I have optics tables at home and I have plasma etchers.
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But while I can get behind the idea of robotic grave cleaners, epitaph etchers, urn retrievers and things along those lines, this seems like a step in the wrong direction.
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Thus, these methods of printmaking were freed from their reproducing role to develop as pure fine arts. In addition to the rise of printmaking societies/clubs, individual printmaking artists also sought to distinguish their work as a fine art, as opposed to a craft. Generally these artists from the 19th century were referred to as painter-etchers. Nineteenth century printmaking societies in the United States were the New York Etchers Club (1877), Boston Etchers Club (1880?), Philadelphia Society of Etchers (1880), Brooklyn Etchers Club (1881), Brooklyn Scratchers Club (1882), Society of American Etchers (1888), Cincinnati Etchers Club (circa 1890).
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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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In 1909, to popularize the medium of etching, Bertha Jaques and other etchers in Chicago formed the Needle Club, an informal collective of etchers passionate about reintroducing the American public to the art of etching.Joby Patterson, Bertha E. Jaques and the Chicago Society of Etchers, Fairleigh Dickinson University Press, 2002, p. 15 In 1910 it became the Chicago Society of Etchers. The organization was primarily responsible for showing members’ etchings at the Art Institute of Chicago.
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Early 20th century printmaking societies were the very influential Chicago Society of Etchers (1910), begun and promoted by Bertha Jaques. After the Chicago Society, a flurry of other printmakers' societies followed. Next was the California Society of Etchers (1912), the Los Angeles group called the Printmakers of California (1914), and the Brooklyn Society of Etchers (1915). The California Society of Etchers (CSE) merged with Bay Printmakers Society in 1968 when the current name, California Society of Printmakers (CSP), was adopted.
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In 1926 he received a prize from the California Society of Etchers.
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He was also knighted as Chevalier of the Order of Christ by King Fernando of PortugalHamerton, Philip G., Etching & Etchers, 3rd ed. (London: MacMillan 1880) (hereinafter "Hamerton Etching & Etchers"), p. 155; Pennell, Joseph, Etchers and Etching, 4th ed. (New York: MacMillan Co. 1936), p. 192; Walker, p. 90; Taormina, introduction; Bradley, William Aspenwall, "Maxime Lalanne," Print-Collector Booklets (Boston: Museum of Fine Arts 1914), p. 3.
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He participated in the Venice Biennale as a main artist in 1928 and as part of group shows in 1924, 1926, 1928, 1930 and 1938. He exhibited at the annual exhibitions of the Chicago Society of Etchers and the California Society of Etchers.
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Bertha Jaques (seated) on a jury for the Chicago Society of Etchers, 1919; photograph from the archives of the Cedar Rapids Museum of Art Chicago Society of Etchers was founded in January 1910, the first organization of etchers in the country. There were 20 members to start and by 1930 there were 150 members. Membership extended outside of the United States, including artists from England, France, Italy, Germany, Sweden, India, China and Japan.
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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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Rice won the "Best Print" award at the show of the California Society of Etchers in 1933.
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In addition to her etchings, she also made more than a thousand cyanotype photographs. Bertha Evelyn Jaques, Untitled, c. 1900, cyanotype, NGA 136408 Bertha Jaques (seated) on a jury for the Chicago Society of Etchers, 1919; photograph from the archives of the Cedar Rapids Museum of ArtTo popularize the medium of etching, Jaques—along with other etchers in Chicago in 1909—formed the Needle Club, an informal collective of etchers passionate about reintroducing the American public to the art of etching.
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Over the years, she became a member of quite a few associations that served this purpose. Her memberships included the Society of American Etchers, National Association of Woman Artists, Chicago Society of Etchers, Philadelphia Society of Etchers, Society of Graphic Artists, and Art Students League. Although primarily known for her etchings, Cawein also worked in other print media including drypoint, aquatint and woodcut and also made drawings and pastels. Her subjects were mainly landscapes and interiors, only occasionally including figures.
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Feint was elected to the Society of Artists, and was a member of the Australian Painter-Etchers Society.
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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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In 1912 she joined the Chicago Society of Etchers. Around 1913 she shared a studio in Toronto with Estelle Muriel Kerr.
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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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He became the first professional director of the then-new Carolina Art Association Art School. Hutty was active in arts organizations. In 1923, he helped to found the Charleston Etchers' Club. He was also a member of the Society of American Etchers, the Allied Artists of America, the National Arts Club, the American Watercolor Society, and other arts organizations.
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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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Raskin was a member of the American Watercolor Society, the Society of American Etchers, the Audubon Artists and the New York Watercolor Club.
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Jaques also joined the California Society of Etchers in 1913, when non-resident members were first admitted.Millman, Mary and Dave Bohn, Master of Line: John W. Winker, American Etcher (Capra Press: Santa Barbara, 1994), p. 31, note 15. The Chicago Society of Etchers ceased operations in 1956, leaving California Society of Printmakers as the longest lived printmakers' society in the U.S.
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Lum was a member of the Asiatic Society of Japan, California Society of Etchers (now California Society of Printmakers), and Print Makers Society of California.
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Founding members included Troy Kinney, Eugene Higgins, Fred Reynolds, Paul Roche, and Ernest Roth. Approximately 200 etchings by sixty-five artists including John Taylor Arms, Frank W. Benson, Mary Cassatt, Childe Hassam, John Marin, and Mahonri Young where exhibited at the Brooklyn Museum as part of the organization's inaugural exhibition.Brooklyn Museum, Brooklyn Society of Etchers: Annual Exhibition 03rd"Brooklyn Society of Etchers 3rd Annual Exhibition." Brooklyn Museum.
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Roselle Osk (1884-1954) was an American printmaker known for her drypoints and etchings. Her style was realist and her subjects were figure studies, landscapes, and seascapes. She exhibited frequently during the 1930s and 1940s and was awarded prizes by the Society of American Etchers, Philadelphia Print Club, and National Association of Women Artists. Her work was often selected for "Best Prints of the Year" shows held by the etchers group.
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Walker (p. 90) states that Lalanne was knighted in 1864; Philip Gilbert Hamerton noted this as the first such knighthood in the 1868 edition of Etching and Etchers.
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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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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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Norton was a member of the California Society of Etchers; Palo Alto Art Club (now known as the Pacific Art League); American Federation of Arts; and San Francisco Women Painters.
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The Smithsonian American Art Museum in Washington, D.C. features two of Rumph's etchings: The Doctor's Office and Spring in the City. The Chicago Society of Etchers donated both works from 1935.
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They helped inspire the creation of the Charleston Etchers' Club and influence the Charleston Renaissance and over time the works of Lesley Jackson, Alice Ravenel Huger Smith, and Elizabeth O'Neill Verner.
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Gearhart also took part in exhibitions held by the PMSC, the Chicago Society of Etchers, the Pacific Art Association, and the Society of American Etchers. In the late 1920s, Gearhart and her two sisters collaborated on a children's book of original verse illustrated with their linocut prints. Entitled Let's Play, it was not published until 2009, when it was brought out by the Book Club of California. The original manuscript is in the Cotsen Children's Library at Princeton University.
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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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Joby Patterson, "Bertha E. Jaques and the Chicago Society of Etchers," Fairleigh Dickinson University Press, 2002, p. 15 Later, Jaques would become a founding member of the Chicago Society of Etchers in 1910, an organization that was primarily responsible for showing members' etchings at the Art Institute of Chicago; she served as Secretary from its foundation through the 1930s. The Society would attract international members and renown with Jaques herself as the driving force behind much of its success at popularizing etching in 20th-century America.Patterson, p.
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She was a pioneer in Art Education for underprivileged children in Chicago and New York City. She was a member of the Chicago Society of Etchers, founded in January 1910, the first organization of etchers in the country. The Hamilton sisters, their mother, Edith's companion, Doris Fielding Reid, and Margaret's companion, Clara Landsberg, spent their retirement years in Hadlyme, Connecticut, at the house they purchased in 1916. The house was near Miss Porter's School in Farmington, Connecticut, that all four of the Hamilton sisters had attended.
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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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During the late 1930s and early 1940s juries often selected her prints for inclusion in "best prints" exhibitions held by the Society of American Etchers. She was awarded prizes in 1938, 1940, 1941, 1945, and 1946.
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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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Throughout the 1950s and well into the 1980s short histories of the society penned by various elected officers always referred to CSE/CSP as " the second oldest" continuous operating club in the United States. However, these historians failed to mention what the oldest society was. A little research revealed that the oldest American society of printmakers was the Chicago Society of Etchers. The California Society of Etchers was very aware of its Chicago predecessor, as the Chicago founder Bertha Jaques encouraged printmakers to establish their own local societies.
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Perhaps Troy Kinney's greatest legacy is in his contributions in the area of dance. He co-authored with his wife the books "Social Dancing of Today" and "The Dance: Its Place in Art and Life", for which he traveled throughout the world to study various dance styles. It remains to this day one of the most comprehensive works on the subject. Besides being a member of the Chicago Society of Etchers, Troy Kinney was a member of the Society of American Etchers, and the National Academy of Design.
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In 1848 he was one of the founders of the "Haagse Etsclub", a club for etchers in The Hague, where he lived a few years until 1850. In 1852 he was back in Amsterdam where he later died.
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In 1923, Hopper received two awards for his etchings: the Logan Prize from the Chicago Society of Etchers, and the W. A. Bryan Prize.Levin, Gail, "Edward Hopper: Chronology" in Edward Hopper at Kennedy Galleries New York: Kennedy Galleries, 1977.
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In The Etchings of E. T. Daniell, Jane Thistlethwaite wrote that his Scottish scenes "testify in their subjects to his enthusiasm for the beauties of Scotland and in their technique to his almost certain acquaintance with the Scottish etchers".
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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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Lumsden was elected an associate of the Royal Society of Painter-Etchers in 1909 and raised to the full membership in 1915;.Hopkinson, Martin (1999). No day without a line. The History of the Royal Society of Painter-Printmakers, 1880–1999.
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Berdanier was listed as a notable artist by the Marquis Who's Who. He was a member of the Hudson Valley Art Association, Academic Artists Association, Allied Artists American, Chicago Society Etchers, Art League Long Island, New Jersey Painters and Sculptors Society.
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4 (April 1895), pp. 337-341, 361-371. He was a member of the American Water Color Society and the Society of American Etchers. He served as president the Art Students League of New York, 1884-1885 and 1900-1901.
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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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Willem later moved to Weimar where he established in 1877 a local association of etchers (Gesellschaft für Radierkunst). He taught at the Weimar Saxon Grand Ducal Art School in Weimar from 1876 to 1882 and also served as its director. Willem's son, also named Willem, who had been trained by his father, joined him on Weimar and also taught at the local Art School. Willem Linnig the elder and his son Willem junior were among a large number of Antwerp artists who established the 'Vereeniging der Antwerpsche etsers' or 'l'Association des aquafortistes anversois' ("Association of Antwerp Etchers") founded in 1880.
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The California Society of Etchers (CSE) was founded in San Francisco in December 1912 and announced in the San Francisco Chronicle on January 19, 1913 ("Etchers Form a State Organization", p. 27). Several sources cite an earlier 1911 date, such Marilyn S. Kushner's detailed chapter, "Genesis of the Twentieth-Century Print Club", although she does not cite her source. Robert B. Harshe, founder, and later first president of California Society of Etchers, leaves the founding date ambiguous in his chapter in the 1916 book, Art in California. His chapter mentions the four years of the society, although the chapter itself is undated. Mary Millman and Dave Bohn's very thorough biography of John W. Winkler, cited above, supports the CSE founding date of 1912. The founding of CSE is intimately connected with the Panama-Pacific International Exposition (PPIE), a world's fair held in 1915 in San Francisco to showcase the city's recovery from the 1906 earthquake.
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SAGA has been active since its inception in 1915 under the name of the Brooklyn Society of Etchers, and has organized over 79 National Member Exhibitions, in addition to various international, traveling and exchange exhibitions. In relation to other artists’ associations of the time, SAGA was modeled more closely to the French impressionist group (Cooperative Society of Painters, Sculptors, Engravers, etc.) which was focused on organizing exhibitions for its members, rather than other printmaking organizations such as the British Etching Club or the French Society of Etchers (Societe des Aquafortistes) which were highly selective and secretive with very few members or focused more on commercial promotions, respectively.Evan Lindquist, “The SAGA Website,” SAGAzine (Winter 2004). With the advent of artists’ societies and clubs in the United States in the latter part of the 19th century, the New York Etching Club founded in 1877 gave way to establishment of the Brooklyn Society of Etchers which was organized 22 years after its disbandment.
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Catherine Maude Nichols (6 October 1847 – 30 January 1923) was a British painter and printmaker. She was born in Norwich, England, and is notable for being one of the first "lady fellows" of the Royal Society of Painter-Etchers, elected in 1882.
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At the age of 28, Hansen married Olga Josue. They had two kids together: Frieda and Armin. Their son, Armin Hansen (1886-1957), would become one of the best West Coast marine painters and etchers. Hansen died on April 22, 1924 in Oakland, California.
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Thomson became the first President of the Society of Canadian Painter-Etchers, in 1916. Thomson was born in Guelph, Ontario. He attended the Ontario College of Art, where his instructors included John Arthur Fraser. Thomson's patrons included Sir Byron Edmund Walker and James Mavor.
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He went back to printmaking with great enthusiasm in the late 1970s, exhibiting his works both new and old at the Royal Society of Painter-Etchers and Engravers.Adamson, George (contributor) (1984). Among his later prints are portraits of John Ogdon (1979) and Patricia Beer (1982).
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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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In 1926 Ferguson was an honorary member of the California Society of Printmakers (né Etchers). He worked for the Carnegie Corporation making library surveys in Africa, and was librarian of the Brooklyn Public Library until 1949. In 1938–39, Ferguson was president of the American Library Association.
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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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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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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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This enabled lines to be etched more deeply, prolonging the life of the plate in printing, and also greatly reducing the risk of "foul-biting", such that acid gets through the ground to the plate where it is not intended to, producing spots or blotches on the image. Previously the risk of foul-biting had always been present, preventing an engraver from investing too much time on a single plate that risked being ruined by foul-biting. Now etchers could do the very detailed work that was previously the monopoly of engravers, and Callot made good use of the new possibilities. He also made more extensive and sophisticated use of multiple "stoppings-out" than previous etchers had done.
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Other founder members were Donald Watson, a former President of the Scottish Ornithologists' Club artist James T.A. Osborne a Fellow of the Royal Society of Painter- Etchers, and artist Eileen Soper. The Society holds an annual exhibition at the Federation of British Artists in the Mall Galleries, every September/ October.
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Boreel's first solo exhibit was in 1919 at Walker's Gallery. She also held shows at the New English Art Club and as part of Frank Rutter’s Allied Artists’ Association and the London Group. However, her earliest successes were in etching and she was elected to the Royal Society of Etchers in 1923.
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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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She attended the Royal College of Art and was later an instructor at the Rugby School. She married artist Alfred Kedington Morgan and took the married name Gertrude Ellen Morgan. Hayes was a Prix de Rome scholar. She became the first woman to ever be elected to the Royal Society of Painter-Etchers.
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MFA Publications, 2001 (p141). Her early work was greatly influenced by this aesthetic, but she later moved in other directions. Fiske was a co-founder of the Guild of Boston Artists in 1914 and of the Boston Society of Etchers in 1917. Fiske was a well-established painter by the mid 1920s.
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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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This enabled lines to be more deeply bitten, prolonging the life of the plate in printing, and also greatly reducing the risk of "foul- biting", where acid gets through the ground to the plate where it is not intended to, producing spots or blotches on the image. Previously the risk of foul-biting had always been at the back of an etcher's mind, preventing too much time on a single plate that risked being ruined in the biting process. Now etchers could do the highly detailed work that was previously the monopoly of engravers, and Callot made full use of the new possibilities. Callot also made more extensive and sophisticated use of multiple "stoppings-out" than previous etchers had done.
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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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Between 1927 and 1932 Cawein was a student at the Art Students League of New York where the prominent etchers, Joseph Pennell and Harry Wickey were instructors. During this time she joined the Philadelphia Society of Etchers and, in 1930, participated in its annual exhibition at the Philadelphia Print Club. Her first year out of school was an unusually busy one. Late in 1932 she had participated in a two-person exhibition in the parish house of a church in her hometown, and during the following year her work appeared in group exhibitions at the Cronyn & Lowndes Galleries (Manhattan), the Art Students League (Manhattan), Grant Studios (Brooklyn), and, under the auspices of the Arts and Crafts Guild, at Westchester County Center (White Plains).
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Strang became assistant master in the etching class, and had great success as an etcher. He was one of the original members of the Royal Society of Painter- Etchers, and his work was a part of their first exhibition in 1881. Some of his early plates were published in The Portfolio and other art magazines.
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Lorance won a Stutz Artist’s Gallery residency for 2002 and for 2014-2015. Her work was included in the 2008 book, 100 Santa Fe Etchers. At the 2008 Scottsdale Art Festival, she won first place in sculpture. Her work, Birth of Venus (2011), was selected for a juried show at the Kinsey Institute in 2012.
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She also created prints, which she exhibited at the Art Institute of Chicago, the Library of Congress, the National Academy of Design, the Philadelphia Art Alliance, and the Society of American Etchers. In the 1948 she married fellow illustrator Jerome Rozen (1895-1987). She was his second wife. Spiegel died on August 10, 1996.
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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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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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Bertha Evelyn Jaques (October 24, 1863 – March 30, 1941) was an American etcher and cyanotype photographer. Jaques helped found the Chicago Society of Etchers, an organization that would become internationally significant for promoting etching as a popular printmaking technique. She is best known for her hand-colored botanical prints and scenes from her foreign and domestic travels.
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During her career Aronson exhibited works in solo shows both in the United States and abroad; she won numerous awards and honors for her art. Active as well as a costume designer and book illustrator, she was a member of the California Society of Etchers. She lived in Rego Park and Forest Hills at various points.
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He came from a long-established line of painters, etchers, architects and woodcarvers. His father came to Saint-Avold to participate in the rebuilding of a monastery and its church. He attended the Lateinschule in Saarlouis and went to Paris to complete an apprenticeship in carpentry. After that, he studied with Carle van Loo and François Boucher.
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Klinker served as president of the Women Painters of the West. She was also a member of the California Art Club, the Society of American Etchers, and the San Fernando Valley Professional Artists Guild. Klinker married twice. In the mid 1930s, some of her work was signed with her married name at the time, Orpha Klinker Carpenter.
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Here he worked as a commercial artist and illustrated commercial advertisements, and also illustrated for Home magazine. He served on the staff of the Sydney Bulletin as political cartoonist, replacing David Low. He became interested in etchings and joined the Sydney Society of Artists and the Painters and Etchers Society and associated himself with Sydney's contemporary artists.Rees, Lloyd.
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Keppel published essays in exhibition catalogs and gave lectures on the topic of prints and print collecting. Keppel was also the author of several works on etching. In 1886 he published American etchers. Reprinted from the Century Magazine for February, 1883, with a brief additional chapter reprinted in part from the New York Star, by Mrs.
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Around 1870, he was invited to England by writer and critic Philip Gilbert Hamerton who commissioned him to contribute original etchings to his publications, the monthly magazine The Portfolio and Etching and Etchers. Brunet-Debaines thus spent a considerable part of his prolific career in London and Scotland, and regularly exhibited at the Royal Academy between 1872 and 1886.
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Unlike Callot, his declared aim, in which he largely succeeded, was to make etchings look like engravings, to which end he sacrificed willingly the freedom of the etched line, whilst certainly exploiting to the full the speed of the technique. Like most etchers, he frequently used engraving on a plate in addition to etching, but produced no pure engravings.
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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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Master of advanced etching techniques, Jacques Callot is credited with technical innovations such as the echoppe (needle) that allowed etchers to create a 'swelling' line; a lute maker's varnish based, etching ground that allowed for highly detailed work equal to that of engravers, and multiple "stoppings-out" which provided etchers with heretofore unknown possibilities to achieve subtle effects of distance and light. Callot's technical innovations enhanced the detail in his prints. In his portrayal of the English fleet, it is possible to differentiate galleons, carracks, pinnaces and perhaps shallops because each ship type had the same minute iconic image. Perhaps one of the pinnaces in these prints is Buckingham's sixth Lion's Whelp. English Siege of the St. Martin Citadel, Callot Pl.1 Siege of Saint Martin by the Duke of Buckingham.
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Modern VLSI processes avoid wet etching, and use plasma etching instead. Plasma etchers can operate in several modes by adjusting the parameters of the plasma. Ordinary plasma etching operates between 0.1 and 5 Torr. (This unit of pressure, commonly used in vacuum engineering, equals approximately 133.3 pascals.) The plasma produces energetic free radicals, neutrally charged, that react at the surface of the wafer.
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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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He also provided illustrations for various books, magazines and newspapers, and produced many works in water-color and monochrome. In 1884, he was elected a member of the Royal Society of Painters and Etchers for his illustration work. Berkeley married the genre and landscape painter, Edith Berkeley and they lived at Surbiton Hill, in Surrey, where he died on 24 April 1909.
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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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In the early 1930s, Lawson became interested in etching. One of the resulting prints was awarded the John Taylor Arms Prize by the Society of American Etchers. Lawson died in 1957 at his home in Westport, Connecticut, in a house that he referred to as Rabbit Hill, since it had been the setting for his book of the same name. He was 64.
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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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Charles Oliver Murray (1842 - 11 December 1923)'Births, Marriages, and Deaths', Hawick Express, 14 December 1923, p. 3. was a Scottish artist and printmaker. Born in the village of Denholm in Roxburghshire in 1842, Murray trained at the Trustees' Academy in Edinburgh and moved to London by 1872. He was elected a Fellow of the Society of Painter-Etchers on 7 May 1881.
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Building on the work of Carl Larsson, he became an influential figure among Swedish artists. In 1909, a School of Etching was created at the Academy. He taught there until 1926, gaining the status of professor in 1919 and remained in this position until his retirement in 1926. Many of the well-known Swedish etchers studied under him for varying lengths of time.
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She also won awards at the Society of American Graphic Artists in New York and at the Chicago Society of Etchers. In 1950 she was elected an Associate (A.N.A.) of the National Academy of Design, submitting as the requirement for admission her drypoint ‘’Self Portrait and the Golden Gate; she was elevated to the rank of National Academician (N.A.) in 1972.
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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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He frequently exhibited between 1872 and 1904, at the Royal Academy, Royal Institute of Oil Painters, Royal Society of Painter-Etchers and Engravers, Old Water Colour Society, the Society of British Artists in London, and the Royal Society of Artists in Birmingham. He was accepted as a full member of the Royal Society of British Artists in 1879 and an associate member of the Royal Watercolour Society in 1883. He had 79 paintings shown at the Royal Society of British Artists, over 40 works seen at the Royal Watercolour Society, exhibited at the Royal Institute of Painters in Oil, the Royal Etchers Society, at Manchester City Art Gallery, and Liverpool's Walker Art Gallery. He settled in Chadwell Heath some time after 1891, living in a new cottage which still exists at the corner of Mill Lane and Whalebone Lane North, New Villa.
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She received awards from the Pennsylvania Academy of Fine Arts and the American Watercolor Society in 1931. In 1932, Rumph received an award for her etchings from the Society of American Etchers (now the Society of American Graphic Artists). In 1938, she won the Lila May Chapman Purchase Prize for Our Stairway at the Southern States Art League's exhibition at the Witte Museum in San Antonio, Texas.
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They would continue to visit each other until Whistler's death. In 1908 he published the memoir, Whistler in Venice, originally a serial in The Century Magazine. Bacher was most highly regarded for his etchings, many of them depicting scenes from his early years in Cleveland. He exhibited throughout Western Europe and, in 1881, he was elected a member of the Royal Society of Painter-Etchers.
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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 17th century was the great age of etching, with Rembrandt, Giovanni Benedetto Castiglione and many other masters. In the 18th century, Piranesi, Tiepolo and Daniel Chodowiecki were the best of a smaller number of fine etchers. In the 19th and early 20th century, the Etching revival produced a host of lesser artists, but no really major figures. Etching is still widely practiced today.
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Schultheiss emigrated in May 1939 to the United Kingdom. He came in March 1940 to the United States, where he continued his activities. 1951 he began to experiment with printing in color. Carl Max Schultheiss was elected a member of the National Academy of Design in New York, was awarded with the John Taylor Arms Prize at the 29th Annual Exhibition of the Society of American Etchers.
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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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It attracted international members and was successful at popularizing etching in 20th- century America.Joby Patterson, Bertha E. Jaques and the Chicago Society of Etchers, Fairleigh Dickinson University Press, 2002 p. 121 Society members pooled funds for annual prizes for new prints, to be gifted to the Art Institute, and tithed ten percent of their dues to the museum for new print acquisitions. The group disbanded in 1956.
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Alfred Frankenstein of the New York Times reported from the opening day and wrote "Here the visitor is privileged to observe a kind of twenty-ring circus of art... On the floor, in a series of little ateliers, sculptors, painters, lithographers, etchers, ceramicists, weavers and whatnot are at work under the direct observation of the public."New York Times. June 9, 1940. Alfred Frankenstein.
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Technically, Read's work is interesting from the use of dry-point, unusual with English etchers of the period. Read sent his earliest plates to be printed in London, but then obtained a press and made the impressions. Six series of etchings were published by him between 1829 and 1845. The fifth of these (1840) was a series of thirteen views of the English lakes.
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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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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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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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Traill and Rae became the only Australian women artists to portray the war while in France. When in 1918 Australia first appointed official war artists, sixteen men were chosen; Traill was not included. Back in Australia, Traill in 1921 became a member of the Australian Painter-Etchers' Society, and entered its exhibitions. Her works from this period reflected her interest in both Art Nouveau and in the woodblock printing of Japan.
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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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In 1944 the club awarded her first prize in the oil paintings category and in 1947 gave her an honorable mention. In 1941, 1942, and 1943 she exhibited with the American Society of Etchers and in 1943 was awarded a prize for work by a non-member. In the early 1950s she won further recognition from the New York Society of Women Artists and the Pen and Brush Club.
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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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Lucille Douglass (November 4, 1878, Tuskegee, Alabama - September 26, 1935, Andover, Massachusetts) was an American painter, etcher, and lecturer. She traveled in, depicted and spoke about Cambodia and China. In 1928 Douglass was described by the New York Evening Post as "one of America's best known painters and etchers". Her works are included in the Metropolitan Museum of Art, the Birmingham Museum of Art and the British Museum, among others.
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Pescheret served in the American Army during World War I. After returning from World War I Pescheret began experimenting with etching striking his first pate in 1926.Arizona Daily Star, Over Stylized Technique Hit, March 19, 1942. He was admitted to the Chicago Society of Etchers in 1928. By the 1920s he was attending the Art Institute of Chicago studying interior design under French artist/muralist Albert Francis Fleury.
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Upon returning from Europe, he headed to Mason's Island, off Mystic, Connecticut to spend the summer painting. It was a major turning point as it was here that he was to find the field art and sense of place which made him unique, for that time, among etchers. He ultimately built a cabin there with steam heat and a north-lighted studio. Previously, no one had made etchings of small sailboats.
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In 1921, Nordfeldt was elected an associate member of the Taos Society of Artists. He exhibited his work frequently with the Chicago Society of Etchers both before and after the war, showing between 1911-1918 and 1926–1929. In 1940 he relocated to Lambertville, New Jersey. Throughout the 1930s, Nordfeldt taught at various schools including Utah State College, the Wichita Art Association and the Minneapolis School of Art.
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Most were already etchers, at the start of the French etching revival. Unlike Corot and the others, it is thought that Daubigny did much of the printing himself. He was an experienced etcher, who sometimes produced prints of a subject in both techniques. Beginning with 17 plates in 1862, he used etching techniques, such as a roulette to produce dotted areas for a tonal effect, and also brushwork.
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Airy was a member of several artistic societies. She was elected as a member of The Pastel Society in 1906. She also joined the Royal Society of Painters and Etchers in 1908 when the society elected her. She was also an elected member of the Royal Institute of Oil Painters (1909), Royal Institute of Painters in Water Colours (1918), and Member of the Royal Glasgow Institute of the Fine Arts (1952).
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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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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 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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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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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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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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He also composed the theme song of the radio program Mayor of the Town. Barrymore had attended art school in New York and Paris was a skillful graphic artist, creating etchings and drawings and was a member of the Society of American Etchers. For years, he maintained an artist's shop and studio attached to his home in Los Angeles. Some of his etchings were included in the Hundred Prints of the Year.
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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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Dey received his initial training at Rabindranath Tagore's Santiniketan. He then travelled to America from Japan in 1916 to learn the technique of etching under James Blanding Sloan and Bertha Jaques in Chicago, to whom Dey was introduced by American artist Roi Partridge and his wife Imogen Cunningham. Mukul Dey remained a life-member of Chicago Society of Etchers. On his return to India in 1917, Dey concentrated on creating etchings as a fine art.
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7 No. 2 (July–August 2017). As one of the early etchers during the American resurgence of the medium her process demonstrates an artist exploring the medium to its fullest. Perhaps more than other artists, it is worthwhile to study the different states of each image she produced. Each state represents the artist's advancement in composition or technical prowess at a time when Jaques was among the first to rediscover such techniques.
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In 1912 he helped found the California Society of Etchers; then, the following year he was elected to the National Geographic Society and given a key to the Capitol Club in Monterey. Also in 1913 he made a painting trip to the Arizona desert with Francis McComas (painter), which abruptly ended with much animosity and negative publicity in the press.The Oakland Tribune, 30 March 1913, p. 25.San Francisco Examiner, 21 December 1913, p. 37.
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Young felt that he could relate to the styles and the goals of "The Eight", so he and his family moved to New York in 1910. In New York, Young was a founding member of the Society of American Etchers. He did not find success until 1912, which was a turning point in his career. In 1911, Young won the Helen Foster Barnett prize for Bovet-Arthur a Laborer, displayed at the National Academy.
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Alfred Heber Hutty (September 15, 1877 – June 27, 1954) was a 20th-century American artist who is considered one of the leading figures of the Charleston Renaissance. His oeuvre ranges from impressionist landscape paintings to detailed drawings and prints of life in the South Carolina Lowcountry. He was active in local arts organizations, helping to found both an art school and an etchers' club. Alfred Hutty, Magnolia Gardens, oil on canvas, 1920.
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Mary Nimmo Moran (May 16, 1842 - September 25, 1899) was an American 19th- century landscape printmaker, specializing in etchings. She completed roughly 70 landscape etchings, which included scenes of England and Scotland, as well as Long Island, New Jersey, Florida and Pennsylvania. In 1881, she was one of eight Americans and the first female fellow elected to London's Royal Society of Painter-Etchers. She was the wife of American artist and illustrator Thomas Moran.
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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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There were also exhibited in other group exhibitions at the Carnegie Institute, the International Society of Sculptors, Painters, and Gravers, the Royal Society of British Artists, Chicago Society of Etchers, the New English Art Club, and the Society of Graphic Art. Her painting Liverpool Street, made in 1917, was in the 10 Downing Street collection in 1987, when Margaret Thatcher was Prime Minister of the United Kingdom.Paintings at 10 Downing Street. Hansard. United Kingdom Parliament.
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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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Cameron became a skilled etcher making a name for himself in this medium and gaining international recognition by the 1890s. He was elected associate of the Royal Society of Painter-Etchers (RE) in 1889. In 1895 he was elected Fellow of the RE. He exhibited regularly from 1889 to 1902, before resigning his membership in 1903. His subjects included architectural studies, of which he produced a number of popular 'sets' and landscapes.
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The Thomas Cole National Historic Site in the Catskills also houses her paintings Duffield Church, English Landscape, and Landscape with Church. In addition to being a painter, Sarah made etchings. She was trained in etching by the painter and engraver Asher B. Durand. None of her etchings survive today but in 1888, decades after her death, New York’s Union League Club held an exhibition called “Women Etchers of America” that included some of her work.
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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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Ginno's friendships as well as her continued artistic education led to greater artistic exposure, including exhibits at galleries and venues in Williamstown, Massachusetts, San Francisco, California, and New York City, New York. In 1949 John Winkler and Ginno married. Ginno joined the California Society of Etchers (CSE) and later served as the president for 15 years. Her work was later shown at the Fine Arts Museum of San Francisco, the Chicago Art Institute, and the Boston Printmakers Gallery.
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In 1911 he began teaching decorative design at the San Francisco Institute of Art. In late 1912 he was one of the founders the California Society of Etchers, and the following year he started offering the Institute's first classes in printmaking. Some of his students, such as William S. Rice and John Winkler, went on to achieve significant fame as printmakers. He helped organize the California print section of the 1915 Panama-Pacific International Exposition (PPIE).
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When she left the academy, she taught art in Aiken, South Carolina, for a time. She then returned to Charleston, where she took up her art studies with Smith as well as with Gabrielle D. Clements and Ellen Day Hale. Inspired by Clements and Hale, she was a founding member of the Charleston Etchers Club and helped to found the Southern States Art League. In 1907, she married E. Pettigrew Verner, with whom she had two children.
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Today, painters, textile artists, embroiderers, ceramicists, photographers, etchers, print makers, sculptors, encaustic artists, willow makers and more all work in or around the town. Kirkcudbright is home to an artists' collective, who have a shop in the town centre, The PA, Professional Artists Collective. Wasps (Working Artists Studio Spaces, Scotland) occupy two linked townhouses, Canonwalls and Claverhouse, in the High Street. It is also a centre in which many artists open their studios during Spring Fling Open Studios.
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His etchings are included in major collections such as The British Library or the Museum of Fine Arts Boston. But with photo-etching and other new publication processes, etchers were less and less able to make a good living from their skills. Louis Monziès move to Le Mans and became a painting teacher and a painting restoration specialist. He began to paint landscapes and urban environments in Normandy and in other towns like Venise or Avignon.
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Marshall exhibited in London at the Royal Academy, Fine Art Society, Royal Watercolour Society and elsewhere. He was a member of the Royal Watercolour Society (RWS) and Royal Society of Painters and Etchers. In 1914, he became professor of landscape painting at Queen’s College, London, where he remained until his death. Marshall became known for his cityscapes of London but also painted in other parts of England and Scotland, and on the continent in the Netherlands, France and Germany.
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DeWolf was a member of the Chicago Society of Etchers and Art Institute of Chicago, and was a trustee of the Pasadena Art Institute in Pasadena, California. He was also the director of the Illinois chapter of the National Audubon Society, vice president of the Union League Club of Chicago, and was a member of the Chicago Historical Society. He was a Republican but did not seek elected office. DeWolf committed suicide by gunshot on December 25, 1930.
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"While the wolf, in nightly prowl, bays the moon with hideous howl," is the legend with the picture. Austen was described as having great talent with the rare gift of sympathy with the animal world. For many seasons, she exhibited regularly at the annual exhibition of the Royal Society of Painter Etchers, and in 1922, she was elected a member of that society. Austen's early plates were overloaded with background, which the artist ultimately completely discarded.
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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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It was Joseph Pennell, scheduled to be a juror for this event, who inspired a handful of local printmakers to launch the California Society of Etchers in preparation for that great event. Pennell, perhaps the best known American etcher, local to New York City and London, had traveled to Panama to sketch the construction of the Canal, then traveled to San Francisco where he produced a series of etchings of San Francisco, exhibiting them in 1912 in San Francisco.
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Van Sloun was born in 1879 in Saint Paul, Minnesota. He was influenced by Rembrandt from a young age, and he studied at the Art Students League of New York and the Chase School of Art, later known as the Parsons School of Design. Van Sloun became an artist in New York City, and he moved to San Francisco in 1911. He taught at the California School of Fine Arts, and he joined the California Society of Etchers.
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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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Its Walter Phillips Gallery, which focuses on contemporary art, is named after him. The Glenbow Museum in Calgary, Alberta holds an extensive collection of Phillips works and a research archive.Glenbow Museum: Collections & Research In 1933, he was made a member of the Royal Canadian Academy of Arts. He was a member of the Canadian Painters Etchers Society; the Manitoba Society of Artists; the Society of Gravers-Painters in Colour, London, England; and the Society of Print Makers of California.
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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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Abbé was born in the Netherlands but moved with his family to England when he was five years old and became a naturalised citizen. He added the accent to his name, becoming van Abbé. He studied at local state schools, the People's Palace, Toynbee Hall, Central School of Art and at the London County Council School of Photo- engraving and Lithography at Bolt Court, where he met Edmund Blampied, Robert Charles Peter and John Nicolson – all fellow etchers.
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He also worked on a range of applied prints on scarves for Liberty. A member of the Royal Society of Painter-Etchers, he introduced colour intaglio to post-war Britain. He took part in group shows widely throughout Europe and America, including Peggy Guggenheim's Gallery, 1939; Atelier 17 in New York and San Francisco, 1954. His solo shows were international, including Galerie Bonjean, Paris, 1936; Zwemmer Gallery, 1956; ICA 1966, Lumley Cazalet, 1968; and David Paul Gallery, Chichester 1979.
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Forbes was a member of the following organizations; National Society of Mural Painters; California Society of Etchers; San Francisco Art Association; Palo Alto Art Club; San Francisco Mural Society. Forbes was president (and co-founder) of the San Francisco Society of Women Artists from 1928 to 1930. Helen Katharine Forbes died iat age 54 in San Francisco, California on May 27, 1945. In 1931, the California Palace of the Legion of Honor held an artist retrospective for Forbes.
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She was also one of the first Finnish etchers. Albert Edelfelt called her Finland's best etcher; in 1902 Louis Sparre wrote of her etchings that she "[gave] promise of very considerable talent" and "some of her work recalls that of the best masters of the past." Her work is displayed at the first Salon d'automne of Paris in 1903 puis en 1905, 1913 and 1927. She returned to Finland in 1906 and her relationship with Rodin fades.
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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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Impressions of them are exceedingly rare, and hardly half a dozen of the plates were known to be in existence as of 1911. He himself regarded them only as experiments in a difficult but fascinating medium. But in the opinion of the expert they suffice to place him among the best etchers of the 19th century. Apart from the etched frontispieces to some of the Punch pocket-books, only three, and these by no means the best, have been published.
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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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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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During the nineteenth century, artists such as Hale were instrumental in reviving etching in America and Europe and restoring the significance of this technical medium. At the forefront of the Etching Revival of Hale's time was artist James Abbott McNeill Whistler, who set the standard for new generation of etchers. Clements first introduced Hale to etching while the pair was traveling in Europe. In terms of the etching process, Hale, like her contemporaries, used copper plates to produce clean, well-defined impressions.
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When the Australian Painter-Etchers Society in 1932 held its only thematic exhibition, Sydney Harbour Bridge Celebrations, Traill contributed a series of seven prints. The works comprised six etchings completed across the period 1927 to 1931, and a coloured aquatint created after construction was finished in 1932. These have become Traill's best known and most highly regarded images. At the time they were created, the artist Arthur Streeton observed: > Melbourne should be proud of that fine draughtswoman and etcher Miss Jessie > Traill.
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The organization decided to rename to the Society of American Etchers, Inc. since membership had grown to include many other geographic areas beyond Brooklyn, and the exhibitions were moved from the Brooklyn Museum to the National Arts Club in New York. Membership grew to include important printmakers of the 1930s including Isabelle Bishop, Mina Citron, Kenneth Hayes, Stanley William Hayter, John Sloan and Reginald Marsh. Further, it was during this time that exhibit exchanges with European print clubs were organized.
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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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He moved to San Francisco in 1905 and established a solo office. Mullgardt was active in several organizations of architects and artists. He served as president of the San Francisco Society of Architects, president of the California Society of Etchers, vice-president of the San Francisco Society of Artists, director of the San Francisco Art Association, and Secretary of the Group Jury for Etchings and Engravings of the Panama-Pacific International Exposition. He died in San Francisco on January 12, 1942.
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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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Natt exhibited her art at The Women's Pavilion of the Philadelphia Centennial Exposition of 1876. Her work was included in the 1888 exhibition "Women Etchers of America", where she is listed as Natt, Phebe D. (Miss). She exhibited her work in the Woman's Building at the 1893 World's Columbian Exposition in Chicago, Illinois. Natt also exhibited her work at the Paris Salon, the National Academy of Design, the Salmagundi Club, the Boston Art Club, and the Art Institute of Chicago.
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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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Later, he collaborated with the British art critic, Philip Gilbert Hamerton, on two of his books devoted to the topic: Chapters on Animals (1874), with Karl Bodmer, and the third edition of Etching and Etchers (1880), which featured the works of many notable artists, such as James Abbott McNeill Whistler, Jozef Israëls and Alphonse Legros. He also produced engravings for a series of albums published by Alfred Cadart.Notice, du Catalogue général de la BnF. He was named a Knight in the Legion of Honor in 1878.
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Fairclough was born in Blackburn in 1907 and was educated at All Saints. In 1931 he secured a place at the Royal College of Art where he studied under Malcolm Osborne and Bob Austin, mastering his craft as a printmaker. He was elected an associate of the Royal Society of Painter-Etchers in January 1934, winning the Prix de Rome Scholarship in Engraving. He was thus able to travel despite the Depression, working in Rome and subsequently in Spain on the eve of the civil war.
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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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By then, she was already a prolific painter and printmaker, producing striking images with saturated color and abbreviated, semi-realist imagery. One of the earliest members of the Chicago Society of Etchers, her exacting, three-plate color intaglios were first exhibited by the Society in 1914. The same year, one of her prints received an honorable mention at Panama-Pacific International Exposition in San Francisco. She held her first solo exhibition in 1916 at Goupil & Cie Gallery in New York, featured her entire collection of color aquatints.
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Richardson also insists on his importance as an etcher: "In etching he was similarly innovative. His technique was unlike that of any contemporary: unsystematically he used dense webs of light, fine, multidirectional hatching to create a tonal continuum embracing form, light, shadow, and air. His etchings are the only real equivalent in printmaking of later 16th-century Venetian painting modes, and his technical experiments were emulated by 17th-century etchers such as Jacques Bellange, Giovanni Benedetto Castiglione and Rembrandt". Meldolla died in Venice in 1553.
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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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Hale was very active in exhibiting her work, but only achieved marginal recognition of her art. From 1918 to 1940, Hale and Clements wintered in Charleston, South Carolina, a city that was experiencing a burgeoning arts renaissance. Hale was fascinated by the local culture, as seen in the work she created during these residencies. She and Clements assisted in the organization of the Charleston Etchers' Club, a group established in 1923 to offer instruction on printmaking, encourage intellectual exchange, art criticism, and exhibition planning.
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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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Works by Raymond Ray-Jones have been acquired by the British Museum; the Victoria and Albert Museum, South Kensington; Trinity College, Cambridge; Ashmolean Museum, Oxford; Contemporary Art Soc.; City Art Gallery, Manchester; Mappin Art Gallery, Sheffield; Ipswich Art Gallery, etc. Prints of the self-portrait are held by the National Portrait Gallery, the British Museum, and the Victoria and Albert Museum. He exhibited at the Royal Academy, the Royal Society of Painter-Etchers, the Society of Graphic Art; New English Art Club, Bristol, Liverpool etc.
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Allen also began exhibiting his work in galleries during the 1930s, including at Kennedy and Company and the Grand Central Art Gallery. He later exhibited, became a member and acted as a juror for exhibitions at the Society of American Etchers. In 1934 Allen produced a series of six lithographs of dinosaurs for Sinclair Refining Company. He took for inspiration the dinosaurs displayed at the “A Century of Progress” World’s Fair, which had opened the previous year in Chicago, and the work of Charles R. Knight.
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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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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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Fullwood was a co-founder, with John Shirlow, of the Australian Painter-Etchers' Society. Fullwood is represented in numerous galleries including the Art Gallery of New South Wales, the National Gallery of Victoria, the Art Gallery of South Australia, Staatliche Kunstsammlungen Dresden, the Budapest Museum of Fine Arts, and in the Australian War Memorial. A significant painting of the early Ballarat streetscape is held by Ballarat Art Gallery and a very large watercolour of Chalk Quarries () is held in a private collection in Doreen, Victoria.
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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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Evelynne Mess Daily closed her art school and sold Oxbow Acres in 1980. Mess Daily exhibited her etchings and other art at national and international exhibitions held at the Indiana State Fair, the Indiana Artists Club, the Indiana Federation of Arts Clubs, the Hoosier Salon, the Herron Art Institute, the Indiana Society of Printmakers, the Brown County Art Association, the Society of American Etchers, the Los Angeles County Museum of Art, the Cincinnati Art Museum, and the Pennsylvania Academy of Fine Arts, among other venues.
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The heyday of steel engraved book illustration was between 1825–1845, and a rapid expansion of this field took place in London around 1820. This coincided with Mote's first known etching. He was an innovator with steel plate engravings not only because of his talent for etching, but because he was in the right place (London), at the right time (1820), and worked for the right man (Charles Heath). Etchers expressed fears of being replaced by photography in the 1865 minutes of the Royal Academy.
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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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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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Catalog of the Chicago Society of Etchers, Forty-Second Annual Exhibition Chicago, IL, March 1953. The Print Makers Society of California selected his print Black Swans (1952) for their 1953 publication. His color etching of Yellow-Throated Warbler was chosen as the 44th presentation print and presented to associate members of the Chicago Society of Etchers in 1954. Then, in 1960, his print White-Breasted Nuthatch was selected for the thirtieth publication of the Prairie Print Makers. Nan Sheets, fellow artist and the first Oklahoman to be included in the annual publication of Who's Who in American Art, wrote, “In Mr. Bebb we have an artist of recognition who pays attention to true perspective, clarity of design, rhythm of modulated line, and who is an expert draftsman...The Bebb pencil drawings are not quickly executed sketches but carefully considered works, with proper consideration of pencil technique...He excels not only because he is able to draw, but because he has mastered the various methods employed in making etchings. The fact that he has artistic ability to portray what he sees, and as simply as possible, places him high among his fellow artists”.
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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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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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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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Frederick Stanley Haines (29 March 1879 in Meaford, Ontario - 21 November 1960 in Thornhill, Ontario), more commonly known as Fred S. Haines, was a Canadian painter. An accomplished and versatile artist, he is well known for his watercolours, oil paintings, gouaches, engravings and prints. He was the president of the Ontario Society of Artists, a founding member of the Canadian Society of Painters in Water Colour, a founding member of the Canadian Society of Etchers and Printers. He also was a colleague and friend of the Group of Seven.
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Retrieved May 8, 2014. In 1913 he became a co-founder and first president of the California Society of Etchers, the predecessor of the California Society of Printmakers. Harshe served as Assistant Director of the Department of Fine Arts for the 1915 Panama Pacific International Exposition in San Francisco. That same year he became Director of the Oakland, California Public Museum, one of the predecessors of the Oakland Museum of California, and in 1916 he created and began directing the Oakland Art Gallery as an extension of the museum.
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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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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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Virtually forgotten by the time of his death in 1956, his influence has grown since. The New York Times described him as a "neglected British genius" in 1988, and by 2006 Richard Cork could remark that Bomberg was "now considered one of the most important and influential British painters of the twentieth century". Birmingham's printmaking tradition revived with a generation of influential etchers in the 1930s. Henry Rushbury worked under Henry Payne and illustrated notable books on the architecture of Paris and Rome before becoming Keeper of the Royal Academy from 1949 to 1964.
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She wrote to a friend, For the rest of her life, Douglass lived primarily in New York, traveling to Europe and Birmingham. During the winter of 1928-1929, she was a faculty member on the SS President Wilson, teaching art history, drawing and painting on a "floating university" that sailed around the world. In the New York Evening Post of November 6, 1928, Douglass was referred to as "one of America's best known painters and etchers". Douglass died on September 26, 1935 in Andover, Massachusetts, where she was staying with friends.
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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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The Dutch artist Rembrandt van Rijn (1606–69) occupies a unique a position in the history of prints as he does in the history of painting. Etchings such as The Virgin and Child with a Cat, of 1654, represent the very pinnacle of printmaking as a creative art form. It is to Rembrandt that generations of etchers have constantly looked for inspiration. In its collection, the Victoria and Albert Museum has both one of the earliest impressions of this etching and the actual copper plate from which the image is taken.
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Stackpole returned to San Francisco in 1912 and married Adele Barnes, two months younger than he, an art student of Xavier Martinez and one of the first graduates of the California Academy of Arts and Crafts. Adele Stackpole was a perfectionist in many ways, including the precision of her bookplate engravings and the demands she placed on her relationships. On June 15, 1913, the Stackpoles' son Peter was born in San Francisco. Stackpole was part of the foursome that founded, early in 1913, the California Society of Etchers (CSE).
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In 1947, the society organized the largest show in its history, a collection of over 650 prints at the National Academy. Since many of these prints utilized techniques such as woodcut, wood engraving, and lithography, the organization was renamed to the Society of American Etchers, Gravers, Lithographers, and Woodcutters, Inc. and then again to its current designation the Society of American Graphic Artists in 1952. With the ever changing climate of visual arts, printmaking has also undergone changes from the birth of non-objectivity, to surrealism, abstraction and beyond.
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She also exhibited at the Los Angeles County Museum of Art in 1920 and at the Art Institute of Chicago and the Chicago Society of Etchers, as well as the New York Public Library. Her first illustrated book, Gods, Goblins, and Ghosts, based on her travels in Japan, was published in 1922. The same year, she moved to China and began learning Chinese woodcut methods. During the Great Depression, Lum made a living selling prints and illustrating books, newspapers, and magazines, including the New York Herald Tribune and Good Housekeeping.
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The Hopfers prospered in Augsburg, and by 1505 Daniel owned a house in the city centre. He sat on the committee of the Augsburg guild of smiths, which at this time included painters and etchers, probably because these crafts were uniquely connected in the town, one of Europe's principal manufacturing places of arms and armour. Daniel died in Augsburg in 1536. His achievement was widely recognized during his time, and in 1590 he was posthumously named as the inventor of the art of etching in the imperial patent of nobility bestowed upon his grandson Georg.
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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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Between 1915 and 1918 he exhibited lithographs in the 4th and 7th annual exhibitions of the California Society of Etchers (now the California Society of Printmakers) in San Francisco. Bonestell studied architecture at Columbia University in New York City. Dropping out in his third year, he worked as a renderer and designer for several of the leading architectural firms of the time, including the firm of Willis Polk, "The Man Who Rebuilt San Francisco." Bonestell moved to England in 1920, where he rendered architectural subjects for the Illustrated London News.
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Brown tried to sell his artwork in New York City; however, it did not sell as well as it had in California. Instead of opening a studio in the city, he began to sign California under his own signature to show how proud he was to be a Californian, in spite of potential stigmas. Brown was a member of the Pasadena Society of Artists, the California Art Club, the Chicago Society of Etchers, the American Federation of the Arts, and the Laguna Beach Art Association. He showed at the Del Monte Art Gallery before 1914.
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Medal winners from the club's shows include Violet Oakley, John Folinsbee and Betty Bowes. In April 2008, the club held its 145th Annual Exhibition of Small Oil Paintings at the club's main gallery. The club's art collection includes 44 portraits of members painted in the 1890s by Thomas Anshutz; more than 125 etchings by members of the Philadelphia Society of Etchers; and sculpture, stained glass, ceramics, bronze plaques, medals and metal work by its own members. The Club lends pieces to other organizations and exhibitors from time to time.
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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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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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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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The mid-nineteenth century in France and Britain saw a rise in the interest in etching. Hamerton had spent the 1860s in France with his French wife, Eugénie. The impetus for the launch of The Portfolio came in the wake of the foundation in Paris of the Société des aquafortistes in 1862, and to a lesser extent from the longer established Etching Club from 1838. Etchings by many French etchers such as Paul Rajon (1843-1888) and Benjamin Damman (1835-1921) were a marked feature of the publication.
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Edmondo De Amicis, 1898, etching In 1883, Clements began working professionally, making prints and exhibiting her works. She created the appearance of 3-dimensions by overlapping, or interposition, in Church and Castle, Mont Saint-Michel (1885). In 1888, Clements exhibited 20 of her works at The Work of Women Etchers of America show held by the Union League of New York, led on by Sylvester Rosa Koehler. Held at the Museum of Fine Arts, Boston, it was the first show held at a museum of women's works of art.
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He also had one man shows at the Pratt Institute in Brooklyn, the Berlin Photographic Company and the Art Institute of Chicago among other venues. Haskell exhibited with the Brooklyn Society of Etchers from 1916 to 1922. Ernest Haskell served in World War I in the Camouflage Unit.The Most of John Held Jr. illustrations by John Held Jr. introduction by Marc Connelly copyright 1972 Stephen Greene Press He was one of the artists who developed camouflage painting for the United States Army to disguise battleships and to use on soldiers' uniforms.
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His best work included "The Halt" after Jean-Louis-Ernest Meissonier, etched for the magazine l'Art, and "Portrait of Madame Pompadour" after Maurice Quentin de La Tour, published by the Société des Artistes Français. During his lifetime he was called "one of the most skillful original etchers of the modern French school". An 1889 book described him as an etcher with extreme facility who composed elegant vignettes and frontispieces. Later, Claude Roger-Marx criticized him for having fallen from interpretive drawing into a "laborious work of illustration" and of multiplying small compositions and vignettes.
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In Rome he made the acquaintance of Keeley Halswelle who gave him practical advice on art. It was Halwelle whose criticism encouraged Hole to endeavour to become a professional painter. On returning to Edinburgh, Hole entered the School of Design, then won admission to the life school of the Royal Scottish Academy, first exhibiting there in 1873; in 1878 he was elected an associate of the Academy. Around this time he took up etching and was accepted into the Royal Society of Painters and Etchers (RE) in 1885; he was already a member of the Royal Scottish Watercolour Society (RSW) from 1884.
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Rathbone was part of the book and exhibition A Spectrum of Innovation: Color in American Printmaking, 1890-1960 (1990), curated by David Acton for the Worcester Art Museum. Her work was also included in Country Views, City Visions (1996) at the Jane Voorhees Zimmerli Art Museum of Rutgers University, which described her as "a modernist on her way to abstraction". She was a member of the San Francisco Women Artists, the California Society of Etchers, the American Artists Professional League and the National Arts Club. Augusta Rathbone died on March 19, 1990, in Palo Alto, California.
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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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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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A 1947 exhibition on the history of type design in American noted her place as the only American female type designer known at that time. She was associated with the Works Progress Administration during the 1930s; one of her paintings from the period, Bowl of Fruit in watercolor and tempera on panel, is currently owned by Western Illinois University. Several other works are in the collection of the Fine Arts Museums of San Francisco. Colwell exhibited widely throughout her career, and was a member of the Chicago Society of Artists and the Chicago and New York Societies of Etchers.
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Louis Monziès carried out etchings for illustrated books and for Art publications, among them, those after Meissonier and Henri Pille. He became a member of the Société des artistes français in 1884 and also a member of the Société des Peintres-Graveurs français in 1891. He was quite popular in Parisian art salons with the Hédouins and in the literary gathering of the editor Lemerre who published famous living writers and poets with Louis' etchings. Louis Monziès visited London and was named to the Royal Society of Painters-Etchers in 1894 when he received orders for illustrations for English books and publications.
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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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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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After moving to Hollywood, DeWolf married cinematographer Abraham Fried, aka Conrad Wells, in 1926, but the pair separated in the late 1920s, shortly before Wells died in a freak plane accident in 1930 on the set of Such Men Are Dangerous. Soon after, she married Eric DeWolf, president of the California Etchers' Association. When DeWolf first arrived in Hollywood, she hoped to be an actress, but she eventually discovered a love for screenwriting. She slipped a script to director Lowell Sherman on set one day, and he brought her on as an editor and dialogue director.
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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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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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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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He was elected a member of the New English Art Club in 1917, the Royal Society of Painter-Etchers in 1921, the Royal Society of Painters in Water Colours in 1922, and the Royal Academy in 1936. Shipbuilding, Glasgow (1944) In 1940 he was again appointed an official war artist until 1945. Around 1943 the owner of a Port Glasgow shipyard, James Lithgow, complained to the War Artists' Advisory Committee, WAAC, about Stanley Spencer's portrayal of his shipyard. WAAC duly commissioned Rushbury to go to Port Glasgow and produce some rather more conventional views of shipbuilding for Lithgow.
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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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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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David W. Keihl writes "James E. Allen valued the worth of hard work and personal ingenuity for survival. He did not participate in the WPA programmes". In 1932, Allen first entered his prints in juried exhibitions and his work began to receive widespread academic and critical acclaim. That year his "The Builders" received both a Shaw Prize from New York’s Salmagundi Club and a Henry B. Shope Award from the Society of American Etchers, now known as the Society of American Graphic Artists (SAGA). A year later, “Brazilian Builders” took a Charles M. Lea Award at the Philadelphia Print Club Exhibition.
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Troy Sylvanus Kinney was born the son of William and Mary Kinney in Kansas City, Missouri. He attended Yale University, graduating in 1896, and then after a brief time illustrating for newspapers in the Baltimore, Maryland area, he moved to study at the Art Institute of Chicago, where he would later become a full member of the Chicago Society of Etchers. He met and in 1900 married his wife and collaborator Margaret West Kinney (1872–1952). They were premier illustrators of the early 20th century, creating works together under the name "The Kinneys", including scores of books, and covers for Harper's Bazaar magazine.
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Bender served as a trustee of Mills College, a commissioner of the San Francisco Public Library, and a board member of the California Society of Etchers (today's California Society of Printmakers), California Historical Society, Book Club of California, Japan Society, the Home for Aged Disabled, and the San Francisco Symphony, Art Association, Museum of Art, Opera Association, and Opera Guild. Bender helped launch the career of many artists and photographers, including Ansel Adams. He financed the publication of Adams's first portfolio (Parmelian Prints of the High Sierras, 1927) and his first book (Taos Pueblo, with author Mary Hunter Austin, 1930).
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The son of Bartholomäus Hopfer, a painter, and his wife Anna Sendlerin, Daniel moved to Augsburg early in his life, and acquired citizenship there in 1493. In 1497 he married Justina Grimm, sister of the Augsburg publisher, physician and druggist Sigismund Grimm. The couple had three sons, Jörg, Hieronymus and Lambert, the last two of whom carried on their father's profession of etching, Hieronymus in Nuremberg and Lambert in Augsburg. The two sons of Jörg, Georg and Daniel (junior), also became distinguished etchers, patronised by no less than the Emperor Maximilian II, whose successor, Rudolf II, raised Georg to the nobility.
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Pastoral. Lionel Lindsay after Sydney Long (1918) In 1907 he held an extremely successful exhibition of etchings in Sydney with the Society of Artists. The two decades after 1907 saw him active with the Society of Artists and in 1921, when the Australian Painter-Etchers' Society was formed, Lindsay was its first president. He began to exhibit in London in 1923 and had his most successful exhibition of that period at Colnaghi, a London art dealer, in 1927. Colnaghi's Galleries and the critic Harold Wright led British interest in Lindsay's work and guaranteed his reputation as a major British printmaker and watercolourist.
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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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The change of scenery gave him the opportunity to round out his oeuvre of Western landscapes with expansive views of the Sonoran and Mojave deserts. He and his wife, who died in 1941, are buried in Cameron. Today George Elbert Burr is widely considered to be one of the finest of the early 20th-century American etchers. His prints are in a number of prominent collections including the Smithsonian American Art Museum, the British Museum, the French National Print Collection, Luxembourg Gallery, Victoria and Albert Museum, the New York Public Library, Brooklyn Museum, Museum of Northern Arizona.
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Critics noted the strong influence of Paul Cézanne on her paintings but considered that her work succeeded on its own merits. She exhibited widely, winning a bronze medal for one of her portraits at the 1915 Panama–Pacific International Exposition. Her work is in the collections of museums including the Metropolitan Museum of Art, the Oakland Museum, and the De Young Museum. She was active in Bay Area art organizations, becoming a charter member of the California Society of Etchers and the director of the San Francisco Society of Women Artists and serving on many prize juries.
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His reputation grew quickly with the issuance of additional prints, and in 1907 Webster was made an Associate of The Royal Society of Painter-Etchers in London, as well as a member of both the Société Nationale des Beaux-Arts and the National Academy of Design. In 1915 Webster was awarded the Gold medal at The Panama-Pacific Exposition in San Francisco."American Prints in The Library of Congress", Beall, Karen, Alan Wofsy Fine Arts, San Francisco: 1991, p. 495 In 1910, Webster visited New York City, where he was impressed by the skyscrapers he saw, a building type unknown in Europe.
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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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Drury eventually became Principal of Goldsmiths in 1966 for three years. Drury produced 92 etchings, almost half of which were portraits and a quarter of which were landscapes. Although the majority of his work was portraiture, he is known for his landscapes including September and Nicols Farm.Kenneth Guichard, British Etchers 1850-1940, Robin Garton, London, 1977 He exhibited regularly at the Royal Academy in London, and, amongst others, via the British Council at the Museum of Fine Arts, Boston; the National Gallery of Canada; the National Gallery of New Zealand and in the British Pavilion of the 1939 World's fair in New York.
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For instance, nude models were not used for female students. During her time at the academy she also attended classes at the A. Tallbergs school for etchers. Ellqvist was an ambitious, skilled student during the early stages of the Modernist art movement, and at the end of the National Romanticism period, which was represented in the works of academy artists Carl Larsson, Anders Zorn, Bruno Liljefors and Richard Bergh. Ellqvist and her friends, were among the students of the academy who organized a protest against the conservative views of the school, which resulted in the creation of the influential Konstnärsförbundet (Artists Association).
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DuBois, pp. 20, 25, 27. In 1931 he was awarded a fellowship from The Louis Comfort Tiffany Foundation to study in New York. Mess exhibited his art at international exhibitions in Stockholm, Paris, and Rome, as well as at national shows at venue such as the Hoosier Salon, the Herron Art Institute, the Indiana State Fair, the Indiana Artists Club, the Indiana Society of Printmakers, the Society of American Etchers, the Carnegie Museums of Pittsburgh, the Art Institute of Chicago, the Dayton Art Institute, the Metropolitan Museum of Art, and the Pennsylvania Academy of Fine Arts, among others.
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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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Working with Sir Francis Seymour Haden, he helped to create the Royal Society of Painter-Etchers, now known as the Royal Society of Painter-Printmakers. He resigned from the museum in 1869; becoming an advisor to private collectors, such as Sir Francis Cook. His own collection included the usual paintings, drawings, and sketches, but also contained Greek gems, Renaissance jewellery, Oriental porcelain, French furniture, Spanish and Italian embroideries, and ancient Coptic fabrics. In terms of his own work, he was most admired for his etchings and drypoints, which may be seen at the Ashmolean Museum, Oxford.
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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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Knight (1837–1909) was a member of the Manchester Academy of Fine Arts, joining in January 1868. He withdrew in 1879 and was re-elected in 1883. He was also elected a member of the Dudley Gallery, the Royal Institute of Painters in Water Colours, the Royal Etchers, the Royal Cambrian Academy of Art, the Limners Club and Art-Min-Afon, Betws-y-Coed. In 1874 he was a Royal Manchester Institution prize-winner and in 1891 he won a bronze medal at the Paris Exhibition.S W Thomson, Manchester’s Victorian Art Scene And Its Unrecognised Artists, Manchester Art Press, 2007, Chapter 8, The Manchester School of Painters, pp. 71–86.
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Nellie Huntington Gere exhibited at the Art Institute of Chicago 1904-1906. She was the author of a book titled Outline on Picture Study in the Elementary School. She was a member of the California Society of Etchers and the Southern California Art Teachers Association. Nellie Gere exhibited frequently in Northern and Southern California, including solo and group exhibitions at the: California State Normal School (the future UCLA) in 1908 and 1921; Hotel Watson of Los Angeles in 1911; Hotel Del Monte Art Gallery of Monterey in 1913; San Francisco Art Association in 1916; and Annuals of the Art Teachers Association of Southern California in the 1920s.
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Horsley married Elvira Walter in 1846 with whom he had three sons: Edward (1848), Frank (1849), and Harry (1850). Elvira died of consumption in 1852 followed by the deaths of Edward and Harry in 1854 and Frank in 1857 due to scarlet fever. Horsley remarried to Rosamund Haden who came from a family of distinguished surgeons—her father Charles Haden had a practice in Sloan Street and her brother Francis Seymour Haden was a surgeon and etcher who founded the Royal Society of Painters, Etchers and Engravers in 1880. Rosamund gave birth to Walter (1855), Hugh (1856), Victor (1857), Emma (1858), Fanny (1859), Gerald (1862) and Rosamund (1864).
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Massacre of the Innocents, showing the use of multiple stoppings-out to create the fainter lines of the distant view. 13.7 x 10.5 cm His technique was exceptional, and was helped by important technical advances he made. 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. He also seems to have been responsible for an improved recipe for the etching ground that coated the plate and was removed to form the image, using lute- makers varnish rather than a wax-based formula.
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In his paintings and prints of the 1930s and 40s, Pickhardt often depicted working-class city dwellers such as newsboys, butchers, and washerwomen. In 1942 he was awarded the Shope Prize by the Society of American Etchers at the National Academy of Design. He exhibited at the Institute of Contemporary Art, the 1952 International Exhibition in Japan, the 1966 American Drawing Biennial in Norfolk, Virginia, the Berkshire Museum, and other venues in Boston and New York. Pickhardt moved to New York City in 1940 but eventually moved back to Boston where he met his wife, Rosamond Forbes, daughter of Fogg Museum director Edward W. Forbes.
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In the mid-1860s Haden argued against Ruskin's sometimes violently expressed objections to etching; what Haden saw as etching's strength, the ease of transmitting the thought of the artist, was exactly what Ruskin deplored: "in the etching needle you have an almost irresistible temptation to a wanton speed".Chambers, Chapter 1 Philip Gilbert Hamerton had become an enthusiastic promoter of etching in Britain. He had trained as a painter, but become a professional art critic and amateur etcher. His Etching and Etchers (1868) was more an art history than a technical text but it did much to popularize the art and some of its modern practitioners.
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Vitreography was initially conceived of as an intaglio process, in which line and tone are carved, engraved or etched into the glass plate’s surface. Printing an intaglio plate involves forcing ink into the grooves and pits, and then wiping the plate’s surface with tarlatan Tarlatan is a stiff muslin used by etchers to wipe excess ink from intaglio plates. to remove excess ink. The image is transferred to dampened paper under pressure in an etching press.Petrie, K. (2006) Glass and Print, University of Pennsylvania Press, page 115 Color intaglio prints are achieved by processing separate plates, each carrying one or more colors in proportion to the effect desired in the print.
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It was at the RSA that he made his first acquaintance with etching. Ingham was to become one of the most notable etchers of the second half of the 20th century, remarkable for the size and quality of his plates, which he often attacked in a style he called "quarrying." He was by then established himself in a fine studio in Fournier St, off Brick Lane and teaching part of the time at Maidstone College of Art, enjoying among others the company of Quentin Crisp, who was a life model there at the time, particularly on the train journeys up and down from London.
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Letters in support were written to the fledging Society by Frederick Leighton, then President of the Royal Academy, John Ruskin, Charles Dickens, John Everett Millais, and Auguste Rodin, amongst others. This Society achieved its Royal Charter granted by Queen Victoria in 1888 who bestowed on the President a gold chain of office, becoming the Royal Society of Painter-Etchers and in 1898 this was enlarged to include Engravers. Fellow, George W. Eve, designed a new Associates and Fellows diploma in 1893 and 1904.Viner, 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. 7.
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She was an active member of the Glasgow Society of Lady Artists and, in 1960, was elected an associate member of the Royal Scottish Academy. She was also a regular exhibitor with the Royal Watercolour Society, with the Royal Society of Painter-Etchers and Engravers and at the Royal Glasgow Institute of the Fine Arts. Dick died in 1976 after a fall at the home in Clarkston she shared with one of her sisters. For many years a large portrait of her, Self Portrait in the Studio, hung in the Glasgow School of Art but was destroyed in 2014 when fire engulfed the building.
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The Grand Duke also made the artist an officer in the Grand Ducal order of the White Falcon. Willem Linnig and his father Willem the elder were among a large number of Antwerp artists who established the 'Vereeniging der Antwerpsche etsers' or 'l'Association des aquafortistes anversois' ("Association of Antwerp Etchers") founded in 1880. The co-founders included Léon Abry, Constant Cap, Flor Crabeels, Edgard Farasyn, Jean Pierre François Lamorinière, Egide François Leemans, Joseph Van Luppen, Isidoor Meyers, Jean Baptiste Pierre Michiels, Karel Ooms, Max Rooses, Hendrik Frans Schaefels, Lucas Victor Schaefels, Jan Stobbaerts, Frans Van Kuyck, Piet Verhaert, A.-J. Verhoeven, Jozef Bal and Charles Verlat.
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National Museum in Warsaw Altdorfer was a significant printmaker, with numerous engravings and about ninety-three woodcuts. These included some for the Triumphs of Maximilian, where he followed the overall style presumably set by Hans Burgkmair, although he was able to escape somewhat from this in his depictions of the more disorderly baggage-train, still coming through a mountain landscape. However most of his best prints are etchings, many of landscapes; in these he was able most easily to use his drawing style. He was one of the most successful early etchers, and was unusual for his generation of German printmakers in doing no book illustrations.
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Helmick lived in London for 15 years, from 1872 to 1887. He would regularly visit Ireland to make paintings on rural Irish life, and Irish households, from his studios at the counties Cork and Galway. Throughout his stretch in London, he repeatedly exhibited in a number of Art societies, such as London’s Royal Academy, the Royal Institute of Oil Painters, the Royal Society of Painters-Etchers and Engravers, the Society of British Artists, and the Royal Society of Artists in Birmingham. He also exhibited his works at the Glasgow Institute of the Fine Arts, the Royal Hibernian Academy, the Walker Art Gallery in Liverpool and Manchester City Art Gallery.
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Benenson was born in London, where she attended La Sagesse Convent High School, before studying art at the Regent Street Polytechnic (1958–63) under Geoffrey H. Deeley and James Osborne. She was awarded a National Diploma in Design in 1962. In addition to her permanent studies, Benenson took private calligraphy tuition with Anthony Wood between 1963–64, after which she was elected a member to the Society of Scribes & Illuminators. After successfully exhibiting work at the Royal Academy from 1962, and at the Royal Society of Painter-Etchers and Engravers from 1968, Benenson was elected to member status of the latter institution in 1978.
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At 10 years old, Drury lost the sight in one eye, due to an air-gun pellet, whilst playing with his brother. He married the painter Enid Solomon in 1937; two years later at the outbreak of war, Drury could not serve due to his damaged sight. Instead of becoming a war artist, he worked at Queen Mary's Hospital, in Roehampton in the plaster workshop.Paul Drury, The Daily Telegraph, London, 20 May 1987 Paul Drury died on 19 May 1987. The Daily Telegraph obituary praised him as ‘One of the most distinguished etchers and draughtsmen in that remarkably gifted generation of printmakers who grew up between the two World Wars.
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"Near Newport", 1930 Ashton was director of the Art Gallery of New South Wales (1937–1945) and almost immediately had to organize the sesquicentennial exhibition of Australian art. During his tenure, he improved the gallery lighting, but other plans were postponed because of World War II. From 1944 to 1947, he was also director of David Jones Art Gallery. A member of the Commonwealth Art Advisory Board from 1918, Ashton was chairman in 1953–1962. He was a member of the Royal Institute of Oil Painters, a vice- president of the Australian Painter-Etchers' Society, and a member of the Society of Artists in Sydney, being awarded its medal in 1944.
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He founded the Edinburgh print makers workshop in 1967 and was a founder member of Glasgow Print Studio in 1972. He was a Fellow of the Royal Society of the Painter-Etchers and Engravers in 1951, an Associate of the Royal Scottish Academy in 1971, was the President of the Royal Scottish Society of Painters in Watercolours from 1998 to 2005. Reeves was instrumental in developing the printmaking department at Glasgow School of Art. As printmaking took on a more central role within contemporary art during the 1960s and 1970s, Reeves developed his own work and experimented with print techniques as well as moving into collage.
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The Mr and Mrs Frank G Logan prize was awarded to a jury-selected exhibit at the American Paintings and Sculpture Exhibitions held in Chicago, and a similarly named prize was awarded to a local artist at the annual Chicago and Vicinity Exhibition for a selected exhibit. Frank G Logan prizes were also awarded at exhibitions of prints by the Chicago Society of Etchers, the annual International Watercolor Exhibition and the annual International Lithography and Wood Engraving Exhibition, all held at the Chicago Art Institute. Logan prizes were also awarded by the Society for Sanity in Art at exhibitions in California. Recipients of these prizes are listed below.
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Callot led the way in exploiting the new possibilities; most of his etchings are small but full of tiny detail, and he developed a sense of recession in landscape backgrounds in etching with multiple bitings to etch the background more lightly than the foreground. He also used a special etching needle called an échoppe to produce swelling lines like those created by the burin in an engraving, and also reinforced the etched lines with a burin after biting; which soon became common practice among etchers. Callot etched a great variety of subjects in over 1400 prints, from grotesques to his tiny but extremely powerful series Les Grandes Misères de la guerre.Hind (1923), 158–160.
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After the end of the 1870/1871 war, Kemna believed the time had come to bring steam plows to German agriculture in large numbers, achieving his desire by acquiring English steam plow etchers and making them known to landowners through contract plowing. This Practical experience led Kemna's company to free himself more and more from English producers and become a self-sufficient entity. One of the first steps in this process was to make the plows for the locomotives sourced from abroad (which means that Kemna adapted its plows to these locomotives and thus also became successful on the international stage). In 1882, Kemna started producing road construction machines and other steam engines.
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Over the years he exhibited 34 works at the summer show and often these reflected his travels on the continent of Europe. Between 1882 and 1888 his paintings at the exhibition included landscapes of the Pyrenees, Austrian forests, Innsbruck, Vienna and the Tyrol. In 1885 his address was given as Villa Regina, Meran, South Austria. Later works included pictures of landscapes in Italy, Spain and Dresden, Germany. He was also a frequent exhibitor at the Fine Art Society (1893, 1897, 1899, 1902, 1904, 1909, 1912) and other venues that included the Royal Society of British Artists, the Royal Society of Painters in Watercolour, the Royal Society of Painters, Etchers and Engravers and the Royal Oil Painters Institute.
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Critics have noted that the generally nostalgic tone of the imagery, which hovers between "eulogy and travelogue", tends to gloss over the uglier aspects of the region's history, wrapping slavery, racism, and poverty in a "golden haze of memory." The artists specialized in prints, including woodblocks and etchings, which sold more readily to tourists and other visitors than paintings did and which helped to spread the imagery of the movement throughout the country. Local artists collectively bought a press and—influenced in part by visiting artists Hale and Clements—formed the Charleston Etchers' Club to promote printmaking as a medium. Smith, Verner, and others also banded together to champion preservation of the city's remaining historic buildings.
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He exhibited his art throughout England including at the Royal Academy and was elected an Associate of the Royal Society of Painters in Water Colours and a Fellow of the Royal Society of Painter-Etchers and Engravers. As a potter, watercolour painter, jeweller, silversmith, metalworker, etcher, print-maker and writer on artistic subjects, his reputation has probably suffered because he spread his talents too thinly. Nevertheless, the British Museum, the Victoria & Albert Museum and National Maritime Museum at Greenwich hold collections of his work and papers. He married Edith Robinson in 1893 and together with his wife, he was one of the key figures in the jewellery of the Arts and Crafts movement.
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He exhibited in Vienna, Prague, Paris, Rotterdam and Amsterdam and painted in these locations when he travelled there. He returned often to paint in the border town of Putte, Kapellen where in the mid 1870s he acquired a residence called The Pavillion. Jean Pierre François Lamorinière was among a large number of Antwerp artists who established the or ('Association of Antwerp Etchers') founded in 1880. The co-founders included Léon Abry, Constant Cap, Flor Crabeels, Edgar Farasyn, Edgard Farasyn, Egide François Leemans, Willem Linnig the Elder, Willem Linnig the Younger, Joseph Van Luppen, Isidoor Meyers, Jean Baptiste Pierre Michiels, Karel Ooms, Max Rooses, Hendrik Frans Schaefels, Lucas Victor Schaefels, Jan Stobbaerts, Frans Van Kuyck, Piet Verhaert, A.-J.
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Shepperson was elected a member of the Royal Society of Miniature Painters, Sculptors and Gravers (RMS) in 1900, and also of the Royal Institute of Painters in Water Colours (RI) in that year. Five years later, in 1905, Shepperson resigned his membership of the RI. In 1910 he was elected an Associate of the Royal Watercolour Society. In 1919 he was elected both an Associate of the Royal Academy, and of the Royal Society of Painter-Etchers and Engravers (ARE) Shepperson was at his studio at 5 Mulberry Walk, Chelsea, London when he died on 30 December 1921. Gerald William Shepperson was his executor and his estate was valued at £1,852 0s. 3d.
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His style derives from Netherlandish Mannerism, though his technique from Italian etchers, especially Barocci and Ventura Salimbeni.Griffiths, 36–39 Unusually, his subjects were mainly religious, and though the costumes are often extravagant, suggest intense religious feelings on his part. Even later, the German-Silesian painter Bartholomeus Strobel, who had spent the last years of Rudolf's reign as a young artist in Prague, continued the Rudolfine style into the 1640s, despite the horrors visited on Silesia by the Thirty Years War, in works such as his enormous Feast of Herod with the Beheading of St John the Baptist in the Prado. From 1634 he retreated to the safety of Poland as court artist.
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In 1936 her drypoint, "Telegraph Hill, San Francisco, in 1869" (shown at right) won the Frederick Talcott Prize, an award given annually by the Society of American Etchers for the best print by a non-member to be shown at its annual exhibition. In 1944 her drypoint sketch, "Uncle Clarence's Barn, Fairfield, N.Y." received honorable mention in the annual exhibition put on by the National Association of Women Artists. In 1947 an etching of Cawein's won an award at the 55th Annual Exhibition of the National Association of Women Artists. Cawein seems not to have sold her prints through commercial dealers, instead taking advantage of shows held by non-profit organizations where works on display were offered for sale.
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Frederick Landseer Maur Griggs (30 October 1876 - 7 June 1938) was an English etcher, architectural draughtsman, illustrator, and early conservationist, associated with the late flowering of the Arts and Crafts movement in the Cotswolds, centered in Chipping Campden. He was one of the first etchers to be elected to full membership of the Royal Academy, and was part of the final phase of the Etching Revival in Britain. Born in Hitchin, Hertfordshire, he worked as an illustrator for the Highways and Byways series of regional guides for the publishers, Macmillans. In 1903 he settled at Dover's House, in the market town of Chipping Campden in the Cotswolds, and went on to create one of the last significant Arts and Crafts houses at 'New Dover's House'.
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Cornelis (Poelenburgh) from Utrecht (bent-name Satier), Wouter (Crabeth) from Gou (bent-name Almanack), Tyman (Cracht) from Emster (bent-name Botterkull) and Peter from Leiden (bent- name Ram). Bentvueghels in a Roman Tavern, by Pieter van Laer The members, which included painters, etchers, sculptors and poets, all lived in different parts of the city (mostly the parishes of Santa Maria del Popolo and San Lorenzo in Lucina in the north of the city) and came together for social and intellectual reasons. The group was well known for its drunken, Bacchic initiation rituals (paid for by the initiate). These celebrations, sometimes lasting up to 24 hours, concluded with group marching to the church of Santa Costanza, known popularly at the time as the Temple of Bacchus.
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Currey was born at Kensington in London and was privately educated both there and in Dresden after which she returned to London to study at the Slade School of Fine Art. She then studied with the artist Max Meldrum at Melbourne in Australia, before studying engraving at Goldsmiths' College in London. Currey established a studio in London and produced images, often of landscapes and architecture, in pencil, as etchings and as paintings in tempera. She exhibited at a wide variety of venues, notably at the Royal Academy in London between 1910 and 1949 and also with the Society of British Artists, the Royal Society of Painter-Etchers and Engravers, the Royal Hibernian Academy, the Senefelder Club and the United Artists group.
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Both artists shared a love of ancient buildings set in idealised landscapes, charged with a spiritual and mystical intensity. Following the example of the late Romantic etchings of Samuel Palmer, a group of contemporary British printmakers, including Robin Tanner, Graham Sutherland and Paul Drury, were developing a body of work based on evocative visionary scenes of a lost pre-industrial England. Webb’s most highly acclaimed works following his association with Griggs include 'Rat Barn' and 'Dream Barn', both etched in 1929 when he was just twenty years old, so that in that year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engravers. Webb travelled the British countryside in search of subject matter, visiting Buckinghamshire, Sussex, Kent, Gloucestershire and Wales.
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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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Influenced by the Arts and Crafts movement, Gearhart made prints that featured strong use of inky black or dark blue lines together with rich foreground colors set off against muted deep backgrounds. She frequently included paths, roads, and waterways to lead the viewer into the image and made use of sentinel trees to anchor her compositions. The fusion of stark lines with atmospheric color and light in her images makes her style singularly well suited to depict California's unique combination of "serene and stark beauty." She became an exhibiting member of the San Francisco-based California Society of Etchers (today's California Society of Printmakers) and for the Society's Eighth Annual Exhibition of 1919 she had five of her color prints accepted by the jury for display.
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Born in Gävle, Tallberg was the son of Carl Erik Tallberg, a metalworker, and his wife Kristina Johansson. After graduating from the Royal Swedish Academy of Fine Arts, where he studied from 1878 to 1882, he spent a year in Düsseldorf, perfecting his landscape painting technique, especially the use of watercolours. Soon afterwards he turned to etching, spending some time studying abroad. After visiting Italy, France, Spain, North Africa and Germany, he went to England where from 1889 to 1895 he resided in Burnham to the west of London where he became associated with Swedish etchers.. In 1895, he returned to Sweden where he specialized in etching, and taught an etching course at the Royal Swedish Academy of Fine Arts.
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Chambers, Introduction By the early 20th century, and especially in the decade after the end of the First World War, a very strong body of well-off collectors led to a huge boom in prices for contemporary prints by the most highly-regarded artists, sometimes called the "super-etchers",Carey, 216 which very often exceeded those for good impressions of prints by Rembrandt and Dürer, let alone other Old Masters. The boom was somewhat cynically exploited by many artists, who produced prints in a rather excessive number of states, often described as "proof states", so encouraging collectors to buy multiple copies. Muirhead Bone is believed to hold the record, with 28 states for one print.Carey, 234, describing a Bone with a mere 19 states Surface tone also individualized impressions.
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McVeigh and Sellors were also founding members of the Fort Worth Artists Guild, the first Fort Worth organization to exhibit the work of local artists, in 1934. By 1937, McVeigh was also the chair of the Fort Worth Woman's Club art department. In 1939 McVeigh was one of eight women who founded the Printmakers Guild, later called Texas Printmakers, in response to being excluded from the male- dominated Lone Star Printmakers; the others were Lucile Land Lacy, Bertha Landers, Stella LaMond, Mary Lightfoot, Verda Ligon, Coreen May Spellman, and Lura Ann Taylor. (link to page) McVeigh was a member of the Society of American Graphic Artists, Dallas Print Club, Fort Worth Art Association, Prairie Printmakers, California Society of Etchers, Printmakers Guild of Texas, and the Southern States Art League.
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Gallagher enjoyed early success, both financially and in popular response, and through the 1920s and 1930s he occupied a prominent position in the American art world, being favorably compared to artists like Woodbury, Benson, and even Winslow Homer (1836–1910). His work was reviewed, for example, by the influential art critic Loring Holmes Dodd and included in a 1960 publication in which Dodd collected articles he had published over the years in the Worcester Evening Gazette. The collection presented Gallagher in the company of such other prominent illustrators and etchers as N.C. Wyeth, Norman Rockwell, Maxfield Parrish, and Howard Pyle. A 2012 exhibit catalog noted Gallagher's strength as a watercolorist: “Gallagher had a proclivity for calm and peaceful places, and he rendered images that elicit the feelings evoked by his sites in the viewer.
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Stothard's principal publication was The Monumental Effigies of Great Britain; selected from our cathedrals and churches for the purpose of bringing together, and preserving correct representations of the best historical illustrations extant, from the Norman Conquest to the reign of Henry the Eighth, a folio volume containing many etched plates. He began to issue it in parts in 1811, but it remained unfinished at his death. His widow, Anna Eliza, brought it to completion, with the assistance of four different etchers (who produced the remaining plates from Stothard's original drawings), and her brother, Alfred John Kempe (who provided additional text, based in part on Stothard's own notes). The complete volume finally appeared in 1832, although it contains two title pages, one dated 1817 and the other 1832, which has sometimes caused bibliographical confusion.
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An online facsimile of the entire text of Vol. 1 is posted on the Traditional Fine Arts Organization website (). In 1921 she began her studies in the Department of Art at the University of California, Berkeley, where she perfected her skills as a painter under Ray Boynton and was first introduced to printmaking by the renowned etcher, Perham Wilhelm Nahl. Gene sketched and exhibited with the large art colony in Carmel-by-the Sea, California, and until 1938 periodically rented a cottage there for several months in the summer. After she graduated in 1924 with "honors in art," she briefly studied at the California School of Fine Arts (today’s San Francisco Art Institute), and exhibited her etchings at the California Society of Etchers (today’s California Society of Printmakers) and at the Oakland Art Gallery.
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In a published lecture from 1935 she extols the nature of line as being one of the primary elements of art, as "the most basic utterance of life.""The Beauty of Line," Bertha E. Jaques, Olcott Day Lecture, October 27, 1935; from the archives of the Cedar Rapids Museum of Art According to Jaques lines can evoke any emotion and it forms the basis of human creativity from primitive symbols to letters to pictures. Her lecture ends with a brief plea for the listeners to visit galleries and view prints up close to appreciate the use of lines, artistic composition, and to become familiar with what a "good" print looked like. She also became a central figure in the wider community of etchers, and many artists would travel to her home, including many visits from Helen Hyde.
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She studied in London for several years and took courses in enamelling, jewellery designing, life work, and etching at the St John's Wood Art School and the Sir John Cass Technical School. On her return to Adelaide she set up a studio of her own in Flinders Street, but gave it up when she gained an appointment as assistant teacher at the School of Arts and Crafts on North Terrace. She died suddenly of a heart attack in Blackwood where she had been teaching for four years and was popular with both fellow-teachers and students. Her death came as a shock to members of the staff, who had been with her on the Saturday morning, when she was in excellent spirits, having just been congratulated on her work at an exhibition of the Women Painter-Etchers Society in Sydney.
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He led a furiously active public life: he was a foundation member (with Gayfield Shaw, Lionel Lindsay, John Shirlow, Eirene Mort, David Barker, Albert Henry Fullwood, John Barclay Godson, and Bruce Robertson) of the Australian Painter-Etchers Society in 1920 and almost certainly was instrumental in founding its daughter organisation, the Australian Print Collectors' Club in 1925. He was president of the New South Wales Society of Artists in the period 1921–47. He was a trustee of the Art Gallery of New South Wales 1927–47 (and vice-president 1943–47, supporting the controversial 1943 Archibald Prize going to William Dobell for his portrait of Joshua Smith). He was on the Advisory Committee for Applied Art (1925-31), a member of the Australian War Memorial art committee and a trustee of the New South Wales government travelling scholarship committee.
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He went on to exhibit in art centres in London, Chicago, New York and Paris. In his paintings and prints, Webb assimilated beliefs founded on his interest in Eastern religions, astrology, mysticism and the occult. Etchers Kenneth Woodbridge and Edgar Holloway recall his interest in Theosophy with its origins in ‘Ancient Wisdom’ religions. Woodbridge, who knew Webb in the 1930s, described evenings in Webb’s studio listening to him talk of ‘faraway things, astrology, planetary chains’ and‘ancient races of men who lived before the dawn of history, in lost Atlantis’. (Hartley: 6) A close friend and ‘soul mate’ of the artist, Beryl Gascoigne remembers him talk not of his work but of reincarnation, astrology and eternity. Webb himself never wrote and seldom talked about his motivations; he felt the paintings and prints should speak forthemselves and that the production of art should be triggered by the ‘inner self’.
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Despite being a prominent member of Royal Academy of Arts, Royal Watercolour Society and the Royal Society of Painter- Etchers, as well as being on familiar terms with the royal family, Herkomer was never totally accepted by the British establishment, as he was ultimately a victim of the deteriorating relationship between the UK and Germany, where he shuttled in between, spending most of his summers in Bavaria. Herkomer's massive house, Lululaund, named after Lulu Griffith, the second of his three wives, served as his studio, school, theatre and movie studio, where he put on productions of his own plays and musical compositions. It was designed by the prominent American architect Henry Hobson Richardson, for whom Herkomer painted a portrait. Four of his pictures, Found (1885), Sir Henry Tate (1897), Portrait of Lady Tate (1899) and The Council of the Royal Academy (1908), are in the national collection at Tate.
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It is said that his presence in San Francisco achieved its purpose: encouraging local printmakers to get prepared and organized to take advantage of the promotional opportunities afforded by the upcoming San Francisco PPIE, the largest display of original art work of its time. The four founders of the California Society of Etchers were artist colleagues: Robert B. Harshe (1879–1938), himself an etcher and then art professor at Stanford University; Pedro Joseph J. Lemos (1882–1954), then etcher and professor at the San Francisco Institute of Art (now San Francisco Art Institute); Gottardo Piazzoni (1872–1945), painter and muralist; and Ralph Stackpole (1885–1973), a sculptor, printmaker, and at that time Piazzoni's studio assistant. The young organization began exhibiting immediately, with its first annual exhibition in April 1913 at Vickery, Atkins and Torrey Print Gallery, 550 Sutter Street, San Francisco. Its second annual exhibition was also held in 1913.
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From the early 1870s Wyllie worked as an illustrator of maritime subjects for The Graphic. In 1875, the Academy rejected two of his works, and in anger he declared his intention to give up art for a career at sea. Over the course of several sailing cruises as far afield as Europe he laid the foundations for a lifelong love of the sea and of maritime subjects. Wyllie was a prolific exhibitor, with paintings and etchings shown at the Royal Academy, the Royal Institute of Oil Painters, the Royal Institute of Painters in Water Colours, the Royal Society of Painter-Etchers and Engravers, the Grosvenor Gallery, the New English Art Club, the Society of British Artists, the Dowdeswell Galleries and the Fine Art Society. Wyllie became a member of the Society of British Artists in 1875, and of the Royal Institute of Painters in Water Colours in 1882.
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June 1938 – Wins first prize in painting for Kansas City Art Institute National High School Competition. June 1938 – Graduates from George A. Davis Vocational and Technical High School, Grand Rapids. September 1938– May 1940 - Studies at Kansas City Art Institute, Kansas City, Missouri. His instructors include Thomas Hart Benton and John de Martelly. May 1940 – Spends one week in Chicago receiving instruction in etching and printing techniques from Bertha Jaques and James Swann. March 1941 – His etchings Evening Storm and Marketplace II are acquired by the Library of Congress, chosen from the Society of American Etchers Exhibition in New York. October 1941 – Solo exhibition of etchings at the Grand Rapids Art Gallery. March 2–31, 1941 – Solo exhibition at the Smithsonian Institution United States National Museum, Division of Graphic Arts. May 1943 – Changes spelling of his name back to Weidenaar. April 1944– Awarded John Simon Guggenheim Memorial Foundation Fellowship Award.
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The Society was established on 31 July 1880 at 38 Hertford Street, Mayfair, London, as the Society of Painter-Etchers for the promotion of original etching as a creative art form, inspired by the French group of the same name which existed in Paris. The first six Fellows, all elected at this formation were Francis Seymour Haden (English, 1818–1910); Heywood Hardy (English, 1852–1926); Hubert von Herkomer RA (German/English, 1849–1914); Alphonse Legros (French, 1837–1911); Robert Walker Macbeth RA, (Scottish, 1848–1910), and James Tissot (French, 1836–1902). Samuel Palmer (English, 1805–1881) – the only painter-etcher to be granted a posthumous Honorary Fellowship of the RE – was terminally ill at the time of the Society’s formation, otherwise would have been approached. James McNeill Whistler (American, 1834–1903) who was in Venice at the time of the RE’s founding, had a row with his brother-in-law, Haden, and was not invited to join.
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Though often depicting gruesome themes, the works were satirically presented social commentaries. He held his first European show Sweden in 1961 and that same year won the first prize of engraving at The Canadian Painters and Etchers Society exhibition held at the Royal Ontario Museum. In the 1970s, Silva worked in a studio in Mexico City as well as one in Malaga, Spain and exhibited widely from New York to Toronto, to Spain, to Mexico City, to Arizona, to New Mexico. In addition, his works were exhibited in the Bogotá Museum of Modern Art Boston Museum of Fine Arts, Brooklyn Museum, the Jewish Center of San Diego, the Library of Congress in Washington, DC, the London Museum, Museum of Modern Art in New York, La Escuela Nacional de Belles Artes Arango (The National School of Fine Arts, Arango) in Bogota, the Philadelphia Museum of Art, and Santiago Museum of Contemporary Art, among others.
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Oxford: Ashmolean Museum He was elected an Associate of the Royal Scottish Academy in 1923 and a full member in 1933; and he was President of the Society of Artist Printers from 1929 to 1947. In 1925 the publishers Seeley Service issued what is still regarded as the seminal treatise on the subject of etching, called The Art of Etching. In the book Lumsden describes the various techniques of intaglio printing using etching, drypoint, mezzotint and aquatint; he describes the history and development of etching through Rembrandt, Goya and the etching revival; and he reproduced personal, illustrated notes from several eminent etchers of the period on their techniques including: Marius Bauer, Frank Benson, Muirhead Bone, George Clausen, David Young Cameron, Frank Short, Augustus John, Frank Brangwyn, James McBey, Edmund Blampied, Percy Smith, Christopher Nevinson, Laura Knight, and John Everett. The book was published as a trade edition, which is still in print, and as a limited edition of 150 copies containing four original etchings by Lumsden.
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Toledo – Puerta de Zocodover, from The Cities of Spain Rimington took an interest in mechanical engineering: for a time he was a partner in a machinery agency based in the City of London and in 1875 he gave notice of a patent for a device to measure the delivery of liquids and solids, He became a skilled etcher, and in 1887 was elected as Associate Member of the Royal Society of Painters Etchers and Engravers. He considered the reproduction quality of etching superior to that of ink drawings. In an exchange of letters published in the Pall Mall Gazette in 1889, Joseph Pennell (a Fellow of the Society), openly disagreed with Rimington's views, saying that he lacked awareness of the mechanical part of the art, and that the photo engraving of ink drawings provided the equal of autographic etching. He first exhibited at the Royal Academy Summer Exhibition in 1880 with a picture titled An "Inche" on the Blackwater, South of Ireland; his address at this time was given as Weston- super-Mare.
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Paul Gauguin, Manao Tupapau ("The Spirit of the Dead Watching"), 1894-95, woodcut with hand and stencilled colour As well as the Great Depression, the monochrome tradition of Haden and Whistler had reached something of a dead end, "largely resistant" to "the need to find recognisably modern subject- matter and forms of expression".Carey, 222 A review in 1926 by Edward Hopper of Fine Prints of the Year, 1925 expressed this with some brutality: "We have had a long and weary familiarity with these 'true etchers' who spend their industrious lives weaving pleasing lines around old doorways, Venetian palaces, Gothic cathedrals, and English bridges on the copper ... One wanders through this desert of manual dexterity without much hope ... Of patient labour and skill there is in this book a plenty and more. Of technical experiment or strongly personal vision and contact with modern life, there is little or none".Quoted, Carey, 222-223 Etching, of urban subjects similar to his later paintings, had been important in establishing Hopper's early reputation, but around 1924 he decided to concentrate on painting instead.
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Claire Leighton's book on wood engraving and woodcuts became his Bible on making woodcuts, but it was Thomas Nason's simple architectural themes and pastoral renderings that inspired his subject matter. Pickup and Nason shared a common view of nature and the countryside, and the majority of his prints reflected his love of nature as well as his appreciation for the historical places and the rural area in and around Nashville. Pickup was one of only a handful of artists in Tennessee who worked with wood engraving. He exhibited nationally throughout the 1930s, and became nationally recognized for his work. In January 1937 his prints were exhibited in the National Exhibition of Lithographs, Woodcuts, and Block Prints New York City, and from that exhibition one of his prints was selected by The Society of American Etchers for a tour of European Galleries, beginning in Stockholm, Sweden. His work was included in the “Sixth International Exhibition of Lithography and Wood Engraving,” at the Art Institute of Chicago, November 5, 1937 to January 10, 1938.
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By 1911, when HM King George V granted a Charter of Incorporation and Bye-laws, the RE, as it came to be styled, had grown in prestige and became fully established. From 1919, in token of solidarity, Presidents of the Royal Academy and the Royal Watercolour Society (RWS) have been elected Honorary Fellows of the RE. The RE’s original motto – "Never Stoop to be a Copyist" – changed to "Nulla Dies Sine Linea" (No Day Without A Line) in 1920. The Royal Society of Painter- Printmakers (formerly Royal Society of Painter-Etchers and Engravers) has had thirteen presidents (PRE) in total since 1880. They were: Sir Francis Seymour Haden (founder and PRE from 1880–1910), Professor Sir Francis Job Short (PRE from 1910–1938), Professor Malcolm Osborne MBE (PRE from 1938–1962), Professor Robert Austin (PRE from 1962–1970), Paul Drury (PRE from 1970–1975), Harry Eccleston OBE (PRE from 1975–1989), and Joseph Winkelman (PRE from 1989–1991), when the Society was renamed. Winkelman continued as President until 1995.
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While developing his skills as an etcher and lithographer in the early 1920s Blampied continued to work extensively for magazines and contributed hundreds of political cartoons and decorative drawings to The Bystander magazine between 1922 and 1926; he illustrated short stories by E.F. Benson and other authors in Hutchinson’s Magazine, and continued to design book jackets for publishers including Hodder & Stoughton, Herbert Jenkins, T. Fisher Unwin, Eveleigh Nash, William Collins and Constable. The books for T. Fisher Unwin included dust jackets for new impressions in 1923 of eleven of E. Nesbit's famous children’s novels and James Hilton's rare second novel called Storm Passage. Blampied also illustrated a film edition of Black Beauty by Anna Sewell and a new edition of The Roadmender by Michael Fairless. Blampied held his first exhibition of paintings and drawings, rather than prints, at the Leicester Galleries in February 1923 while continuing regularly to exhibit his prints at the annual shows of the Royal Society of Painter Etchers and Engravers and the Senefelder Club of British lithographers, named after Alois Senefelder, the inventor of the method.
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Webster's family was opposed to his career choice. Webster, however, would return to Paris in 1904, after spending two years unsuccessfully pursuing a business career in America, at his father's insistence. G. H. Webster finally resigned himself to his son's wishes: “All right, try it for a year.” Upon his return to Paris, Webster enrolled at the Académie Julian, where he joined the studio of Jean-Paul Laurens (1838 – 1921), the Paris academician and professor at the École nationale supérieure des Beaux-Arts. It was there that Webster met Donald Shaw MacLaughlan (1876 – 1938), a Canadian artist already established as a significant presence in the Paris art scene."American Etchers Abroad 1880-1939", Anderson, Reed, The University of Kansas, Lawrence: 2004, p. 159 MacLaughlan was a practiced printmaker of considerable skill, as well as a teacher, and it was he who first taught Webster the craft of etching. It is said that Webster first became interested in etching after viewing a portfolio of prints made by the visionary French artist Charles Méryon (1821 – 1868) at the Bibliothèque Nationale. Webster may also have known of the work of James Abbott McNeill Whistler (1834 – 1903), the American artist whose eccentric personality and masterful prints captivated generations of young graphic artists.
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