| From
1790 - 1830 the principle
process in book
illustration was aquatint engraving. An aquatint is prepared by
applying resin or a similar ground to a metal plate, which is then
heated, thus adhering the ground to the metal. This gives a
roughness or grain to the plate which adds texture to the image.
The plate is then immersed in an acid bath, which bites or etches
the plate and creates areas which will hold the ink. The design is
created with graduations of tone achieved through repeated acid
baths combined with varnish used to stop out areas of lighter tone.
Aquatint is an intaglio process, so prints made in this manner will
have a platemark. Aquatinting, with its areas of tone, was often
used to duplicate the feel of a watercolour. Some etching was
frequently used in an aquatint print to create linear elements in
the image. Aquatints were invented by Jean Baptiste Le Prince
around 1768, but became especially popular among British
printmakers in the first part of the nineteenth century
Once the drawing and the
engraving had
been made, the colour
process began. The engravings might be printed in two colours,
perhaps brown for the foreground and blue for the sky and distance,
the remaining colour would be applied by hand. Bundles of sheets to
be coloured would be distributed to workers who would do the work
in their own homes. Often the work was done by children, but
sometimes whole families would work together at home by
candlelight.Handcolouring can save money when printing large plates
although people like Ackermann stressed the high cost of hand
finishing. He used poorly paid French refugees and later hand
coloured plate producers used children and
stencils.
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PYNE,
WILLIAM HENRY. 1769-1843.
William Henry Pyne was an English writer, illustrator and
painter. He initially trained at a drawing academy in his native
London and first exhibited at the Royal Academy in 1790, and thereafter
for six years, chiefly rural subjects. He specialized in
picturesque scenes including groups of people rendered in pen, ink and
watercolor. A founder of the Old Water-Colour Society in
1804, resigned five years later when it refused to increase the
membership beyond 24 artists. Works include 600 illustrations
for Microcosm of London (1803-06) and The Costumes of Great Britain
(1808). He attracted the patronage of the successful publisher
Rudolf Ackermann and engraved and wrote for many of his projects.
Pyne wrote the publication The History Of The
Royal Residences (1816-19), which brought together eminent
watercolorists, draftsmen and aquatint engravers. This
series shows the rooms at Windsor Castle, St.
James's Palace, Kensington Palace, Hampton Court, Buckingham House
(later Buckingham Palace), and Frogmore
'The History of the Royal Residences of Windsor Castle, St.
James's Palace, Carlton House, Kensington Palace, Hampton Court,
Buckingham House, and Frogmore'. Published in London: by A. Dry,
1819. one of 100 hand-colored aquatint plates by T. Sutherland,
D. Havell, R. Reeve, W.J. Bennett, and others after C. Wild, J.
Stephanoff, W. Westall, and R. Cattermole. Oblong folio (380 x 435 mm)
plus margins. Charles Wild (1781-1835), James Stephanoff (1787-1874),
Richard Cattermole (1795-1858), William Westall (1781-1850), George
Samuel (1785-1823) et al. (after) Thomas Sutherland (b. 1785), William
James Bennett (1787-1844), Richard Reeve (b. 1780), Daniel Havell
(1785-1826), J. Bailey, et al. (engravers). They are on fine,
woven paper and at least one print bears a J Whatman 1816 watermark.
Guard Chamber Hampton Court
from 'The History of the Royal Residences of Windsor Castle, St.
James's Palace, Carlton House, Kensington Palace, Hampton Court,
Buckingham House, and Frogmore'. Published in London: by A. Dry,
1819.
one of 100 hand-colored aquatint plates by T. Sutherland, D.
Havell,
R. Reeve, W.J. Bennett, and others after C. Wild, J. Stephanoff, W.
Westall, and R. Cattermole. Oblong folio (380 x 435 mm) plus margins.
Charles Wild (1781-1835), James Stephanoff (1787-1874), Richard
Cattermole (1795-1858), William Westall (1781-1850), George Samuel
(1785-1823) et al. (after) Thomas Sutherland (b. 1785), William James
Bennett (1787-1844), Richard Reeve (b. 1780), Daniel Havell
(1785-1826), J. Bailey, et al. (engravers). They are on fine,
woven
paper and at least one print bears a J Whatman 1816 watermark. Picture
slightly bleached in
Photoshop to show detail . .
colour actually nice and bright some heightened with gum arabic
etc Full page no defects £95 inc
|
The Chapel Hampton Court
from 'The History of the Royal Residences of Windsor Castle, St.
James's Palace, Carlton House, Kensington Palace, Hampton Court,
Buckingham House, and Frogmore'. Published in London: by A. Dry,
1819.
one of 100 hand-colored aquatint plates by T. Sutherland, D.
Havell,
R. Reeve, W.J. Bennett, and others after C. Wild, J. Stephanoff, W.
Westall, and R. Cattermole. Oblong folio (380 x 435 mm) plus margins.
Charles Wild (1781-1835), James Stephanoff (1787-1874), Richard
Cattermole (1795-1858), William Westall (1781-1850), George Samuel
(1785-1823) et al. (after) Thomas Sutherland (b. 1785), William James
Bennett (1787-1844), Richard Reeve (b. 1780), Daniel Havell
(1785-1826), J. Bailey, et al. (engravers). They are on fine,
woven
paper and at least one print bears a J Whatman 1816 watermark. Picture
slightly bleached in
Photoshop to show detail . .
colour actually nice and bright some heightened with gum arabic
etc Full page no defects £95 inc
|
Cartoon Gallery Hampton Court
from 'The History of the Royal Residences of Windsor Castle, St.
James's Palace, Carlton House, Kensington Palace, Hampton Court,
Buckingham House, and Frogmore'. Published in London: by A. Dry,
1819.
one of 100 hand-colored aquatint plates by T. Sutherland, D.
Havell,
R. Reeve, W.J. Bennett, and others after C. Wild, J. Stephanoff, W.
Westall, and R. Cattermole. Oblong folio (380 x 435 mm) plus margins.
Charles Wild (1781-1835), James Stephanoff (1787-1874), Richard
Cattermole (1795-1858), William Westall (1781-1850), George Samuel
(1785-1823) et al. (after) Thomas Sutherland (b. 1785), William James
Bennett (1787-1844), Richard Reeve (b. 1780), Daniel Havell
(1785-1826), J. Bailey, et al. (engravers). They are on fine,
woven
paper and at least one print bears a J Whatman 1816 watermark. Picture
slightly bleached in
Photoshop to show detail . .
colour actually nice and bright some heightened with gum arabic
etc Full page no defects £95 inc |
Gothic hall Hampton Court
from 'The History of the Royal Residences of Windsor Castle, St.
James's Palace, Carlton House, Kensington Palace, Hampton Court,
Buckingham House, and Frogmore'. Published in London: by A. Dry,
1819.
one of 100 hand-colored aquatint plates by T. Sutherland, D.
Havell,
R. Reeve, W.J. Bennett, and others after C. Wild, J. Stephanoff, W.
Westall, and R. Cattermole. Oblong folio (380 x 435 mm) plus margins.
Charles Wild (1781-1835), James Stephanoff (1787-1874), Richard
Cattermole (1795-1858), William Westall (1781-1850), George Samuel
(1785-1823) et al. (after) Thomas Sutherland (b. 1785), William James
Bennett (1787-1844), Richard Reeve (b. 1780), Daniel Havell
(1785-1826), J. Bailey, et al. (engravers). They are on fine,
woven
paper and at least one print bears a J Whatman 1816 watermark. Picture
slightly bleached in
Photoshop to show detail . .
colour actually nice and bright some heightened with gum arabic
etc Full page no defects £95 inc |
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