thomas Bewick developed the technique in the 18th century and "perfected the process that was used extensively throughout the 19th century, which necessitated the use of hardwood blocks and tools for metal engraving".
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She studied under Malcolm Osborne and Robert Austin. She gained her diploma in 1937, won drawing prizes, a continuation scholarship and an RCA travelling scholarship. In 1937, while still a student, Hudson was elected to the Royal Society of Painter-Etchers and Engravers, and to the Royal Watercolour Society in 1939. She travelled throughout Italy in 1938 and 1939, but seemingly unaware of the developing political situation she only returned to Britain days before the outbreak of the Second World War and so avoided internment in Italy.
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He enlisted Lucas Vorsterman to engrave a number of his notable religious and mythological paintings, to which Rubens appended personal and professional dedications to noteworthy individuals in the Southern Netherlands, United Provinces, England, France, and Spain. With the exception of a few etchings, Rubens left the printmaking to specialists, who included Lucas Vorsterman, Paulus Pontius and Willem Panneels.Pauw-De Veen (1977): 243–251. He recruited a number of engravers trained by Christoffel Jegher, whom he carefully schooled in the more vigorous style he wanted.
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The teaching staff included Bernard Meninsky and Noel Rooke who trained him in wood-engraving. Between 1922 and 1925 Farleigh was an art teacher at Rugby School, thereafter returning to London and assuming a post at the Central School of Arts and Crafts, where he taught antique and still-life drawing and later, illustration.Archives Hub Here he tutored some extremely talented wood-engravers, including Monica Poole. In 1940 Farleigh was appointed as chairman of the Arts and Crafts Exhibition Society (now the Society of Designer Craftsmen).
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He studied with Bela Pratt at the School of the Museum of Fine Arts, Boston. Opitz, Glenn B, Editor, Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Book, Poughkeepsie NY, 1986The National Sculpture Society, Contemporary American Sculpture, The California Palace of the Legion of Honor, Lincoln Park, San Francisco, (New York: Kalkhoff Co. Press, 1929). He succeeded Joseph Bailey Ellis as director of the Modern School of Sculpture in Boston,The International Studio, vol. 61, no. 243 (May 1917), (New York: John Lane Company), p. 6.
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"Michau's landscapes with cattle and figures are of frequent occurrence in public sales, but do not obtain high prices" (Michael Bryan, Dictionary of Painters and Engravers, biographical and critical, 1849 s.v. "Michau, Theobald".) Michau was born in Tournai and was a pupil of Lucas Achtschellinck. Subjects of the country festivals (Kermesse) that were popularized by David Teniers, father and son to the extent that paintings and tapestries showing such rustic themes were called Ténières.Guy Delmarcel, Flemish tapestry from the 15th to the 18th century 1999:352.
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The book has three parts. The first deals with artists who had died before de Bie's time and relies heavily on van Mander's Schilder-boeck. The second part deals with artists living at the time of de Bie and is mostly based on original research by de Bie and on the comments added to the engravings borrowed from Meyssens' Image de divers hommes. The third part deals with artists who had been omitted in the first two parts and also includes engravers, sculptors, architects, and painters.
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Aaron Isaac had made Swedish contacts during the Seven Years' War, who in turn put him in contact with Carl Sparre, the governor of Stockholm. In 1774, Isaac received permission and moved to Stockholm. In 1775, he, his brother Marcus Isaac, and their companion Abraham Pach were granted licenses to work as seal engravers and as stonemasons. Although their right to settle in Sweden and practise their religion had been ensured, they had not been accepted into society and were isolated by a fear of being assaulted.
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John Thurston (Scarborough 1774–1822 London) was a British printmaker and illustrator. He began his artistic career as a copper plate engraver, working for James Heath. Then he took up book illustration, and soon totally devoted himself to it. Most of his illustrations were engraved on block, not plate; a writer in the Polytechnic Journal was later to describe him as "at that time the principal, and indeed almost only artist of any talent in London who made drawings on the block for wood engravers".
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Chauveau was the first printmaker to be made a member to the Académie royale de peinture et de sculpture on 14 April 1663. He died in 1676 in Paris. Notable for his great culture and imagination, he was one of the four French engravers cited by Charles Perrault in his "Hommes illustres". Chauveau left nearly 1,600 works (frontispices, vignettes...), including illustrations for works by Mademoiselle de Scudéry (he engraved the famous Map of Tendre and the frontispiece for her Artamène), Scarron, Molière, Racine and Boileau.
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According to the RKD he was a pupil of Pieter de Molijn and became a member of the Haarlem Guild of St. Luke in 1632.Jan Coelenbier in the RKD He married in 1638 and is mentioned in archives as a merchant in 1675 and 1676. He is known for landscapes in the manner of Jan van Goyen. He was listed as coming from Utrecht and being a pupil of Van Goyen, "whose works he imitated so closely that they passed for the originals", in Bryan's Dictionary of Painters and Engravers.
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Frederic F. Heath was born September 6, 1864 to a Republican family in Milwaukee, Wisconsin. As a young man, Heath worked variously as a teacher, a printer, a wood engraver, and an artist for wood engravers, the latter trades rendered largely obsolete by the invention of the linotype machine and the half-tone printing process. He moved to Chicago in 1886, moving to Florida in 1887 to publish a magazine called the Florida Fruit Grower. In 1888 he returned to his native Milwaukee, where he drew portraits and wrote editorials for the Milwaukee Daily Sentinel.
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He travelled and worked extensively in England, Scotland, France and Italy. He lived in Didsbury in the 1890s, working as editor and illustrator for The Daily Chronicle in Manchester, and around 1898 at Shottermill in Surrey - the rest of his life was spent at Haslemere in Surrey. His work was exhibited at the Royal Academy, Royal Society of Painter-Etchers and Engravers, Royal Watercolour Association and at the Paris Salon. Hedley Fitton was familiar with the old windmills on the southeast coast not far from London and produced a popular etching called "The Two Mills".
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Coronet, a script typeface Script typefaces imitate handwriting or calligraphy. They do not lend themselves to quantities of body text, as people find them harder to read than many serif and sans-serif typefaces; they are typically used for logos or invitations. Historically, most lettering on logos, displays, shop frontages did not use fonts but was rather custom-designed by signpainters and engravers, so many emulate the styles of hand-drawn signs from different historical periods. The genre has developed rapidly in recent years due to modern font formats allowing more complex simulations of handwriting.
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Many of the drawings were from skins or stuffed specimens, though every bird species is illustrated with a lifelike drawing of the bird standing (or rarely, flying or swimming) in a natural setting. Additional drawings depict nests, feathers, and details of bird anatomy including feet, breastbones, and windpipes. Simon Holloway suggests that Fussell and the engravers Charles Thompson and sons probably made all the illustrations for the first three editions of Yarrell's Birds. Only in the fourth, rewritten edition of 1871–85 were illustrations by other artists (Charles Whymper, J. G. Keulemans, Edward Neale) added.
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He was Guest International Artist at the Toorak Village Art Affair, Melbourne 2012. One-man shows in the UK include The Craft Centre & Design Gallery, Leeds City Art Gallery, Trevelyan College, University of Durham, Cambridge Gallery. Notable mixed shows include 'The Art on paper Fair' at the Royal College of Art, The Royal Society of Painter-Etchers and Engravers open exhibitions, 'The Originals', Society of Wildlife Artists and the Royal Society of British Artists Open exhibitions at the Mall Galleries, the Folkestone Metropole Galleries and the Whitechapel Open Exhibitions.
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He was born in Naples, apparently to a German family of engravers. He received his earliest instructions from his father, himself an engraver; but, to obtain more advanced training, he was placed as a pupil under the celebrated Giovanni Volpato. He assisted this master in engraving the famous pictures of Raphael in the Vatican City, and the print which represents the miracle of Bolsena is inscribed with his name. He married Volpato's daughter, and, being invited to Florence to engrave the masterpieces of the Florentine Gallery, he removed thither with his wife in 1782.
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The atlas was a commercial success, prompting other cartographers including John Speed, John Norton, and Michael Drayton to attempt similar enterprises, adding to and adapting Saxton's work. The maps drawn by Saxton were engraved by Augustine Ryther, Remigius Hogenberg, William Hole, William Kip, Leonard Terwoort of Antwerp, Nicholas Reynold of London, Cornelius Hogius, and Francis Scatter. The engravers were of Dutch or Flemish origin. There is no evidence on the maps that Saxton engraved them himself, but according to one account, he engraved those of the Welsh counties and Herefordshire.
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When work on Flinders' A Voyage to Terra Australis got underway in 1811, it was Westall's oil paintings that became the basis of the engravings to be published therein. Westall himself took responsibility for squaring down the paintings to drawings of the actual size to be published, and these were then handed over to engravers, who produced intaglio plates using a combination of etching and direct engraving.Findlay (1998): 21–48. A Voyage to Terra Australis was eventually published in 1814, and shortly afterwards Westall published the engravings separately under the title Views of Australian Scenery.
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Although he had numerous assistants, it appears that they were closely supervised and that he provided the finishing touches to each work himself. Among those who trained with him were his son, Bruno, who accompanied several scientific expeditions as an artist, his nephews Manuel and Juan Antonio, who became well-known engravers, and the sculptor Francisco Gutiérrez Arribas. In 1764, he was forced to reduce his work load, due to a serious illness. Contemporary sources described him as being so beset by "melancholy" that he could make only the most feeble efforts.
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Finishing the work is often necessary when working in metal that may rust or where a colored finish is desirable, such as a firearm. A variety of spray lacquers and finishing techniques exist to seal and protect the work from exposure to the elements and time. Finishing also may include lightly sanding the surface to remove small chips of metal called "burrs" that are very sharp and unsightly. Some engravers prefer high contrast to the work or design, using black paints or inks to darken removed (and lower) areas of exposed metal.
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After completing Lady Spencer's commission, by most accounts, Pistrucci suggested to Pole that an appropriate subject for the sovereign would be Saint George. He created a head, in jasper, of King George III, to be used as model for the sovereign and the smaller silver coins. He had prepared a model in wax of Saint George and the Dragon for use on the crown; this was adapted for the sovereign. The Royal Mint's engravers were not able to successfully reproduce Pistrucci's imagery in steel, and the sculptor undertook the engraving of the dies himself.
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Ring gravers are made with particular shapes that are used by jewelry engravers in order to cut inscriptions inside rings. Flat gravers are used for fill work on letters, as well as "wriggle" cuts on most musical instrument engraving work, remove background, or create bright cuts. Knife gravers are for line engraving and very deep cuts. Round gravers, and flat gravers with a radius, are commonly used on silver to create bright cuts (also called bright-cut engraving), as well as other hard-to-cut metals such as nickel and steel.
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Public dissatisfaction with the newly-issued Morgan dollar led the Mint's engravers to submit designs for the smaller silver coins in 1879. Among those who called for new coinage was editor Richard Watson Gilder of The Century Illustrated Monthly Magazine. Sometime in the early 1880s, he, along with one of his reporters and sculptor Augustus Saint-Gaudens visited Mint Director Burchard to argue for the creation of new designs. They brought along classic Greek and Roman coins in an attempt to persuade Burchard that the coinage could easily be made more beautiful.
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In 1915, a new Mint director, Robert W. Woolley, took office. Woolley advocated the replacement of the silver coins when it was legal to do so, and instructed Barber and Morgan to prepare new designs. He consulted with the Commission of Fine Arts, asking them to examine the designs produced by the Mint's engravers and, if they felt they were not suitable, to recommend artists to design the new coins. The Commission rejected the Barber and Morgan designs and proposed Adolph Weinman, Hermon MacNeil, and Albin Polasek as designers.
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Neighbourhood retailing differs from other types of retailers such as destination retailers because of the difference in offered products and services, location and popularity. Neighbourhood retailers include stores such as; Food shops/marts, dairies, Pharmacies, Dry cleaners, Hairdressers/barbers, Bottle shops, Cafés and take- away shops . Destination retailers include stores such as; Gift shops, Antique shops, Pet groomers, Engravers, Tattoo parlour, Bicycle shops, Herbal dispensary clinics, Art galleries, Office Supplies and framers. The neighbourhood retailers sell essential goods and services to the residential area they are located in.
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Town Hall of Zamość by Bernardo Morando An example of Mannerist architecture is the Villa Farnese at CaprarolaCoffin David, The Villa in the Life of Renaissance Rome, Princeton University Press, 1979: 281-5 in the rugged country side outside of Rome. The proliferation of engravers during the 16th century spread Mannerist styles more quickly than any previous styles. A centre of Mannerist design was Antwerp during its 16th-century boom. Through Antwerp, Renaissance and Mannerist styles were widely introduced in England, Germany, and northern and eastern Europe in general.
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He was so successful at it that, according to The Times he "opened up a new field of labour for artists, lithographers, engravers, printers, ink and paste board makers, and several other trade classes". Tuck's continued to run very successful postcard competitions through the early 1900s with the focus changing to collectors of Tuck postcards rather than of postcards by the artists whose work was depicted. The top part of the 1903 Tuck Exchange Register pictured above announces the second of Tuck's prize competitions which began in 1900. The prize competitions aroused much interest.
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Retrieved 8 March 2014. Her book Têtes d'études (English: Head studies) was published in Paris by Didot. Her painting Portrait of a musician is in the collection of the Currier Museum of Art, Manchester, New Hampshire, United States.Pauline Auzou, 'Portrait of a Musician', Collection, Currier Museum of Art. Retrieved 8 March 2014. Two of her works of Empress Marie-Louise are in the collections of The National Museum of Versailles, Palace of Versailles,Michael Bryan. Dictionary of painters and engravers: biographical and critical. G. Bell and sons; 1886. p. 62.
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Marguerite Porter was born in 1904 in Pleasant Valley, Yarmouth. She studied painting at the Nova Scotia College of Art, and also traveled to the United States to study privately with German-American abstract expressionist painter Hans Hofmann. In 1928, as a senior student at the Nova Scotia College of Art, Porter had one of her etchings accepted by the Society of Canadian Painters, Etchers and Engravers. That same year, she began teaching classes at the College, earning an annual salary of $600 for the next two years.
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In sharp contrast to the gothic and mannerist styles being used at the time in northern Europe, Paesschen often designed buildings in a pure Florentine style, but with a northern flavor. He employed arcaded and colonnaded loggias, domes, and Venetian arches on his best buildings. The majority of his buildings have been destroyed or substantially altered, so his work is known mostly through old pictures. Several generations of his descendants in the Van de Passe family were notable engravers, usually with the surname de Pas or van de Passe.
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The Cappella Antamori in San Girolamo della Carità, by Juvarra and Le Gros Juvarra was born in Messina, Sicily, to a family of goldsmiths and engravers. After spending his formative years with his family in Sicily where he designed Messina's festive settings for the coronation of Philip V of Spain and Sicily (1705), Juvarra moved to Rome in 1704. There he studied architecture with Carlo and Francesco Fontana. The first phase of his independent career was occupied with designs for ceremonies and celebrations, and especially with set designs for theatres.
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The set of nine campaign stars was designed by the Royal Mint engravers. The stars all have a ring suspender which passes through an eyelet formed above the uppermost point of the star. They are six–pointed stars, struck in yellow copper zinc alloy to fit into a 44 millimetres diameter circle, with a maximum width of 38 millimetres and 50 millimetres high from the bottom point of the star to the top of the eyelet. ;Obverse The obverse has a central design of the George VI Royal Cypher "GRI VI", surmounted by a crown.
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In 1922, Daglish left London and moved to Buckinghamshire Chilterns, where he sought to pursue his lifelong ambition to write about the countryside and natural history. Just a year later, in 1923, he published his first book. He developed an interest in engraving and joined the Society of Wood Engravers, and become close friends with other members aside from Paul and John Nash such as Eric Gill who lived in his area. As his skills in wood engravings developed, he illustrated many of his books, mostly in black and white.
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Poilpot saw service in the Franco- Prussian War as a Sergeant of the First Volunteer Regiment of the Seine and in 1874 was retired as an officer of the reserves. He was a former Mayor of Noisy-le-Grand (1887–1892) and had been an Alderman and a Cantonal Delegate. Among the societies to which he belonged were the Society of French Artists; the Committee of the Association of Artists, Painters, Sculptors, Architects, and Engravers; the Artistic and Literary Association and the Military Circle of the Friends of the Louvre.
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A 2008 article by Paul Wheatley describes how, after trying various printmaking methods, English engraved for the first time and found it to be so natural and comfortable that he could only describe it as remembering a process rather than learning it. Andy was elected to the Society of Wood Engravers in 1997. He is also an elected member of the Cambridge Drawing Society. While studying for a master of Arts at the University of London in the early 1980s, Andy researched the use of online information systems.
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He was educated at the City of London School, the Royal Academy and later in Belgium and the Netherlands. In 1901 he was elected an associate of the Royal Society of Painter-Etchers and Engravers, and in the same year had a picture hung at the Royal Academy exhibition. In 1902 there were full-page reproductions of an etching, and a dry-point by van Raalte in Modern Etching and Engraving, published by the Studio at London, highly competent and assured pieces of work, though he was then aged only 21.
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Medallists are also often confusingly referred to as "engravers" in reference works, referring to the "engraving" of dies, although this is often in fact not the technique used; however many also worked in engraving the technique in printmaking. Art medals have been produced since the late Renaissance period, and, after some classical precedents and Late Medieval revivals, the form was essentially invented by Pisanello, who is credited with the first portrait medal, which has remained a very popular type. He cast them like bronze sculptures, rather than minting them like coins.
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The design philosophy of A. Lange & Söhne was established in 1990 when the company was re-established, and it draws from heritage. Lange's watches are often described as more "austere" or "Teutonic" in appearance than watches produced by comparable Swiss firms. Case and dial design are straightforward, confident, solid and comforting. Recurrent design elements are the outsize date, inspired by the stage clock of Dresden's Semperoper, solid gold or platinum cases, the shape of the soldered lugs, the galvanized solid-silver dials and the customized typography based on the “Engravers” font from 1899.
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835 works survived into modern times in original form and partly in prints engraved on metal and wood by Russian and other foreign engravers, while some works survived as copies done by painters while Shevchenko still lived. There is data on over 270 more works which were lost and have not been found yet. Painted and engraved works at the time of completion are dated 1830-1861 and are territorially related to Ukraine, Russia and Kazakhstan. The genres are - portraits, compositions on mythological, historical and household themes, architectural landscapes and scenery.
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For the London Underground he produced a poster for Wisley and a publicity booklet for London Zoo (1922), now considered to be the first of his published works, and the rarest. In 1922 Gibbings produced a wood engraving for the dust jacket of The Oppidan by Shane Leslie and in 1923 he illustrated Erewhon by Samuel Butler. He was very much at the centre of developments in wood engraving. He was a founder member and leading light of the Society of Wood Engravers, which he set up with Noel Rooke in 1920.
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Beal was active in the art community. By 1934, he was a participant in the Salmagundi Club, Lotus Club, Century Club, National Academy of Design and the American Water Color Society. He was also a member of the Society of American Engravers and the National Arts Council. His progressive tenets marked him as a "modernist", and he helped found the Society of Independent Artists and the New Society of Artists, which consisted of fifty of the most important painters of the day, including George Bellows, Childe Hassam, John Sloan, William Glackens and Maurice Prendergast.
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1903 portrait of John Finnie by Constance Copeman John Finnie (1829–22 February 1907) was a Scottish landscape painter and engraver. He was best known in London for his original mezzotint engravings of landscape, and exhibited at the Royal Academy and the Royal Society of Painters, Etchers, and Engravers. When he moved to Towyn in northern Wales he painted numerous landscape paintings of places in the Capel Curig area, such as Snowdon. He was headmaster of the Liverpool Mechanics Institute and School of Art from 1855 until 1896.
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In New England and the Mid- Atlantic colonies, slaves were apprenticed as goldsmiths, cabinetmakers, engravers, carvers portrait painters, carpenters, masons and iron workers. The construction and decoration of the Janson House built on the Hudson River in 1712 was the work of African-Americans. Many of the oldest buildings in Louisiana, South Carolina and Georgia were built by craftsmen slaves. In the mid-eighteenth century, John Bush was a powder horn carver and soldier with the Massachusetts militia fighting with the British in the French and Indian War.
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The $3 Columbian, yellow green "Columbus Describing Third Voyage" was one of five designs engraved by Robert Savage. All of these were his sole work, engraved without collaboration with either of the other two engravers working on the Columbian Issue. Engraving was based on a painting by Francisco Jover Casanova, the same artist whose work was adapted for the 8-cent stamp's design. The three highest value Columbians were printed in much smaller quantities than less expensive members of the set, 27,650 in the case of the 3-dollar value.
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The design and typesetting (usually by hand) are by Crispin, and the presswork by Jan. The press publishes in several main areas—literary classics, translations, typography, and books on wood engraving. They publish works that they themselves would like to read, with a particular focus (to quote Jan) on "books which celebrate wood engravings as an art form."' Most of their publications use wood engravings as illustrations, and the press publishes an ongoing series of monographs on individual engravers called Endgrain Editions The Elsteds periodically provide workshops in their pressroom.
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At the age of eighteen, he obtained positions in the workshops of Gabriel-François Doyen and Louis Jean-Jacques Durameau.Dictionary of Painters and Engravers: Biographical and Critical, Volume 2 by Michael Bryan @ Google Books. He made several attempts to win the Prix de Rome, without success, although he managed to take second place three times. On the third occasion, however, in 1780, he was granted the bursary because the first place winner, Jean-Pierre Saint-Ours, turned out to be a Swiss citizen and was ruled ineligible to go.
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Galle had many pupils who became popular engravers. The map engraver Cornelis de Hooghe (or Hogius),Cornelis de Hooghe in the RKD who later died a gruesome death when he was beheaded and quartered in the Hague because of a conspiracy against the state, received his education when Galle still lived in Haarlem, while De Hooghe already worked for himself at the moment Galle moved to Antwerp. Galle's son Cornelis followed him as an engraver. Early works by Cornelis shows a striking similarity to the work of his father.
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From 1861 the Studio Building stood adjacent to the Horticultural Hall, on the opposite side of Bromfield St. The building consisted of "a massive range of brick, four stories high, — the whole surmounted by a French roof; a handsome and imposing structure, in the lower story of which are six fine large stores, occupied [in 1869] by the Leavitt and Parker Sewing-Machine Cos., California Wine Agency, the Howard Clock Co., &c.; and, above-stairs, by numerous artists, painters, engravers, draughtsmen, &c.;"Stranger's new guide through Boston and vicinity.
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In local politics, Illingworth served as alderman and councillor of the Corporate Town of Unley for a total of seventeen years, and was mayor from 1926 to 1928. He was also president of the Master Process Engravers' Association of South Australia and served on the state executive of the Boy Scout movement and the District and Bush Nursing Society and the state council of the YMCA. He unsuccessfully contested the 1918 state election in the seat of Sturt and the 1919 federal election in the seat of Boothby, both times as an independent.
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In his forty-fifth year, at the time of the struggle between reproducers and originals, he had the idea of starting engraving. The Comité des Artistes français, of which he was no longer a member, contested the title of engravers to those who did not work on the work of others. They wanted to exclude them from the Salon, and at least from the rewards. Mathey opened Maxime Lalanne's Traité de gravure à l'eau-forte, took the technical information he needed, fetched a sketch from his notebooks and engraved it.
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Franz Tieze (1842–1932) was a late 19th-century Dublin-based forger. An exiled Bohemian glass engraver, he worked in Dublin in the studios of the Pugh Brothers (Thomas and Richard Pugh) at The Potters Alley Glass Works, the only manufacturers of flint-glass in Ireland. Tieze had been recruited, with other Bohemian glass engravers, by the Pugh Brothers and he arrived in Dublin in 1865 to engrave glass in the 'antique style'. Cork historian Robert Day and Franz Tieze collaborated in supplying goblets to a ready market of glass collectors.
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Joan Kerr (1938–2004) was an Australian academic and cultural preservationist. Initially her interest was sparked in preserving the architectural heritage of Australia, but over time her interests spread to art history and Australian culture in general. She taught at many universities throughout the country and was involved in Historical Societies and Preservation Trusts in a variety of the territories. She wrote books on Australia's historic architecture, feminist artists, cartoonists and her major life work was producing the Dictionary of Australian Artists: Painters, Sketchers, Photographers and Engravers to 1870.
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Engraving of 1737 by the Buck Brothers, showing Bodiam Castle in Sussex from the northeast Engraving of 1727 by the Buck Brothers, showing Beeston Castle in Cheshire from the south Samuel Buck (1696 – 17 August 1779) and his brother Nathaniel Buck (died 1759/1774) were English engravers and printmakers, best known for their Buck's Antiquities, depictions of ancient castles and monasteries. Samuel produced much work on his own but when the brothers worked together, they were usually known as the Buck Brothers. More is known about Samuel than Nathaniel.
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In 1572 she published a book by Dominicus Lampsonius called Pictorum aliquot celebrium Germaniae inferioris effigies (literal translation: Effigies of some celebrated painters of Lower Germany), a set of 23 engraved portraits of artists with short verses in Latin printed below them. Hieronymus Cock had been working on this publication at the time of his death. The quality of the 23 prints was outstanding as they had been made by some of the leading engravers of the time such as Johannes Wierix, Adriaen Collaert and Cornelis Cort.Joanna Woodall, Dem dry bones.
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The eldest of four sons of William Holl the Elder (c.1771-1838), he was taught engraving by his father – at first stipple and later line on steel. The first portrait engraving produced on his own was that of Thomas Cranmer in May 1829 for inclusion in Edmund Lodge's Portraits of Illustrious Personages. He contributed further work to this publication between 1829 and 1835 after artists such as van Loo, Holbein, Van Dyck, Lely, Godfrey Kneller and Daniel Mytens. He was a founder member of the Chalcographic Society started by several notable engravers in 1830.
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His father died in 1772, when he fell into a soapmaking vat and was fatally scalded. He began his artistic education at the age of thirteen, when he was apprenticed to a metal engraver named Joseph Selik, originally from Hanover, who specialized in heraldry. It was from this first artisanal experience that he made contact with the Parisian engravers, Nicolas-Gabriel Dupuis and Claude-Antoine Littrey de Montigny (c.1735-1775). After their deaths, he continued his studies with Jacques-Philippe Le Bas, Jacques Aliamet and Augustin de Saint-Aubin.
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In the 1830s, his topographical drawings of the upper and middle River Rhine in Germany, and of the rivers Thames and Medway in England were published as engraved prints and books (see bibliography). For volume 1 of "Views of the Rhine etc." he provided 69 illustrations - the book was also published in French and German editions. Engravers who worked on Tombleson's drawings included Thomas Clark, John Cleghorn, T. Cox, R. Harris, W. Hood, J. Howe, W. Lacey, O. Smith, Shenfield, J. Stokes, D. Thompson, W. Tombleson, W. Watts, R. Wilson, H. Winkles and others.
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Jackson exhibited with the Society of Wood Engravers from 1923 to 1940, when the society ceased arranging exhibitions until it was revived by Margaret Pilkington in 1949. She was elected an associate of the society in 1925. She was never commissioned to illustrate any books, but her work was reproduced sporadically in Drawing and Design and the Studio. Her wood engraving Motor bike was reproduced in the August 1924 number of Drawing and Design, and The Fencers in the March 1930 number of the Studio, which also reproduced Balaam's Ass in the June 1951 number.
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Clark had actually written the word as "ocian", but the Mint modernized the spelling. Another Franki design has, since 2006, been used for the obverse, depicting a view of Jefferson from the front (rather than in profile) based on an 1800 study by Rembrandt Peale, and includes "Liberty" in Jefferson's script. According to Acting Mint Director David Lebryk, "The image of a forward-facing Jefferson is a fitting tribute to [his] vision." The reverse beginning in 2006 was again Schlag's Monticello design, but newly sharpened by Mint engravers.
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Abbreviated writing, using sigla, arose partly from the limitations of the workable nature of the materials (stone, metal, parchment, etc.) employed in record-making and partly from their availability. Thus, lapidaries, engravers, and copyists made the most of the available writing space. Scribal abbreviations were infrequent when writing materials were plentiful, but by the 3rd and 4th centuries AD, writing materials were scarce and costly. During the Roman Republic, several abbreviations, known as sigla (plural of siglum = symbol or abbreviation), were in common use in inscriptions, and they increased in number during the Roman Empire.
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After the Great Serb Migration, the highest clergy of the Serbian Church actively popularized the cults of canonized Serbian rulers. Arsenije IV Šakabenta, Metropolitan of Karlovci, employed in 1741 the engravers Hristofor Žefarović and Toma Mesmer to create a poster titled "Saint Sava with Serbian Saints of the House of Nemanja", where Lazar was also depicted. Its purpose was not only religious, as it should also remind people of the independent Serbian state before the Ottoman conquest, and of Prince Lazar's fight against the Ottomans. The poster was presented at the Habsburg court.
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Reynolds was encouraged by Gross to take up mezzotint, and was included in The Mezzotint Rediscovered exhibition of P. & D. Colnaghi & Co. in 1974, and wrote essays about mezzotint. She used daily use objects such as kettles, irons and tin openers in her printmaking. She was featured in the 1982 exhibition 80 Prints by Modern Masters at Angela Flowers Gallery and contributed to the publication of A Tribute to Birgit Skiöld in the following year. Reynolds won the Barcham Green Award at the 1985–86 Royal Society of Painter-Etchers and Engravers.
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In 1908 Signac was elected president of the Twenty-fourth Salon des Indépendants.Russell T. Clement, Les Fauves: A Sourcebook, Greenwood Publishing Group, 1994 As president of the Société des Artistes Indépendants, from 1908 until his death, Signac encouraged younger artists by exhibiting the controversial works of the Fauves and the Cubists. He was the first patron to buy a painting by Matisse. Signac served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, a grant given between 1919 and 1954 to painters, sculptors, decorators, engravers, writers, and musicians.
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Griffiths, 39; Gascoigne, 13a-b First a broad, general outline is made on the plate before starting the detailed image. Engraving will produce a printed reverse or mirror image of the image on the plate. Sometimes engravers looked at the object, usually another image such as a drawing, that they were engraving through a mirror so that the image was naturally reversed and they would be less likely to engrave the image incorrectly.Griffiths, 152 Steel plates can be case hardened to ensure that they can print thousands of times with little wear.
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Engravers then reworked a worn plate by retracing the previous engraving to sharpen the image again. Another advantage to using copper is that it is a soft metal and can be corrected or updated with a reasonable amount of effort. For this reason, copper plates were the preferred medium of printing for mapmakers, who needed to alter their maps whenever land was newly discovered, claimed, or changed hands. During the 1820s steel began to replace copper as the preferred medium of commercial publishers for illustration, but still rivaled by wood engraving and later lithography.
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At an auction of his press, friends bought up his equipment on his behalf. After 1564, when Plantin set up again in a new shop at the sign of De Gulden Passer ("The Golden Compasses"), the printers mark of the House of Plantin. It often appeared in a vignette on the title page of books from the press, depicting a compass, angels, and the motto Labore et Constancia ("By Labor and Constancy") which epitomizes the life of the publisher. From about 1570 Plantin employed the engravers Jan Wierix and his brother Hieronymus.
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In terms of her training and later contacts Bloomfield, who was active in the 1950s, 1960s and early 1970s, stands rather apart from the mainstream of the wood engraving world of her period. She was not a member of the revived Society of Wood Engravers. Her work was largely commercial and she illustrated few books. She was, however, very highly regarded as an engraver of bookplates, and as a teacher of wood engraving at the City Literary Institute, London, the University of Sussex and the Lewes and District Visual Arts Association.
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He was born on 12 March 1774 at Newcastle-on-Tyne, where his father, John Scott, worked in a brewery. At the age of twelve he was apprenticed to a tallow-chandler; but at the end of his articles went to London, where his fellow-townsman Robert Pollard gave him two years' instruction, at the same time paying him. On leaving Pollard, Scott obtained employment from John Wheble, the proprietor of the Sporting Magazine, and for many years executed the portraits of racehorses published there. He became known among English animal engravers.
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"Dues mirades a Maillol. Josep Pla i Torres Monsó", Fundació Josep Pla, retrieved May 31, 2013. His important public commissions include a 1912 commission for a monument to Cézanne, as well as numerous war memorials commissioned after World War I. Maillol served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal (1919–1954) a grant awarded to painters, sculptors, decorators, engravers, writers, and musicians. He made a series of woodcut illustrations for an edition of Vergil's Eclogues published by Harry Graf Kessler in 1926–27.
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Dickey was a founder member of the Society of Wood Engravers in 1920, and exhibited with them from 1920 to 1924. He was at his most active in the early 1920s and virtually all his engravings date from this period.Joanna Selborne, The Wood Engraving Revival in Britain 1900-1930 (A selling exhibition at Wolseley Fine Arts, 2000). In 1922 he contributed a wood engraving to Contemporary English Woodcuts, an anthology of wood engravings produced by Thomas Balston, a director at Duckworth and an enthusiast for the new style of wood engravings.
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Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, wrote about him in his introduction to the book: Mr. Hagreen and Mr. Dickey are among the engravers who rely very much upon the effective use of white lines and spaces.Campbell Dodgson, Contemporary English Woodcuts (London, Duckworth, 1922). This was a limited edition of 550 copies, as was the only book that he illustrated with wood engravings, Workers by the Irish writer Richard Rowley, published by Balston at Duckworth in 1923. Dickey devoted more time to working in oils.
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After the First World War Lee became a founder member of the Society of Wood Engravers (1920). He was elected an Associate of the Royal Academy in 1922, and a full Royal Academician in 1930. He served as the Academy's treasurer from 1932 to 1940, and in the elections of December 1938 to become its president he was defeated by a narrow majority of two votes in favour of Sir Edwin Lutyens.Robert Meyrick's website, with examples of Lee's wood engravings In 1934 Lee became a member of the Council of Art and Industry.
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St Ives Harbour (circa 1905-1910), Lee's woodcut, printed in colours Lee was a versatile artist in a wide range of media, oils, wood engraving and the woodcut, as well as etching, drypoint, aquatint, mezzotint and lithography. His work was popular during his lifetime, but he has lapsed into obscurity since his death. Lee was a founder member of the Society of Wood Engravers in 1920, and exhibited with them from 1920 to 1923. Along with Edward Gordon Craig and Lucien Pissarro he was one of the elder statesmen of wood engraving.
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They, however, were exponents of black line engraving, whereas he was an exponent of the modern white line engraving promoted by Noel Rooke. Salaman states that Lee had already started to produce white line wood engravings in 1900, which makes him one of the earliest wood engravers to do so.Malcolm C. Salaman, The Woodcut of To-day at Home and Abroad (London, Studio, 1927). His wood engravings,Examples of Lee's wood engravings, including The Limestone Rock largely traditional in approach, featured scenes and buildings, and appeared regularly in the Studio Magazine.
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John Evelyn termed him "that excellent engraver... who emulates even the ancients in stone and metal" (Diary, 20 July 1678), and Samuel Pepys declared his medals to be "some of the finest pieces of work, in embossed work, that I ever did see in my life" (Diary, 26 March 1666). John's brother, Joseph, was Engraver-General at the Monnaie de ParisThe French Engraver at the Dublin Mint, Coin News, June 2019.. His sons James Roettiers (1663–1698) and Norbert Roettiers (1665–1727) were also famed engravers and medallists both in England and in France.
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The third was a collection of 100 written items and twenty engravings called Calendario Histórico Guanajuatense in 1967. He wrote articles related to the works of engravers such as José Guadalupe Posada, Antonio Vaegas Arroyo and Leopoldo Méndez. His work is part of the collections of institutions such as the Museo Nacional de la Estampa, Museum of Modern Art in New York, Instituto de Artes Gráficas de Oaxaca, Library of Congress in Washington and the Swiss Engraving Society. Cortés Juárez was accepted as a member of the Academia de Artes in 1968.
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He was the father of sculptor, Jean Rousselet (1656–1693). A lot of Rousselet's engraving work was a reproduction of works by other artists. During his career he reproduced work by artists, including Grégoire Huret, Claude Vignon, Jacques Stella, Laurent de La Hyre, Raphael, Pietro da Cortona, Guido Reni, Valentin de Boulogne, Nicolas Poussin, and his friend Charles Le Brun. Unlike Rousselet, many of the known engravers of the 17th century created their own original artworks and were held at higher esteem, such as Jacques Callot, Claude Mellan, Robert Nanteuil, and Israel Silvestre.
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It has been proposed that this design may have influenced John Bunyan to write The Holy War. It appears to have been reprinted in 1697 in the wake of the success of Bunyan's books. Droeshout created an illustration depicting the suicide of Dido which functioned as a frontispiece to Robert Stapylton's verse translation of the fourth book of Virgil's Aeneid. Among his more complex works are several engraved plates for Thomas Heywood's The Hierarchy of the Blessed Angels, for which Droeshout was one of five engravers who created plates.
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The Institute preserves a group of prints made between 1644 and 1645 by a group of engravers led by Jan van Brosterhuisen, after detailed drawings made by Frans Post to illustrate Caspar Barlaeus's Rerum per octennium in Brasilia et alibi nuper gestarum sub praefectura. Post's original drawings are currently housed in the British Museum. The prints depict the main sites and the topography of Brazilian lands under Dutch rule. Also of cartographic importance is the ensemble of 17th-century Brazilian maps made by Hessel Gerritsz, Claes Visscher, Georg Marcgrave, Izaac Commelyn and others.
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Frey's advocacy of craft unionism and anti-Communism proved popular among his fellow Metal Trades delegates, and in 1934 Frey was elected president of the department. He served in that capacity until his retirement in 1950. During the presidency of AFL president William Green, Frey was one of the most influential men in the American labor movement. Frey, long with Matthew Woll, president of the International Photo-Engravers Union of North America, worked behind the scenes of the AFL executive council to craft AFL policies and positions, heavily influencing the passive Green.
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He was probably a goldsmith, and was among the first engravers known to be active. His style is awkward and unrefined, unlike the work of his contemporary, the Master of the Playing Cards. The drapery in his prints is stiff, and there is only a limited suggestion of space, creating an illusion that the figures are floating in mid-air. Most of the surviving work assigned to this Master is religious in nature; there is, however, a Battle Scene, a unique impression of which is housed in the Louvre in Paris.
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It is challenging to evaluate the prints of Bonasone after Raphael's paintings due to the loss of many original paintings. Nonetheless, in general, many more modifications in composition are made compared to Bonasone's reproductive work after Michelangelo or Parmigianino. One possible explanation is that the alterations made by Marcantonio Raimondi when he was engraving after Raphael's paintings inspired later engravers to do the same. For instance, in his engraving the Disembarkation from the Ark after Raphale's fresco in the Vatican Loggie, he tried to make the composition more compact.
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The villa became in fact the symbol of the hill of Vomero, and foreign painters and engravers would represent it as a characteristic element. By the end of the 19th century, mutation began to involve progressive aggregation to a small extent. Those which were initially conceived as open but covered spaces, of mediation, but above all of adhesion between nature and constructed, started to get closed off according to the new housing needs. With available spaces now saturated, a series of interventions, with the aim of offering timely responses to specific needs, began.
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He built forty large greenhouses in which to grow carnations and eight cottages to accommodate the farm workers. He died in Pangbourne in 1938. Menpes became a member of the Royal Society of Painter- Etchers and Engravers (RE) in 1881, Royal Society of British Artists (RBA) in 1885, Royal Institute of Painters in Water Colours (RI) in 1897 and Royal Institute of Oil Painters (ROI) in 1899. An exhibition of his work, The World of Mortimer Menpes: Painter, Etcher, Raconteur opened at the Art Gallery of South Australia on 14 June 2014.
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Engravers and etchers at work, 1643 Abraham Bosse ( - 14 February 1676) was a French artist, mainly as a printmaker in etching, but also in watercolour.Maxime Préaud, "Célébrations nationales 2004, Arts: Abraham Bosse, graveur en taille-douce et théoricien de l’art français", 2004. Based on recent research, his date of birth has been corrected to 1604 from the traditionally given birth year of 1602. Bosse's apprenticeship contract was found in which it is mentioned that he was aged 16 at the date of signing the contract (16 June 1620).
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A biographical and critical dictionary of painters and engravers: with a list of ciphers, monograms, and marks. G. Bell, 1878. In 1706–7, he worked with his uncle on the decoration of the Sala d'Ercole in the Palazzo Fenzi, located in Florence. Ricci's propensity for collaboration with other artists makes his early style difficult to trace, but it is generally agreed that his influences included Claude Lorrain, Gaspard Dughet, and Salvator Rosa, along with a naturalistic style of landscape painting practiced in the Veneto in the 17th and early 18th centuries.
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This was then partly cleared to leave a square shape and an area in the centre was further cleared in the shape of Queen Victoria's head ready for engraving. At this stage the die was passed to the engravers who, working from a sketch provided by Henry Cole, engraved the head in the centre. Following this the labels were engraved at the top and bottom of the die, along with corner squares to take the stars and check letters. Finally the stars were engraved into the top corners.
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Jean Garemyn in: Michael Bryan, Dictionary of painters and engravers, biographical and critical (Google eBook), 1849 The Academy played a pioneering role in promoting neoclassicism in the Southern Netherlands.Virginie D'haene, Bruges Artists Abroad: Neoclassicist Drawings in the Printroom of the Groeningemuseum, in: Codart eZine Summer 2014 In 1737 he married Petronilla Iweins.Dominiek Dendooven & Joël Snick, Matthijs De Visch, (met proeve van volledige inventaris van de schilderwerken door Matthijs de Visch), Davidsfonds Reninge, 2001. His pupils included Jean Garemyn, Paul de Cock, Pieter (I) Pepers, Jacques de Rijcke, and Joseph-Benoît Suvée.
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McLaren was elected to associate membership (ARE) of the Royal Society of Painter-Etchers and Engravers (now the Royal Society of Painter-Printmakers) in 1961 while she was still a student and subsequently became a Fellow of the Royal Society of Painter-Printmakers in 1973, which entitles McLaren to use the post-nominal letters RE after her name. McLaren was also an original member of the Printmakers Council of Great Britain, becoming a Fellow in 1971. Teaching: McLaren taught etching at Goldsmiths College of Art in London from 1962 to 1965.
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Born near Maidstone about 1770, the son of a labourer. At the age of thirteen he is said to have engraved a plate from Bartolomé Esteban Murillo's St. John and the Lamb, which showed such precocious talent that a group of local gentry provided funds for him to move to London and study for William Woollett, one of the leading engravers of the time. After Woollett's death in 1785, he completed his apprenticeship with William Sharp. Stow is said to have fallen into dissipated habits; he died in obscurity and poverty.
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Teniers used full colour in the modelli, rather than grisaille. This could mean that he intended these reproductions to function as independent records of some of these Italian paintings in the Archduke's collection. From the many modelli, which have been preserved, it is obvious that Teniers's copies constitute a true record of the originals even while he left out details and painted them in his typical fluid and transparent manner. The engraving of the catalog by engravers who worked after the modelli, not the originals, was started by 1656.
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Like the Amsterdam poet Vondel before him who was productive in his office in Amsterdam, Greenwood's new job seemed to help him become an artist, because during his working hours Greenwood had the opportunity to read and became a poet and calligrapher. He engraved his poetry on glass and invented the stipple engraving for glass. He specialized in creating moralistic pictures for glass loosely based on popular paintings and emblems of his day. Greenwood became an influence on other engravers in Dordrecht and his most important follower was Aert Schouman.
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After 1870, Nast favored simpler compositions featuring a strong central image. He based his likenesses on photographs. In the early part of his career, Nast used a brush and ink wash technique to draw tonal renderings onto the wood blocks that would be carved into printing blocks by staff engravers. The bold cross-hatching that characterized Nast's mature style resulted from a change in his method that began with a cartoon of June 26, 1869, which Nast drew onto the wood block using a pencil, so that the engraver was guided by Nast's linework.
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At the age of about forty she learnt the technique of wood engraving at the Central School in London under the tutelage of Noel Rooke from 1920 to 1921. She was soon regarded as one of its three or four leading exponents in Britain along with artists like Gwen Raverat and Robert Gibbings. She exhibited 27 prints with the Society of Wood Engravers between 1922 and 1939, being elected a member in 1925. She also exhibited at her studio 12 Lombard Street, Belfast in 1925, lecturing on wood- engraving.
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A second genre is for cylindrical workpieces (or flat workpieces mounted around a cylinder) where the laser effectively traverses a fine helix while on–off laser pulsing produces the desired raster image. In the third genre, both the laser and workpiece are stationary and galvo mirrors move the laser beam over the workpiece surface. Laser engravers using this technology can work in either raster or vector mode. The point where the laser beam touches the surface should be on the focal plane of the laser's optical system and is usually synonymous with its focal point.
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It moved twenty-eight freight cars full of machinery and parts from the USA to Moscow in order to establish the factory. Twenty-one former Dueber- Hampden watchmakers, engravers and various other technicians helped to train the Russian workers in the art of watchmaking as part of the Soviet's first five-year plan. The movements of very-early products were still stamped "Dueber-Hampden, Canton, Ohio, USA" (examples of these watches are very collectible today). In 1935 the factory was named after the murdered Soviet official Sergei Kirov.
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Tardieu was accredited to the Academy on 29 October 1712. He was received as a member of the Royal Academy and graveur du roi (official engraver to King Louis XV of France) on 29 November 1720 for his "Engraved portrait of the Duke of Antin" (Louis Antoine de Pardaillan de Gondrin), after a painting by Hyacinthe Rigaud. As one of the most prominent engravers of his time, Tardieu was commissioned to engrave plates for several major publications. He made engravings for the Crozat Collection and the Galerie de Versailles.
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This royal patronage attracted artists to Paris. As a result, many mapmakers, such as Nicolas Sanson and Alexis-Hubert Jaillot, moved to the national capital from the peripheries of the provinces. Many of the agents of cartography, including those involved in the creation, production and distribution of maps in Paris, came to live in the same section of the capital city. Booksellers congregated on rue St-Jacques along the left bank of the Seine, while engravers and cartographers lived along the quai de l’Horloge on the (See Figure 1).
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Clive Uptton (12 March 1911 – 11 February 2006) was a widely regarded British illustrator and painter of landscapes and portraits. He was born in Islington, London, the son of Clive Upton, who worked for Swain's, the engravers, as a touch-up artist and later for the Daily Mail newspaper. Clive Uptton was educated at Brentwood Grammar School and Southend Art School before moving to London to attend Central Art School and, later, Heatherley's School of Art. He began contributing professionally at the age of 19 before graduating from Central Art School.
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" Boston News Letter, April 23d, 1762, quoted in: William Whitmore. Painters and Engravers of New England. Proceedings of the Massachusetts Historical Society, Vol. 9, (1866 - 1867), pp. 196-226. Later, "Thomas Turner had a dancing and fencing academy there in 1776." Several balls took place at the hall in the 1770s. For instance, "the fourth Subscription Ball will be held at Concert Hall on Thursday, the 29th instant [of January], 1776." Also: "on Monday, the 11th of March, will be given at Concert Hall, a Subscription Masked Ball.
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He applied broad, nervous layers with dazzling movements, using intense colours. During his lifetime he produced more than 90 prints engravings, many of which are in the Louvre, Paris. His works are exhibited in many French museums, but also abroad in Hannover and in Quebec (Laval University). Joseph Parrocel apprenticed his two sons Jean Joseph (1690–1774), who became a draughtsman and engineer, and Charles (1688–1752), who also became a painter and engraver, his nephews Jacques-Ignace (1667–1722) and Pierre (1670–1739), who both became painters and engravers.
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During the European Renaissance, many engravers and printers revolved to typography to solve the problem of small lettering on maps, which was very difficult to reproduce solely by using custom engraved lettering. One of the techniques they relied on was the setting of metal type, which was fitted inside a special form, surrounded by spacing material. Words set that way could then be overprinted over woodcut-printed maps as a separate plate, either in black or coloured ink. This technique has been considered a precursor of the typometric technique of the 18th century.
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He was born in Lyon and was taught the first principles of design and engraving by his father. Following the example of his brother, he went to Paris to perfect himself in his art. In 1666, he engraved for Le Brun Constantines Battle with Laxentius, his Triumph, and the Stoning of Stephen, which gave great satisfaction to the painter, and placed Audran in the very first rank of engravers at Paris. The next year he set out for Rome, where he resided three years, and engraved several fine plates.
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William Roy Clifford Bagnall (10 April 1882 - 28 May 1950) was a New Zealand- born Australian politician. He was born at Turua to sawmill owner Albert Edward Bagnall and Emma, née Brent. He moved to Sydney in 1903, where he immediately became involved in the union movement, being the first secretary and a foundation delegate of the Labor Council of New South Wales, representing the Process Engravers' Union (Printing Trades Federation Council from 1909). Around 1907 he married Ruby Fitzgerald at Enmore, with whom he had five children.
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The paintings are arranged in rows on a rear wall, and is one of the first that David Teniers the Younger prepared to document the Archduke's collection before he employed 12 engravers to publish his Theatrum Pictorium, considered the "first illustrated art catalog". He published this book of engravings after the Archduke had moved to Austria and taken his collection with him. It was published in Antwerp in 1659 and again in 1673.Online version of the Theatrum Pictorium, 1673 This painting was purchased for the museum's collection in 1873 from J. Nieuwenhuys in Brussels.
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The Petition Crown is a crown coin created in 1663 by Thomas Simon, an English medalist, then engraver of the king's seals at the Royal Mint. The coin was submitted directly to Charles II, King of England as Simon's personal 'petition' that only his coin should be considered as the new format for all future British coinage. Charles II, recently returned to England in 1660 after his exile abroad, commissioned a trial from the then-official engravers to the Royal Mint for this prestigious project. Eager to take the opportunity Simon submitted his silver prototype.
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After leaving professional music in the early '60s, Lister became one of the best firearms engravers of his generation. Other Lister recordings included "RC Cola and a Moon Pie," recorded for Capitol Records in 1951. Big Bill Lister's return to commercial recording came in 1983 with the album "Sho' 'Nuff Country Stuff! (The Second Time Around)," produced for Slim Richey's Tex-Grass label by D. Lee Thomas and Michael H. Price, with accompaniment by the Salt Lick Foundation, a Texas string band that includes Lister's nephew, Harris Kirby.
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1945 Kurt Aepli was elected specialist subject teacher to the School of Arts in Zurich, which would remain under the direction of Johannes Itten until 1954. He taught goldsmiths, silversmiths, chasers, engravers, metal spinners, gemstone setters, designers and metal polishers. All student apprentices in the school district of Zurich from these professions learned their respective trade theory, gemology and rendering from him. Besides teaching compulsory trade curricula, Aepli also taught continuing education night classes at the School of Arts in Zurich, providing tradespersons with an opportunity to further their skills in silversmith techniques.
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The first issue of Starlog, scheduled as a quarterly, was dated August 1976. While the cover featured Captain Kirk, Spock, and the Enterprise, and the issue contained a "Special Collector's Section" on Star Trek, other science fiction topics were also discussed, such as The Bionic Woman and Space: 1999. The issue sold out, and this encouraged O'Quinn and Jacobs to publish a magazine every six weeks instead of quarterly. O'Quinn was the magazine's editor, while Jacobs ran the business side of things, dealing with typesetters, engravers and printers.
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He was the son of Benjamin Wyon, and the younger brother of Joseph Shepherd Wyon and Alfred Benjamin Wyon. He went into the family arts, and for a time supported his brother Joseph in medal- work. From 1884 till his death he carried on in London the business of the Wyon firm of medallists and engravers founded by his grandfather, Thomas Wyon the elder. From 1884 to 1901 Wyon held the post of engraver of the royal seals, a post that had been successively held by his father and his two elder brothers.
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As Hugh Nibley noted, "The boat in the picture is identical with another piece of Joseph Smith Papyrus, namely JSP IV, which accompanies chapter 101 of the Book of the Dead." Despite the striking resemblance, Nibley and some other apologists feel that the boat is inspired, because boats sometimes do appear in that section on hypocephali. Egyptologists dispute this, arguing that just like the surrounding text, the inclusion by Joseph Smith (or his engravers) is irrelevant. A solar barque carrying the seated falcon headed god Re, holding a was scepter.
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On the left behind the table is an assistant holding a print. The table foot has been documented as a creation of the sculptor Adriaen de Vries depicting Ganymede. The paintings are arranged in rows on the walls, and is one of the paintings that David Teniers the Younger prepared to document the Archduke's collection before he employed 12 engravers to publish his Theatrum Pictorium, considered the "first illustrated art catalog". He published this book of engravings after the Archduke had moved to Austria and taken his collection with him.
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Marie Bruner Haines was born on November 16, 1885 in Cincinnati, Ohio to Charles Henry Haines and Olive C. Bruner. Haines studied art at the Art Academy of Cincinnati from 1900-1901, at the Pennsylvania Academy of the Fine Arts, in Philadelphia from 1904-1905. She moved to Atlanta, Georgia before returning to studies in 1915 in New York at the Art Students League with Noble Volk, Francis Coates Jones , Frank DuMond, and Dimitri Romanofsky.Opitz, Glenn B, Editor, Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Book, Poughkeepsie NY, 1986, p.
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From then on she would produce sculptures and other pieces in steel and metal from her west Somerset home at Rodhuish. Among the most notable pieces from this period is her Jacob Wrestling with the Angel in wrought iron and aluminium which is in St Bartholomew's Church in Rodhuish. Several parish churches in the area around Golsoncott have examples of Reckitt's work either as sculptures, alter screens or painted pulpits. Reckitt was a member of the Society of Wood Engravers, the British Artist Blacksmiths' Association and an honorary member of the Somerset Guild of Craftsmen.
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Usually there is also at least one foreman and also a front office handling management. In addition there might be engravers, enamelists, perhaps a machine shop and others, depending on the product being made. A good shop behaves as a team, with each department doing their part and the work passing back and forth between them as needed. In this situation each worker is a specialist at their job, and though they may have a broader background that becomes useful at times, they generally will not enter into another department's expertise.
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Van den Broeck also worked for print publishers Gerard de Jode, Adriaen Huybrechts, Hans van Luijck, Willem van Haecht the Elder and Plantin's successor Jan Moretus I.James Clifton, The Triumph of Truth in an Age of Confessional Conflict, in: Walter Melion, Bart Ramakers, 'Personification: Embodying Meaning and Emotion', Brill, 2016, pp 166-167 His designs were engraved by engravers such as Abraham de Bruyn, Jan Collaert the Elder and Johannes Wierix. He designed the illustration of the allegory of the Low Countries used in Lodovico Guicciardini's Descrizione di tutti I Paesi Bassi (1567).
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In early Italian and German prints, the line is used with such perfect simplicity of purpose that the methods of the artists are as obvious as if we saw them actually at work. In all these figures the outline is the primary focus, followed by the lines which mark the leading folds of the drapery. These are always engravers' lines, such as may be made naturally with the burin, and they never imitate the freer line of the pencil or etching needle. Shading is used in the greatest moderation with thin straight strokes that never overpower the stronger organic lines of the design.
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"Tommy" Bowles, founder of Vanity Fair, caricatured by Leslie Ward in 1889 Ward was one of eight children of artists Edward Matthew Ward and Henrietta Ward, and the great-grandson of the artist James Ward. Although they had the same surname before marriage, Ward's parents were not related. Both were well-known history painters, his mother coming from a line of painters and engravers, including her father, the engraver and miniature painter George Raphael Ward, and her grandfather, the celebrated animal painter James Ward. She was niece and great-niece respectively of the portrait painter John Jackson and the painter George Morland.
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Original edition of Vedute di Firenze, Biblioteca Nazionale Centrale di Firenze La Real Villa di Cerreto Guidi, 1744 Born into a poor family, Zocchi began his training in his native Florence. The Marchese Andrea Gerini became his patron when he was very young, patronizing his further studies in Venice, Milan, Bologna, and Rome. The Marchese Andrea Gerini commissioned Zocchi to record all the famous Florentine landmarks, which he did in a series of drawings, now in New York's Pierpont Morgan Library. A number of engravers based their etchings on Zocchi's drawings into engravings, which were issued in two series in 1744.
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In 1971, he attempted to attract more non-manual workers by creating their own affiliated union, the Wallcoverings Staff Association, but this never attracted enough members to be sustainable, and rejoined the union in 1975, which then changed its name to the "National Union of Wallcoverings, Decorative and Allied Trades". However, McIntosh resigned in 1974, following a censure vote by the union's Darwen branch. By the 1970s, the union was considering a merger with a larger union, either Society of Lithographic Artists, Designers and Engravers or the National Graphical Association (NGA). In the end, it merged into the NGA in 1979.
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Born and raised in Boston, Ethel Blanchard Collver studied at the Museum of Fine Arts, Boston. Her early work was influenced by teachers at the school; Frank W. Benson, Edmund C. Tarbel and Philip L. Hale. After graduation she studied briefly with Charles Hawthorne.Petteys, Chris (et al), Dictionary of Women Artists: An International Dictionary of Women Artists Born Before 1900,Boston: G.K. Hall & Co., 1985, p 153; Broderick, "Our Noted Neighbors", Daily News Graphic,September 12, 1933,; Doran, Geneviere C. (editor), Dictionary of American Painters, Sculptors and Engravers by Mantle Fielding, Green Farms, Connecticut: Modern Books and Crafts, Inc.
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It met no opposition, though several amendments were made during the legislative process. After it passed, the two engravers produced designs, but Treasury Secretary William G. McAdoo required changes, not all of which were made. The coins were minted in August 1918, and were sold to the public for $1 each. All sold, though many were held by a bank until 1933, and the profits used to defray the cost of local centennial celebrations or to help those in need because of World War I. Later writers have generally admired the coin, considering it one of the more handsome American commemoratives.
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See Getty for lists of variants. (c. 1564, Arnemuiden – buried 6 March 1637, Utrecht)Passe, Crispijn van de (I) at the Netherlands Institute for Art History was a Dutch publisher and engraver and founder of a dynasty of engravers comparable to the Wierix family and the Sadelers, though mostly at a more mundane commercial level. Most of their engravings were portraits, book title-pages, and the like, with relatively few grander narrative subjects. As with the other dynasties, their style is very similar, and hard to tell apart in the absence of a signature or date, or evidence of location.
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Later he travelled to Italy and France, and produced etches of landscapes; at the International Print Makers Exhibitions in Los Angeles he won a silver medal in 1923, and gold medals in 1925 and 1930. From 1929 he taught etching at the Ipswich School of Art, succeeding Charles Edward Baskett, and remained there until 1940. He lived in Ipswich for most of his life, and was a member of Ipswich Art Club from 1914 until his death. He was on the council of the Royal Society of Painters in Water-Colours and the Royal Society of Painter-Etchers and Engravers.
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1-2 Thibault was Dutch, but because Academie de l'Espée was written in French and describes a variant on the Spanish school of swordsmanship, it has often been mistaken as an alternately French or Spanish work. Academie de l'Espée is widely considered to be the most lavishly-illustrated swordsmanship manual ever produced. A team of master engravers were employed to produce plates for all forty-four chapters of the treatise, containing about twelve to fifteen pairs of swordsmen per instructional plate. These plates contain a wide variety of intricate backgrounds and costumes which appear to be purely decorative.
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His second project, a collaboration with Gregory Lewis Way, was an edition of a number of 12th- and 13th-century French fabliaux, taken from the collection edited by Pierre Jean Baptiste Legrand d'Aussy. Ellis provided the preface, notes and appendix, Way the translations, and woodcuts were commissioned from Thomas Bewick and other engravers. Ellis's contribution was later praised in The Gentleman's Magazine as including "some of the purest and most classical passages of Addisonian composition which this age has produced". The two volumes of Fabliaux, or Tales were published in 1796 and 1800, and a three- volume edition, with corrections, appeared in 1815.
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Manning taught in a mobile printmaking workshop between 1965 and 1970 for a community program of the Ontario Department of Education. She taught or ran workshops at Centennial College (1967–71) and Sheridan College (1971-74), and in the summer at Hockley Valley School of Art (1970–74), Elliot Lake (1970–72), University of Toronto (1975) and various other places. She became an executive member of the Canadian Society of Graphic Art and a member of the Canadian Society of Painter-Etchers and Engravers. The two organizations merged in 1976 to form the Print and Drawing Council of Canada.
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She studied sculpture and wood engraving at Portsmouth College of Art before embarking on a career within arts education and printmaking. She has been an art teacher and an educational psychologist, but as of 2015 is a full-time artist. Her work is held in many public collections, such as the Victoria & Albert Museum (London), The Ashmolean (Oxford) and the Fitzwilliam Museum (Cambridge). Paynter is an Honorary Member of the Royal Birmingham Society of Artists (RBSA), a Past President of the Royal Society of Painter Printmakers, and a current Committee member of the Society of Wood Engravers.
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The principal source for this article is 'Bolswert, Boetius Adams' in: Allgemeine Deutsche Biographie (Universal German Biography), Historical Commission, Bavarian Academy of Sciences, Volume 3 (1876), p. 111ff. In his time the paintings of Peter Paul Rubens called forth new endeavours by engravers to imitate or reproduce the breadth, density of mass and dynamic illumination of those works. Boetius Bolswert was an important figure in this movement, not least because he was the elder brother and instructor of the engraver Schelte à Bolswert, whose reproductions of Rubens's landscapes were most highly esteemed in their own right.
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He was employed by Pacific Press Publishing Company in Oakland from 1900 to 1904. In 1904 he and his brother John started an engraving firm in San Francisco, which was destroyed in the 1906 earthquake and fire. In 1907 he married Reta Bailey of Berkeley and the three brothers, with two additional partners, started Lemos Illustrating Company in Oakland, continuing as Lemos Brothers, Artists and Engravers to 1911. Later this became known as the Lemos Brothers Art and Photography Studio, which offered art classes in copper, leather and landscaping as well as the traditional media of drypoint, etching and illustrating.
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Their subject matter includes representations of animals including bison and, arguably, several different bird species. Some workers, however, consider that the "bird" figures are more likely to be female anthropomorphs. The engravers seem to have made use of the naturally uneven cave surface in their carvings and it is likely that they relied on the early-morning sunlight entering the caves to illuminate the art. Thin layers of calcium carbonate flowstone overlaying some of the engravings were dated using the uranium-series disequilibrium method, which showed the oldest of these flowstones to have formed at least 12,800 years ago.
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Andrew MacLure and Archibald Gray MacDonald set up business as engravers and lithographic printers in Glasgow in 1835. Their first premises were in Trongate but by 1851 they had moved to 57 Buchanan Street, and later relocated to a 5-storey purpose-built facility in Bothwell Street. The firm also opened offices in Liverpool (1840), London (1845) and Manchester (1886). In 1851, MacLure, MacDonald & Co imported a Sigl machine from Germany which was capable of printing 600 sheets an hour and the firm is believed to be the first in the UK to use steam power for lithographic printing.
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Francmanis (2001), 58-60. He published one further book of folk music A Garland of English Folk-Songs (1926); and after his death, on 7 November 1926, Ethel Kidson edited two further books from his collections, Folk Songs of the North Countrie (1927) and English Peasant Songs (1929). In these collections, they worked in association with Alfred Edward Moffat. He also worked on other aspects of musical history, writing British Music Publishers, Printers and Engravers (1900) and The Beggar’s Opera: Its Predecessors and Successors (1922), and contributing many articles to the Grove Dictionary of Music and Musicians.
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Design or artwork is generally prepared in advance, although some professional and highly experienced hand engravers are able to draw out minimal outlines either on paper or directly on the metal surface just prior to engraving. The work to be engraved may be lightly scribed on the surface with a sharp point, laser marked, drawn with a fine permanent marker (removable with acetone) or pencil, transferred using various chemicals in conjunction with inkjet or laser printouts, or stippled. Engraving artists may rely on hand drawing skills, copyright-free designs and images, computer- generated artwork, or common design elements when creating artwork.
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Jules Bury (28 December 1862 - Unknown) was a Belgian sports shooter who competed in the early 20th century in rifle shooting, he competed at the 1900 Olympics in Paris. Bury was born into a family of gunmakers and firearm engravers from the Wallonia area in Belgium, he went on to compete at the 1900 Summer Olympics in five different rifle events, his best finishes was a sixth place in the 300 metre team rifle event although there were only six teams, and seventh place in the 300 metre standing rifle event where there were 29 other shooters.
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Kensett's engraving of Upper & Lower Canada 1812 He began his career in England as an engraver at Hampton Court. His earliest engraved map in America was a plan of the town of New Haven created by James Wadsworth in 1748 and printed by Kensett in 1806. Kensett became a member of the firm of Shelton & Kensett, engravers and publishers in Cheshire, Connecticut about 1812. There he created a map titled "To the Officers of the Army and the Citizens of the United States, This Map of Upper and Lower Canada and United States Contigious" dated November 4, 1812.
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During this period, the U.S. Post Office issued more than a dozen 'Two Cent Reds' commemorating the 150th anniversaries of Battles and Events that occurred during the American Revolution. The first among these was the Liberty Bell 150th Anniversary Issue of 1926, designed by Clair Aubrey Huston, and engraved by J.Eissler & E.M.Hall, two among America's most renowned master engravers. The 'Two Cent Reds' were among the last stamps used to carry a letter for 2 cents, the rate changing to 3 cents on July 6, 1932. The rate remained the same for 26 years until it finally changed to 4 cents in 1958.
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Wallis born in London, the son of Thomas Wallis, who was an assistant of Charles Heath (1785–1848) and died in 1839. He was taught by his father, and became one of the ablest of the group of supremely skilful landscape-engravers who flourished during the second quarter of the nineteenth century, particularly excelling in the interpretation of the work of Joseph Mallord William Turner. Turner original He engraved illustrations for Turner's "Picturesque Views on the Southern Coast of England" (with George Cooke),J M W Turner. Picturesque views on the southern coast of England (J.
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In 1947 she and Morgan moved to Canada and settled in Campbell River, British Columbia. Seeking a new life together after the depression of two world wars, Andrews and Morgan moved to a small cottage in the logging community on Vancouver Island where they made ends meet building and repairing boats. Rediscovered in the art world during the 1970s and 1980s, Andrews became a local celebrity and spent the rest of her life working, painting and teaching. Sybil Andrews was elected to the Society of Canadian Painters, Etchers and Engravers in 1951 when her linocut Indian Dance was selected as the presentation print.
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He received his artistic training at the Academy of San Carlos and then at the Escuela de Pintural al Aire Libre in Coyoacán under Alfredo Ramos Martínez. He fought in the Mexican Revolution along with Dr Atl and Orozco. During his career, he was a muralist, engraver, illustrator, theatre director and teacher. He began by joining the Sindicato de Obreros Técnicos, Pintores, Escultores y Grabadores (Technical workers, Painters, Sculptors and Engravers Union) in 1923 which had been convened by José Vasconcelos. Most of Alva’s work was related to political and cultural movements, beginning with cultural initiatives from the Secretary of Education José Vasconcelos.
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In 1872 he decided to work independently as an etcher and engraver, mainly reproducing contemporary portraits and subject paintings, and designing bookplates, the latter of which would later form the bulk of his work. He also made original etchings of London, and was a regular exhibitor at the Royal Academy. He was a close friend of Sir Francis Seymour Haden, co-founder of the Royal Society of Painter-Etchers and Engravers, and was elected a fellow of that society in 1884. Before his death, he presented a complete set of his works to the British Museum.
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Boulton-Maude studied at the Burslem School of Art in Stoke on Trent before attending the Royal College of Art, RCA, in London from 1916 to 1921. While at the RCA she had a number of works shown at the Royal Academy and was elected a member of the Royal Society of Painter-Etchers and Engravers in 1918. From 1924 to 1931 Boulton-Maude lived in Egypt during which time she worked as an artist on the Pennsylvania Archaeological Expedition to Palestine. When she returned to England she brıefly enrolled at the Slade School of Art in London and resumed her exhıbıtıng career.
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At the age of 18, she married Ben Altwerger; the couple had a son and a daughter. She began her studies in art once the children were in high school. Altwerger received a number of awards including a gold medal from the Institut Feminine Culturelle (United Federation of Women) in Vichy, the Sterling Trust award for lithography from the Society of Canadian Painter-Etchers and Engravers (CPE) and at the Ontario Society of Artists show in 1979. Her work is held in the collections of various public and private institutions, including the Art Gallery of Hamilton and the Art Gallery of Windsor.
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From 1922 to 1923, she studied painting with Franz Johnston at the Winnipeg School of Art and then attended the Ontario College of Art from 1929 to 1930. She continued her studies at the Central School of Arts and Crafts in London and then studied with Nicolas Eekman and Henri Jannot in Paris. On her return to Canada, she became a member of the Canadian Society of Graphic Artists and of the Society of Canadian Painter-Etchers and Engravers; Day participated in exhibitions with both of these groups. She died in Orillia at the age of 87.
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He was a member of the American Watercolor Society, and an honorary member of the Royal Belgian Society of Water-Colorists. Bellows also mastered etching—along with Samuel Colman he was possibly the only other Hudson River School artist to do so—and became a member of the New York Etching Club, the Philadelphia Society of Etchers and the Royal Society of Painter-Etchers and Engravers in London, England, an esteemed professional organization whose members included James Abbott McNeill Whistler and Francis Seymour Haden. Bellows taught at the Cooper Union, where among his pupils was Virginia Granbery.
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In 1879 he was drawing for La Vie moderne, and then proceeded to illustrate Pablo de Segovia. In 1882 the publication of his edition of Francisco de Quevedo's Historia de la vida del Buscón llamado don Pablos (The Life Story of a Swindler Called Don Pablos) brought the technique of photo-reproduction to a high level of finish. Prior to that time, most artists and engravers had been forced to rely on tracings and other manual methods which often resulted in interpretations of the artists' works. In 1891 he illustrated L'Espagnole, by Émile Bergerat, and in 1895 Le Cabaret des trois vertus.
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Kimball was born in Fitzwilliam, New Hampshire and spent some time in Boston, Massachusetts before studying at the National Academy of Design in New York and then at the Royal College of Art in London. Her first solo exhibition was in London at the Clifford Gallery in 1902. In 1909 she was elected an associate member of the Royal Society of Painter-Etchers and Engravers. She lived in Bath for over twenty years, and near the end of her life made substantial gifts to the Victoria Art Gallery of works on paper from her own collection.
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His earliest etching, the 'Head of Windermere,' dates from 1864. After some early experiments in etching and engraving Finnie adopted mezzotint as his favourite process in 1886. Though he exhibited pictures at the Royal Academy from 1861 onwards, and also at the British Institution and in Suffolk Street, he was best known in London by his original mezzotint engravings of landscape, exhibited at the Royal Academy and the Royal Society of Painters, Etchers, and Engravers, of which he became an associate on 24 October 1887, and a fellow on 6 April 1895. He sent forty-seven contributions in all to the society's gallery.
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Licensed by the King). Importantly, this lengthier epithet indicates that the engravings of the Galerie (or Gallerie, according to eighteenth-century spelling) were created "d'après nature," or "after nature," meaning that they were intended to represent what was actually worn in the streets of Paris during the latter part of the eighteenth century. Although they vary in their presentation, the majority of images included in this series are tableaux vivants in which Parisians from various walks of life flaunt their quotidian fashions. These plates were completed by a group of prominent, eighteenth-century designers and engravers and are accompanied by descriptive text.
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Coutu taught printmaking at the Central School of Art from 1957 to 1965 and then at the West Surrey College of Art and Design in Farnham from 1965 to 1985. In 1968, he started to carve netsuke (as practised in Japan) and he joined the Netsuke Kenkyukai Society, based in the United States. He is also a member of the Royal Society of Painter-Etchers and Engravers and the Printmakers Council. Jack Coutu has exhibited at the Royal Academy in London, netsuke conventions, jointly with Michael Rothenstein at the Alecto Gallery in 1965, and at the Graphic Arts Gallery in 1968.
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Groom was a member of the Society of Wood Engravers, exhibiting some 18 prints with them, and also of a breakaway group, the English Wood Engraving Society. For many years she lived at Southwold before moving to Wenhaston in Suffolk, which was still her home when she died in 1958 in Norwich. Fourteen prints by Groom are held by the Ashmolean Museum in Oxford and both the Victoria and Albert Museum in London and the Auckland Art Gallery in New Zealand also have examples of her work, while the British Museum collection includes two of her prints.
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From 1919 to 1929 Ropartz was director of the Strasbourg Conservatory, which he moved into the building of the former parliament of Alsace-Lorraine. At the same time he undertook the direction of the Philharmonic Orchestra of Strasbourg, influencing young students like Charles Munch. Elected in 1949 as a member of the Académie des Beaux-Arts (5th section, musical composition), he succeeded Georges Hüe. Ropartz also served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, a grant given between 1919 and 1954 to young French painters, sculptors, decorators, engravers, writers, and musicians.
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Piranesi accompanied his father on two trips to the ancient Roman ruins in Paestum, Pompei and Ercolano, first in 1770, and again in 1778. In this he was part of a group of engravers which collaborated with Benedetto Mori and the architect Augusto Rosa, considered the inventor of felloplastica, the art of constructing scale models of ancient monuments in cork. Giovanni Battista created a series of preparatory drawings about Paestum, which were completed by Francesco. Upon his father's death, shortly after the second trip, Francesco acquired his father's publishing house and was responsible for printing most of the later editions of his prints.
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On the occasion of the centenary festival in honour of Michelangelo in 1875 he was the delegate of the Institute of France to Florence, and spoke as its representative. Meissonier was an admirable draughtsman upon wood, his illustrations to Les Conties Rémois (engraved by Lavoignat), to Lamartine's Fall of an Angel to Paul and Virginia, and to The French Painted by Themselves being among the best known. The leading engravers and etchers of France have been engaged upon plates from the works of Meissonier, and many of these plates command the highest esteem of collectors. Meissonier died in Paris on 31 January 1891.
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By the mid-19th century, many wood engravings rivaled copperplate engravings. Wood engraving was used to great effect by 19th- century artists such as Edward Calvert, and its heyday lasted until the early and mid-20th century when remarkable achievements were made by Eric Gill, Eric Ravilious, Tirzah Garwood and others. Though less used now, the technique is still prized in the early 21st century as a high-quality specialist technique of book illustration, and is promoted, for example, by the Society of Wood Engravers, who hold an annual exhibition in London and other British venues.
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He is credited with a remarkable intelligence; a delicacy in engraving the smallest drawings; and a certain grandeur in his treatment of the most grand and lavish subjects. Leclerc has sometimes been criticized for some monotony and for inconsistencies in plates destined for the same book—although such a wide output made some repetition inevitable. Leclerc is held as one of the most able French engravers, alongside Callot, Abraham Bosse and Brebiette. Print collectors have always wished to gain a full collection of Leclerc's images, but even during his lifetime some of his images eluded them.
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Jefferson Nickel Obverse Felix Oscar Schlag (September 4, 1891 - March 9, 1974) was a German born American sculptor who was the designer of the United States five cent coin in use from 1938 to 2004.Michigan Coin Club, Felix Schlag He was born to Karl and Teresa Schlag in Frankfurt, Germany where as a young man, he served in the German army of World War I. Schlag studied sculpture at the Academy of Fine Arts, Munich.Opitz, Glenn B, Editor, Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Book, Poughkeepsie NY, 1986 p. 821 He moved to the United States in 1929.
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In 1900, one of his etchings was awarded a bronze medal at the Paris Exhibition. Although Ball continued to make etchings, his major success came from watercolors of rural landscapes and marine subjects, especially in the counties of Buckinghamshire, Surrey, Norfolk, Sussex, Wiltshire, and Hampshire. He exhibited frequently at the Royal Academy; the Royal Society of Painters, Etchers and Engravers; the Royal Institute of Painters in Water Colours; and other venues. In 1887, he made his first trip abroad, painting the Venice lagoons; he later made sketching and painting trips to Holland, Germany, and Egypt as well.
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Poster for The Magazine of Art (engraving after Hubert von Herkomer, 1881) The Magazine of Art was an illustrated monthly British journal devoted to the visual arts, published from May 1878 to July 1904 in London and New York City by Cassell, Petter, Galpin & Co. It included reviews of exhibitions, articles about artists and all branches of the visual arts, as well as some poetry, and was lavishly illustrated by leading wood-engravers of the period such as William Biscombe Gardner.Joanne Shattock. The Cambridge bibliography of English literature, Volume 4 (Cambridge University Press, 2000) p. 2962.Liela Rumbaugh Greiman.
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The Library also has some two hundred original watercolour drawings of Welsh landscapes by John Warwick Smith, and collections of original drawings of Welsh interest by Philip J. de Loutherbourg and S. H. Grimm. The collection of engraved prints illustrate a wide variety of Welsh topography and aspects of Welsh culture, and also show the development of the art of engraving. Every method of engraving is represented in the collection, which also contains examples of the work of famous engravers. There are around 15,000 Welsh portraits in various media and a further 50,000 photographs and negatives in the Library's collection.
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The art historian Arthur Mayger Hind characterised his style as "incisive and individual". After him came a series of other significant engravers who had trained as either an artist or a goldsmith, and after woodcuts became widely used for illustrating printed books, their quality also improved. The Master's other works are mostly religious and some are relatively large for very early engravings; these were intended mainly for insertion as illustrations into manuscript devotional books. As with most early printmakers, many of his designs survive only in copies by others, and many have not survived at all.
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The House became recognized as one of the foremost fine engravers in Paris, winning numerous medals and honours. With the artist Édouard Chimot as Editor after the First World War, a series of limited edition art books, employing leading French artists, illustrators and affichistes, reached a high point under the imprimatur A l'Enseigne du Masque d'Or – the Sign of the Golden Mask and with PAN in collaboration with Paul Poiret.Anon, 'The Work of The Maison Devambez', Commercial Art Magazine May 1928 Édouard's son, André Devambez, became a famous painter and illustrator after receiving the Prix de Rome.
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Reynolds (1975), p. 15. As 9 is the age during the Georgian era when many apprenticeships began, this means that Williams may have briefly studied under Hogarth. He eventually became an engraver as well and some of his work was subsequently published by the master of mezzotint engraving John Raphael Smith. Williams became friends with the brothers William Ward and James Ward, both engravers who had apprenticed under Smith, and he had at least two children born out of wedlock with their 18-year-old sister Mary Ward (1764-1832), before finally marrying her in 1788, some six years after the fact.
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Plantin was born in France, probably in Saint-Avertin, near the city of Tours, Touraine. He was not born to a wealthy family, and his mother died when Plantin was still quite young. As a youth he apprenticed as a bookbinder in Caen, Normandy, and also married there. In 1545, he and his wife, Joanna Rivière, set up shop in Paris, but after three years they chose to relocate to the booming commercial center of Antwerp, where Plantin became a free citizen and a member of the Guild of St Luke, the guild responsible for painters, sculptors, engravers and printers.
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Builds guns to customer's specification, from raw materials and shelf parts. Gunsmiths specializing in custom areas can be called upon by professional target-shooters, avid sports shooters, or anyone that wants custom attributes added to their firearm to create highly accurate or custom looking firearms. A Custom Gunsmith also builds high-end firearms for hunters and shooters with needs and desires that cannot be served by standard catalogued firearms offered by gun manufacturers. They may work in partnership with engravers and other specialized artists to produce unique finishes and decorations not possible on regular mass-produced firearms.
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However, during the course of the demolition, the contractor was killed by the fall of tracery from the west window of the church and the scheme was halted. This print with hand-colouring by the antiquarian engravers Samuel and Nathaniel Buck in 1732–1733 shows the abbey church fundamentally as it stands today. The abbey was subsequently abandoned and allowed to decay. In the 1760s Thomas Dummer, who owned estates in the area, moved the north transept to his estate at Cranbury Park near Winchester where it can be still be seen as a folly in the gardens of the house (at ).
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Confederate themes typically showed naval ships and historical figures, including George Washington. Images of slaves depicted everyday work scenes, although of the 72 notes issued by the Confederate States of America only 5 designs actually depicted slaves. Since most of the engravers and bank plates were in the Northern states, Confederate printers had to lift by offset or lithographic process scenes that had been used on whatever notes they had access to. Many variations in plates, printing and papers also appear in most of the issues, due in large part to the limits on commerce resulting from the Union embargo of Confederate ports.
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Emil Robert Zettler (March 30, 1878 – January 10, 1946) American sculptor, born in Karlsruhe, Germany McGlauflin, Alice Coe, editor, ‘’Who’s Who in American Art: Volume II, 1938-1939’’, The American Federation of Arts, Inc., Washington D.C., 1937 (or, Chicago, Illinois Opitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, NY, 1988) and active in Chicago. The Art Institute of Chicago, where Zettler studied, awarded him the Potter Palmer Gold Medal in 1917 for his colored plaster sculpture Job. It was among the first works of art by a Chicagoan showcased at the Arts Club of Chicago.
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Jacques Roettiers (20 August 1707 – 17 May 1784) was a noted engraver in England and France, and one of the most celebrated Parisian goldsmiths and silversmiths of his day. Roettiers was born in Saint-Germain-en-Laye, near Paris, to Norbert Roettiers (1665–1727) and his wife Winifred Clarke, niece of John Churchill, Duke of Marlborough. As a Roettiers, he was born into a distinguished family of medallists, engravers, and goldsmiths. Roettiers studied drawing and sculpture at the Académie Royale de Peinture et de Sculpture, winning a prize to be pensionnaire du Roi at the French Academy in Rome.
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Bryan's Dictionary of Painters and Engravers. London: G. Bell. Parody of Zeuxis Among Senave's works is a Parody of Zeuxis which depicts the legend of the Greek artist Zeuxis selecting five female models and combining their finest features into one image of ideal beauty. In Senave's painting, the five models are overseen by a procuress, and the painter is accompanied by a dog "whose misshapen form suggests that he was composed using Zeuxis's famous method; only in this case the result is a bizarre, vaguely canine hybrid rather than an example of ideal beauty", according to the art historian Elizabeth Mansfield.
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Three beached whales, 1577 Jan Wierix or Johannes WierixName variations: Hans Wierix, Jan Wiericz; Johan Wiericz; Johan Wierix; Jan Wierx; Johan Wierx; Jan Wiricx; Johan Wiricx; Monogrammist IHW (1549 - ca. 1620), was a Flemish engraver, draughtsman and publisher. He was a very accomplished engraver who made prints after his own designs as well as designs by local and foreign artists. Together with other members of the Wierix family of engravers he played an important role in spreading appreciation for Netherlandish art abroad as well as in creating art that supported the Catholic cause in the Southern Netherlands.
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Henry Pelham) (1765) Copley's fame was established in England by the exhibition, in 1766,Not in 1760, as stated by Mrs. Amory, and not in 1774 as stated by Michael Bryan in Dictionary of Painters and Engravers (1898). of A Boy with a Squirrel, which depicted his half-brother, Henry Pelham, seated at a table and playing with a pet squirrel. This picture, which made the young Boston painter a Fellow of the Society of Artists of Great Britain, by vote of September 3, 1766, had been painted the preceding year. Copley's letter of September 3, 1765, to Capt.
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Thus, he became established as a painter and etcher and was elected a member of Society of British Artists in 1879, and the Royal Society of Painters-Etchers and Engravers in 1881. In London, Helmick became friendly with the famous painter James Whistler, who was the President of the Society of British Artists. Around 1880, Helmick expressed his appreciation for Whistler’s works, like his Etchings of Venice and Venice Pastels, both exhibited at the Fine Art Society, London. In 1878, James Whistler had created his Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle, engraved by Richard Josey.
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Parker's historical research was exemplified in his De antiquitate Britannicæ ecclesiae, and his editions of Asser, Matthew Paris (1571), Thomas Walsingham, and the compiler known as Matthew of Westminster (1571). De antiquitate Britannicæ ecclesiæ was probably printed at Lambeth in 1572, where the archbishop is said to have had an establishment of printers, engravers, and illuminators. Parker gave the English people the Bishops' Bible, which was undertaken at his request, prepared under his supervision, and published at his expense in 1572. Much of his time and labour from 1563 to 1568 was given to this work.
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In this state, hot water is poured on > the work, which melts the resin and amalgamates it with the printing ink, > which becomes a varnish sufficiently powerful to resist strong acid. The > work is then bitten in in the same method by which engravers bite in their > work. The surface being cleansed, the article is then ready for plating ... > The acids used are, of course, the secrets of the trade." After Skinner's return from America, Branson met Skinner again: "From the founder of the Beaver Falls Cutlery Works (also a Sheffield man) I learned something of his luck in America.
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This quarter owes its artistic reputation to its Montparnasse cemetery. Open from 1824, it attracted the ateliers of sculptors and engravers to the still-inbuilt land nearby, and these in turn drew painters and other artists looking for calmer climes than the saturated and expensive Right Bank. Many of these today-famous artists met in the boulevard Montparnasse's many cafés and bistros, one of these being the world-known Belle Époque "La Coupole". This aspect of Montparnasse's culture has faded since the second world war, but many of its artist atelier-residence "Cités" are still there to see.
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When Petch died in 1852, the firm became just "Perkins, Bacon". In 1861 they (temporarily) lost the contract to print stamps as a punishment for giving copies of new issues away to friends of the management without permission from the governments involved. Although Heath had won another court battle which gave engravers the right to retain 8 impressions of any engraving, this right did not extend to currency or stamps. Stanley Gibbons colour guide stamps printed by Perkins Bacon They completed their printing contract for the line-engraved stamps on 31 December 1879, losing subsequent business to competitor De La Rue.
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This painting is a copy by the artist and one of the first that David Teniers the Younger prepared to document the Archduke's collection before he employed 12 engravers to publish his Theatrum Pictorium, considered the "first illustrated art catalog". He published this book of engravings after the Archduke had moved to Austria and taken his collection with him. It was published in Antwerp in 1659 and again in 1673.Online version of the Theatrum Pictorium, 1673 The original version of this painting, with the figures arranged differently, is in the collection of Petworth House, south of London.
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Eighty six goldsmiths were employed under six foremen along with ten sculptors. The vast amounts of bronze suggested there were as many as two hundred smiths under fifteen foremen and an unknown number of engravers under three foremen. The Ekur archive is a testament to the power and wealth of the Akkadian Empire with artisans coming from around the land to participate under the direction of the master craftsman and 'Minister of Public Works' of the King. Manufacture was suggested to have taken place both in the temple and special workshop (Nippur cubit measuring rod pictured).
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The Nuremberg Chronicle not only demonstrated the capabilities of the new printing press, but also paved the way for the work of Albrecht Dürer in the coming years. Picture of Nuremberg from the Nuremberg Chronicle Albrecht Dürer was an apprentice under Wolgemut and learned the art of engraving from one of the most well known engravers of the time. Technically, the development of better printing presses in Nuremberg allowed for Dürer to include much more detail in his work, from depicting St. Michael's hair with little curls to capturing the sails of two boats off in the distance.
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Roos' work concerns early modern English science and the early history of the Royal Society. She studied the naturalist Martin Lister and his daughters Anna and Susanna, who engraved the images for the book Historiae Conchyliorum and were some of the first women to use a microscope. Roos detailed how Anna and Susanna became illustrators from their teenage years and that their work was used by their father because he considered that even the best professional engravers were not sufficiently reliable. Her book, Martin Lister and his Remarkable Daughters, was published by the Bodleian Library in 2018.
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From this time, though he occasionally exhibited landscapes, portraits, animals, and other subjects, his pictures are mainly of a humorous description, based on the style of William Hogarth, whose 'comedy in art' he strove to imitate, if not to surpass. There was a large demand for his pictures, and the engravings from them, many by first-class engravers, were published by Carington Bowles, Smith & Sayer, Boydell, and other well-known publishers. Collett continued to exhibit with the Free Society of Artists up to 1783. His pictures give insight into manners at the end of the 18th century.
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While van der Horst was praised during his lifetime as a good painter in the grand style of Rubens only one signed painting by his hand is known. He is mainly known for his designs for prints and a map, which were engraved by leading printmakers of his time and printed by the Antwerp printers. His subject matter was diverse and included portraits, religious, mythological, allegorical, history and literary subjects. IHe worked with engravers such as Paulus Pontius, Pieter de Jode I, Lucas Vorsterman the Elder, Cornelis Galle the Elder, Abraham Dircksz van Santvoort and Guillaume Collaert.
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The factory was said to have sported a social hall with billiards room and card tables, and a library. Fahys employed a high number of Hungarian, Polish and Italian workers, many of whom were expert engravers. The company earned a reputation for providing excellent working conditions and benefits for its employees At the height of its success, it was reported that the Sag Harbor factory required $6,000 (around $350,000 in 2015) worth of gold to be melted down each day to produce its wares. During the Great Depression, Joseph Fahys & Co. suffered just as many other businesses who produced ‘luxury items’ did.
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The American Art Gallery in Copenhagen represents his works worldwide. In Italy, the first major exhibition of his graphic work was displayed at the Calcografia Nazionale in Rome, then headed by Maurizio Calvesi. From 1966 to 1970 he lived in Japan. He studied ukiyo-e woodblock printmaking, at the Tokyo University of the Arts, (Tokyo Geijutsu Daigaku) with Professor T.Ono who introduced him to the workshops of traditional Japanese craftsmen: engravers and printers of the Ukiyo-e, masters in the craft of lacquer, painters of “Nihonga” (Traditional Japanese painting), calligraphy masters and “Katana” (the Japanese sword) craftsmen.
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A record of this meeting is found in a touching 2-page memo that summarizes the meeting and was presented to the family. It includes the passages, and it is signed by Superintendent A. Loudon Snowden, Assayer William E. DuBois, Melter & Refiner James E. Booth, and Coiner O.C. Bosbyshell, Following William's death, several of the assistant engravers wanted the top job, including Charles Barber, George Morgan, and others. After a number of months of deliberation, President Rutherford B. Hayes made the decision, and Charles Barber succeeded his father as Chief Engraver on January 20, 1880. Painting of William Barber, c.
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Photos are rasterized (as in printing), with dots larger than that of the laser's spot, and these also are best engraved as a raster image. Almost any page-layout software can be used to feed a raster driver for an X–Y or drum laser engraver. While traditional sign and plaque engraving tended to favour the solid strokes of vectors out of necessity, modern shops tend to run their laser engravers mostly in raster mode, reserving vector for a traditional outline "look" or for speedily marking outlines or "hatches" where a plate is to be cut.
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Victor Ambrus (born László Győző Ambrus, 19 August 1935) is a British illustrator of history, folk tale, and animal story books. He also became known from his appearances on the Channel 4 television archaeology series Time Team, on which he visualised how sites under excavation may have once looked. Ambrus is an Associate of the Royal College of Art and a Fellow of both the Royal Society of Arts and the Royal Society of Painters, Etchers and Engravers. He was also a patron of the Association of Archaeological Illustrators and Surveyors up until its merger with the Institute for Archaeologists in 2011.
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Over the Top, Bolton Landing, New York John Paulding (April 5, 1883 – April 15, 1935) was an American sculptor best remembered for his World War I memorials. Paulding was born in Darke County, Ohio. He studied sculpture at the Art Institute of Chicago and was to remain in Chicago until his death at an early age in 1935.Opitz, Glenn B, editor, Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Book, Poughkeepsie NY, 1986 p 703 At least two of his World War I memorials became very popular and casts of them can be found in many places throughout the United States.
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The rounded letters (D, G, O, Q) all have an oblique axis. Three fourth-century fragments of the filocalian letter engraved in stone are known, which seem to have been signed in the same way, with the inscription Furius Dionysius Filocalus scribsit. These fragments were part of the transcription of a series of poems that Pope Damasus I had written in honor of the martyrs, and which were employed to decorate their tombs. This typeface had a great influence on the engravers of the time, who copied its style extensively, and of which a great number of examples are known.
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An earlier well-known work of devotion and of moral instruction, richly illustrated with stories, was "Der Selen Würtzgart", first printed at Ulm in 1483. The meaning of the title is "Herb garden of the Soul", which is similar to later titles. The first known edition of Hortulus Animae, dated 13 March 1498, was printed at Strasbourg by Wilhelm Schaffener of Ribeauvillé (Rappschwihr), followed by German versions appearing in 1501. Later editions contained woodcuts by the well-known engravers Hans Springinklee and Erhard Schön, with beautiful miniatures in some existing manuscript examples, like the one at Vienna (Cod. Bibl. Pal. Vindobonensis.
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Coriolano was born in Bologna in either 1590 or 1599, the son of Cristoforo Coriolano. He, like his brother Giambattista (born 1595 or 1589 and died 8 January 1649Abecedario de P.J. Mariette: et autres notes inédites de cet amateur sur les Arts et les Artistes, Volume 2, by Pierre Jean Mariette, Philippe de Chennevières, Anatole de Montaiglon; Publisher: JB Dumoulin, Quai des Agustins #13, Paris; 1853-1854; page 4.) became wood engravers like their father. Originally from Nuremberg, their father had moved to Venice and changed the family name to Lederer. His father died at Venice in 1600.
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Various artists and engravers recorded this relation of the church to the canal; for instance, the Scottish painter David Roberts made several very similar views, one of which (dated to c. 1830) is in Musée des Beaux-Arts in the Château de Caen (Caen Castle).For Roberts' paintings of St Pierre, see the list of his works recorded in Ballantine, J. The Life of David Roberts, Edinburgh, 1866 This church Building is the subject of a classification as historical monuments by the list of 1840.Notice no PA00111139 [archive], base Mérimée, ministère français de la Culture. File:St.
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Perhaps the intervention of the painter Jacques-Louis David, son-in-law of the entrepreneur Pécoul, and considerably enriched in the collection of the octrois, helped him avoid the guillotine. But he lost his favourite daughter whilst the other brought a lawsuit against him. Ledoux, who was eventually released, ceased building and attempted to prepare the publication of his complete œuvre. Since 1773, he had started to engrave his constructions and his projects but, because of the evolution of his style, he did not cease retouching his drawings, and the engravers constantly had to redo their boards.
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The Church of San Isidro, taken from doña Mariquita Thompson's The Church of San Isidro, taken from doña Mariquita Thompson's is of interest for several reasons. Unlike the other Argentine watercolours in this section, it was not chosen for publication by Ackermann and hence did not go through the mediation of his engravers and colourists — London artists who had never been to Buenos Aires. It can be discerned whether it less "muddy" than Ackermann's productions. It was drawn from the summer estate of Mariquita Sánchez de Thompson, a prominent Argentine patriot and revolutionary who kept a literary salon.
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Samuel Alken entered the Royal Academy Schools, London, as a sculptor in 1772. He published A New Book of Ornaments Designed and Etched by Samuel Alken in 1779, and later established himself as one of the most competent engravers in the new technique of aquatint. His works included plates after George Morland, Richard Wilson, Thomas Rowlandson and Francis Wheatley. His plates for Sixteen views of the lakes in Cumberland and Westmorland after drawings John Emes and John Smith were published in 1796, and a set of aquatint views of North Wales after drawings by the Rev.
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The Mint had difficulty fitting the required inscriptions on the small gold coins. President Roosevelt, in April 1908, convinced Mint Director Frank Leach that it would be a better idea to strike a design similar to that of the eagle, but below the background, to secure a high-relief effect. Such coins were designed by Boston sculptor Bela Lyon Pratt at the request of the President's friend, William Sturgis Bigelow. After some difficulty, the Mint was successful in this work, though Pratt was unhappy at modifications made by the Mint's engravers, headed by longtime Chief Engraver Charles E. Barber.
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Smokers and drinkers Abraham Teniers was further active as a publisher. He was responsible for the publication of the Theatrum Pictorium ('Theatre of Paintings'), the project initiated by his brother David to make a set of engravings of the entire art collection of Archduke Leopold Wilhelm. As David was the director of this art collection he had conceived this plan but ultimately only a series of 246 plates was produced by several engravers (243 of these represented about half of the Italian paintings then owned by the Archduke). Abraham Teniers published the first edition in 1658 as loose leaves and unnumbered.
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The portraits were copied by Flemish engravers in the late 16th and early 17th centuries, who added engravings of twelve Roman Empresses. Between 1627 and 1628 the paintings were sold to Charles I of England by Vincenzo II Gonzaga, and when the Royal Collection of Charles I was broken up and sold after his execution by the English Commonwealth, the Eleven Caesars passed in 1651 into the collection of Philip IV of Spain. They were all destroyed in a catastrophic fire at the Royal Alcazar of Madrid in 1734, and are now only known from copies and engravings.
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In 1946 the Society, in cooperation with the Red Rose Guild, the Senefelder Club, the Society of Wood-Engravers and the Society of Scribes and Illuminators, formed the Crafts Centre of Great Britain (now Contemporary Applied Arts). Farleigh was chairman of the centre from 1950 until 1964.Archives Hub In 1941 the British Council commissioned him to design the title page of the catalogue for the Exhibition of Modern British Crafts. The world-famous writer Judith Kerr said that he was the person who taught her most when she was doing evening classes at St Martin's School of Art during the war.
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The full title of the work is Het gulden cabinet vande edel vry schilder const: inhoudende den lof vande vermarste schilders, architecten, beldthouwers ende plaetsnyders, van dese eeuw, which translates as The Golden Cabinet of the Noble Liberal Art of Painting: Containing the Praise of the Most Famous Painters, Architects, Sculptors and Engravers of This Century. Despite its title, the book also deals with artists from the 16th century. The work was dedicated to the Antwerp art collector Antoon van Leyen who had provided some of the information for the book and may also have helped finance the publication.Christiaan Schuckman.
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Nikolaus van Hoy worked as the intermediary draughtsman for several of the prints as he translated the modelli made by Teniers into drawings.David Teniers and the Theatre of Painting, 19 October 2006 to 21 January 2007 at the Courtauld Institute Of Art These were then engraved by van der Steen and 11 other engravers. The publication ends with an engraving by van der Steen after a drawing by Nicolaus van Hoy of a view of the Stallburg gallery of the Archduke. Karl Schütz, Die Sammlung Erzherzog Leopold Wilhelms, in: 1648: Krieg und Frieden in Europa, Münster, 1998, Volume 2, pp.
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Between the ages of 14 and 17, he studied painting in the studio of Pierre-Narcisse Guérin at the École des beaux-arts in Paris. He then devoted himself for four years to an apprenticeship in engraving under Charles Clément Balvay, nicknamed "the last of the fine burinists", who made him copy the great masters. Between 1816 and 1818, Henriquel lost out on the first prize for engraving twice, which determined him to set up his own studio and follow new styles. Under the influence of English engravers and of Girard Audran, he tended towards "a live, witty and clear line".
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Born in Brownsville, California, her family moved to Oakland when she was young where her father, Joseph B. McChesney, was principal of Oakland High School. MacChesney began her art studies in San Francisco with Virgil Williams at the California School of Design, before moving to New York City to continue her studies with H. S. Mowbray and J. C. Beckwith.Opitz, Glenn B, editor, Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Book, Poughkeepsie NY, 1986, p. 565 This was followed by a move to Paris, where she enrolled in the Académie Colarossi and studied with Courtois.
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This is a list of works by William Hogarth by publication date (if known). As a printmaker Hogarth often employed other engravers to produce his work and frequently revised his works between one print run and the next, so it is often difficult to accurately differentiate between works by (or for) Hogarth and those in the style of or "after". Some of the less likely, possible, doubtful works and those formerly identified as Hogarth's works are listed at the end. Numbers in square brackets refer to the catalogue numbers in Ronald Paulson's third edition of Hogarth's Graphic Works (those with asterisks are classified as "After Hogarth" by Paulson).
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From 1871 Macbeth exhibited at the Royal Academy, Royal Society of Portrait Painters, Grosvenor Gallery, New Gallery and the Fine Art Society in London. There were also exhibitions in the regions at the Royal Birmingham Society of Artists in Birmingham, the Royal Scottish Academy in Edinburgh, the Royal Glasgow Institute of the Fine Arts, the Walker Art Gallery in Liverpool and Manchester Art Gallery. In the same year (1871) Macbeth was made an associate of the Royal Watercolour Society (RWS) becoming a full member in 1901. He became a member of the Royal Society of Painter-Etchers and Engravers (RE) in 1880, and an honorary member in 1909.
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Moyreau's surviving oeuvre consists of 6 livres of keyboard music. None of the pieces are dated, but it is known that Moyreau got a publication privilege on 30 January 1753 and that all six collections were published the same year, engraved by Marie-Charlotte Vendôme, one of the finest engravers of the era; who was also responsible for the first publication of Mozart's music in 1764 (KV6 and KV7). Moyreau dedicated the pieces to Louis Philippe I, Duke of Orléans (the full title read: Pièces de clavecin dédiées à Son Altesse Sérénissime Monseigneur le Duc d’Orléans). Only one exemplar of books I-II survives, and two of books III-VI.
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Hieronymus Cock then commissioned Bol to make designs for Autumn and Winter. The set of four prints were engraved by Pieter van der Heyden and published by Cock in 1570.Albert Elen, Hans Bol at Museum Boijmans van Beuningen Avarice, after Pieter Bruegel the Elder Pieter van der Heyden was from 1556 onwards one of the primary engravers of the work of Pieter Bruegel the Elder. Although van der Heyden was not an inventive engraver and his figures are considered to be stiff and angular, Bruegel seems to have preferred working with the artist because of his highly skilled technique and his fidelity to the design he was copying.
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"Martyrdom of St Sebastian", engraving by the Master of the Playing Cards, c. 1445 Engraving on metal was part of the goldsmith's craft throughout the Medieval period, and the idea of printing engraved designs onto paper probably began as a method for them to record the designs on pieces they had sold. Some artists trained as painters became involved from about 1450–1460, although many engravers continued to come from a goldsmithing background. From the start, engraving was in the hands of the luxury tradesmen, unlike woodcut, where at least the cutting of the block was associated with the lower-status trades of carpentry, and perhaps sculptural wood-carving.
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In 1801, watermarks, which previously were straight lines, became wavy, thanks to the idea of a watermark mould maker whose name was William Brewer. This made even harder the counterfeiting of bank notes, at least in the short term, since in 1803 the number of forged bank notes fell to just 3000, compared to 5000 of the previous yearMockford, 2014; pp. 126 In the same period, bank notes also started to become double-sided and with more complex patterns, and banks asked skilled engravers and artists to help them make their notes harder to counterfeit (episode labelled by historians as "the search for the inimitable banknote").Mockford, 2014; p.
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The words Pošta Česko-Slovenská are arranged around the two sides and top of the first set while on the second set Česko-Slovenská is in one line under the main castle design. The different types show slight variations in the design but several errors exist that include plate faults and flaws as well as different printing plates. Fewer variations exist in succeeding issues because the Ministry of Posts' designers, engravers and print mills improved their skills with experience. The first of several stamps illustrate Thomas Masaryk, the country's first president, followed in 1920 with three denominations of 125h, 500h and 1000h designed by Max Švabinský.
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The Hui School was already a mature seal engraving school as early as the Ming dynasty, especially during the Jiajing and Wanli eras. The most famous seal makers during the early phase of this school were Xiu Ning (休宁) and He Zhen, who were active in the mid–late Ming dynasty. During the Kangxi- Yongzheng-Qianlong era of the Qing dynasty the second climax of this school appeared, and the most typical representative artist during this period was Cheng Sui from She County, Anhui. In the late Qing dynasty this school had its third climax of development and influenced engravers from outside Anhui.
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Ferdinand I, Holy Roman Emperor, by Rota, dated 1575; Ferdinand was Master of the Order of the Golden Fleece, which he wears here Martino Rota, also Martin Rota and Martin Rota Kolunić (c. 1520-1583) was an artist, now mainly known for his printmaking, from Dalmatia.Getty Union Artist Name ListBryan, Michael, (revised by George Stanley) A Biographical and Critical Dictionary of Painters and Engravers, from the revival of the art under Cimabue, and the alleged discovery of engraving by Finiguerra, to the present time (London, H G. Bohn, 1849), page 662 online at books.google.co.uk (accessed 4 March 2008) Martino Rota was born in about the year 1520 in Šibenik (Sebenico), Dalmatia.
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He engraved plates entirely with the graving tool. Rota showed Durerian naturalism and a Venetian feeling for material.Three Engravers from Šibenik at www.canvas.hr, accessed 15 July 2008 Like many printmakers of the period, he combined etching and engraving on the same plates, but in an unusually sensitive manner, exploiting the differences between the two techniques.Reed and Wallace, 60 He also engraved paintings by masters of the Renaissance, in particular Titian, whose very important destroyed altarpiece of the Martyrdom of St. Peter Martyr is now best known from Rota's engraving;Catalogue entry at Bury, 191 he also made engravings after work by Michelangelo and Dürer.
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Boetius à Bolswert soon established his engraving press in Holland, but he maintained a more extensive publishing house in Belgium: he now took his subjects from Rubens and from other Flemish painters, and himself attempted work in the field of composition. He took as his starting-point the narrow manner of Philip Galle and similar engravers; in Antwerp, through the influence of the great Rubens (who, without himself being an engraver, influenced others to achieve greater solidity of mass or volumes in engraved representations), he brought his art to a larger and broader grasp of Form than had previously been achieved in that medium.Allegemeine Deutsche Biographie. He died at Antwerp.
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In the post war period the gallerist György Koller (1923–1996) founded the Association of Hungarian Engravers (“RMAK”)in 1953. Because quality and authenticity of the artworks were always his top priority, the association became soon well known in the Hungarian art scene and art market – especially because the artists were granted much more freedom and personal support than they could expect from the government. In 1980, the first private gallery of Hungary was opened in the atelier-house of the Hungarian-Italian sculptor Amerigo Tot. From that time on the Koller Gallery was authorized to present not only graphics, but also sculptures and paintings.
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203Opitz, Glenn B., Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Books, Poughkeepsie, NY, 1988 p. 529 He was one of the more conservative artists who exhibited at the Armory Show in 1913 where he displayed eight drawings and sculpturesBrown, Milton W., ‘’The Story of the Armory Show’’, The Joseph H. Hirshhorn Foundation, 1963 p. 260 and was one of a dozen sculptors invited to compete in the Pioneer Woman statue competition in 1927.‘’Exhibition of Models for a Monument to the Pioneer Woman’’ at the Chicago Architectural Exhibition, East Galleries, Art Institute of Chicago, June 25 to August 1, 1927 He also taught; among his pupils was Eleanor Platt.
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The then Secretary of Public Education José Vasconcelos made a mission of educating the masses through public art, and hired scores of artists and writers to build a modern Mexican culture. Siqueiros, Rivera and José Orozco worked together under Vasconcelos, who supported the muralist movement by commissioning murals for prominent buildings in Mexico City. Still, the artists working at the Preparatoria realized that many of their early works lacked the "public" nature envisioned in their ideology. In 1923 Siqueiros helped found the Syndicate of Revolutionary Mexican Painters, Sculptors and Engravers, which addressed the problem of widespread public access through its union paper, El Machete.
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