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An illuminating investigation of how aquatint travel books transformed the way Britons viewed the world and their place within it In the late 18th century, British artists embraced the medium of aquatint for its ability to produce prints with rich and varied tones that became even more stunning with the addition of color. At the same time, the expanding purview of the British empire created a market for images of far-away places. Book publishers quickly seized on these two trends and began producing travel books illustrated with aquatint prints of Indian cave temples, Chinese waterways, African villages, and more. Offering a close analysis of three exceptional publications—Thomas and William Daniell’s Oriental Scenery (1795–1808), William Alexander’s Costume of China (1797–1805), and Samuel Daniell’s African Scenery and Animals (1804–5)—this volume examines how aquatint became a preferred medium for the visual representation of cultural difference, and how it subtly shaped the direction of Western modernism.

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An illuminating investigation of how aquatint travel books transformed the way Britons viewed the world and their place within it In the late 18th century, British artists embraced the medium of aquatint for its ability to produce prints with rich and varied tones that became even more stunning with the addition of color. At the same time, the expanding purview of the British empire created a market for images of far-away places. Book publishers quickly seized on these two trends and began producing travel books illustrated with aquatint prints of Indian cave temples, Chinese waterways, African villages, and more. Offering a close analysis of three exceptional publications—Thomas and William Daniell’s Oriental Scenery (1795–1808), William Alexander’s Costume of China (1797–1805), and Samuel Daniell’s African Scenery and Animals (1804–5)—this volume examines how aquatint became a preferred medium for the visual representation of cultural difference, and how it subtly shaped the direction of Western modernism.

This is the essential bibliography for the collector of British books with color plates from the 18th and 19th Centuries. Many of the plates have been removed from the books and are sold or collected individually and this catalogue has exhaustive descriptions of the individual plates as well as the books they come from. Very important for identifying first editions and later reprints. This reduced size edition contains the 2 volumes that catalogue books on travel, most with magnificent plates. The full size volumes are published by the same publisher.

Exhibition catalog. Full-page prints of early Americana by the master of aquatint, with critical and biographical introductions and a complete, annotated checklist of the New York Public Library's holdings. Introductory essay by Dale Roylance. Checklist and commentaries by Roberta Waddell and Theresa Balazar. 92 pages, 32 b/w duotones, 9 color plates. William James Bennett (1787-1844), a British-born artist and engraver, was active in the United States from 1816 until his death.

Cultural Writing. Art. Crown Point Press master printer Emily York discusses aquatint, a form of etching used to create delicate washes, velvety blacks, and intricate layers of color impossible in other art media. Using 46 prints by 32 artists, she ties process directly to art and explains spit bite, sugar lift, soap ground, and water bite. She also details steel-facing and multiple plate printing, with step-by-step instructions for making your own aquatints. With two appendices: "Printing the Crown Point Way" by Kathan Brown and "Using Acid to Bite Plates" by Catherine Brooks. DVD included.

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Cultural Writing. Art. Crown Point Press master printer Emily York discusses aquatint, a form of etching used to create delicate washes, velvety blacks, and intricate layers of color impossible in other art media. Using 46 prints by 32 artists, she ties process directly to art and explains spit bite, sugar lift, soap ground, and water bite. She also details steel-facing and multiple plate printing, with step-by-step instructions for making your own aquatints. With two appendices: "Printing the Crown Point Way" by Kathan Brown and "Using Acid to Bite Plates" by Catherine Brooks. DVD included.

28.0 x 22.0cms, 240pp, 225 b/w& 33 colour illusts, 3 maps, very good+ hardback & dustwrapper. This is heavy book so expect extra freight costs. The chapters cover: the voyage out & Calcutta (1787-1788): yp the country (1788-1789); the return to Calcutta (1789-1791); the south (1792-1793); western India & the journey home (1793-1794) publication & influence; prints by the Daniells after their own Indian drawings; prints by other artists after the Daniells' Indian drawings.

Oblong 8vo, wrps, 38 p., color illus./photos. Printed on the occasion of the Ytrebil exposition that presented an anthology of 28 works on paper that include aquatint etchings, silkscreen prints, drawings and codices. Over the years Chagoya created and elaborate system of visual metaphors that fuse pre-Columbian iconography, religious symbols, ethnic stereotypes, political progaganda, art history references, North American pop culture and Mexican folk traditions. He produces accordion folded books based on the Mexo-American codices and have as their motif humanity's spiraling capacity for self-destruction.

A step-by-step guide to intaglio printmaking draws on traditional techniques while employing modern, non-toxic materials, in a resource that covers every stage of plate-making and printing while demonstrating a variety of techniques, from aquatint and photocollagraphy to drypoint and burnishing.

Detailed illustrated instruction in etching, engraving, aquatint, drypoint, mezzotint — from preparing plate to mounting print. 1,209 illustrations.

South African artist William Kentridge (born 1955) is internationally acclaimed for his drawings, films, and theatre and opera productions. He is also an innovative and prolific printmaker--of etchings, engravings, aquatints, silkscreens, linocuts and lithographs--often experimenting with challenging formats and combinations of printing techniques to create highly worked, intensely atmospheric imagery. His prints range in scale from intimate etchings and drypoints to linocuts on rice paper and canvas measuring over eight feet high and are reproduced on a variety of materials, a tactile approach which is echoed in the design and production of this volume. This unique and beautifully presented book includes almost 100 prints from 1988 to the present, with a stress on experimental, collaborative and serial works. Kentridge’s distinctive use of light and shadow and silhouettes, his concern with memory and perspective, and his absorption in literary texts are all strongly in evidence throughout this book, which provides new insights into the working methods of this prolific artist.

In this book, Mark Graver puts the case for non-toxic printmaking andthen discusses the various technical factors (both materials andequipment) to consider when etching with acrylic resists,making aquatints, etching in general, using drypoint, engraving, makingmezzotints and collagraphs and using photopolymers as well as combiningvarious printmaking techniques. There is also information onvarious inks and health and safety measures in the printingworkshop. All in all, this book contains everything you need to know to clean up your printmaking practice.

Degas, Pissarro, Cassatt, Renoir, Morisot, Bracquemond, Manet, Whistler―these and other Impressionist painters often experimented with printmaking techniques, producing black and white etchings, aquatints, dry points, and color lithographs that exhibited the same easy yet subtle attraction that makes their oil paintings so beloved. In this beautiful book, an eminent authority examines the prints of these painter-printmakers, providing a new understanding of Impressionism and of contemporary printmaking. Drawing on discoveries of the last two decades and on his own research, Michel Melot locates the sources and influences of the prints and analyzes their techniques―particularly in monotypes and embossed prints. In so doing he reveals the close ties between the Impressionist movement and the rebirth of artists' prints in the second half of the nineteenth century. His analysis of the relations among artists, the art market, art criticism, collectors, and political institutions makes Impressionism appear less like a miracle and more a response to the social and economic upheavals of the nineteenth century.

The Colby College of Art is the sole repository of Terry Winters's entire archive of prints. Prints & Sequences presents selections from that collection, spanning two decades and a variety of media including lithography, etching, aquatint, woodcut, linoleum cut and Mixografia. Serial practice is at the core of Winters's art, and Prints & Sequences offers insight into the artist's diverse printing techniques as well as a perspective on his serial processes within individual groupings. The catalogue essay by Clifford S. Ackley, Chair, Department of Prints, Drawings, and Photographs, and Ruth and Carl Shapiro Curator of Prints and Drawings, Museum of Fine Arts, Boston, offers an insightful account of Winters's printmaking within the history of the medium.

In the 1780s, the artists Thomas and William Daniell made several journeys through India. In London by 1794, their aquatints were issued in volumes, entitled "Oriental Scenery". In this text, Antonio Martinelli's photographs reproduce the compositions, and George Michell looks at their history.

This catalogue lists the several states and variations of every known etching, drypoint, mezzotint, aquatint and woodcut by Haden, although this is mainly a catalogue of Haden's prints.

The 15x11.5" format accommodates 160 color and 12 b&w illustrations, many of them decidedly horizontal, and accompanying text laid out in two wide (5.5") columns. Before photography, Washington, DC was the subject of numerous engravings, aquatints, and lithographs which were published separately as well as in newspapers and magazines, souvenir booklets, and guidebooks and brochures. A selection of these illustrations depicting buildings or districts, views from public structures, and bird's-eye views is presented along with descriptions of Washington from contemporary published works by journalists, architects, travelers, politicians, and others. Nine chapters review successive periods of growth and identify events that shaped the city's character. Annotation copyright Book News, Inc. Portland, Or.

A volume of twenty poetic works by the sixteenth-century Spanish poet is hand-written by Pablo Picasso and embellished with the master Surrealist's accompanying flourishes, figures, and sketches, in a bilingual edition that is complemented by twenty drypoint and aquatint portraits.