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Or rere ree peperepererert pega ek paneer oprah seer wipes olseptlst Ty rtihitisreererett” are ree trer i ihn inv ‘bie te i Lhiby epry ated ag eh preekper ey er eer i Tine tee isdaref eth dre} Pp ae att oh “ ay FF rer peealipeeter ey ere ibeat | pe Hhit I err Tea ilbtetbayeprsh brad tree ree creer, Bests Tesh herp rent? nt SHH ing uesrersetns rot Abr erereny rane ttt ttre ee ry TAM Halpatebeed sree iia te re ms inet br Sree reer thftsreatt it hater ob aeabe tates NE 2135 P4\ ++ CORNELL UNIVERSITY LIBRARY - KA o i fi Cornell University Library NE2135 .P41 ++ Etc’ Wii a , 0. oli Overs DATE DUE GAYLORD PRINTEDINU.S A. THE GRAPHIC ARTS SERIES ETCHING THE GRAPHIC ARTS SERIES FOR ARTISTS, STUDENTS, AMATEURS & COLLECTORS Edited by JOSEPH PENNELL Vol. I. LITHOGRAPHY Vol. II. ETCHING Vol. III. PEN DRAWING ETCHERS AND ETCHING CHAPTERS IN THE HISTORY OF THE ART TOGETHER WITH TECHNICAL EXPLANATIONS OF MODERN ARTISTIC METHODS BY IOSEPH PENNELL NEW YORK ETCHING CLUB PEINTRES GRAVEURS FRAN CAIS-ROYAL SOCIETY OF PAINTER ETCHERS (RSD) THE MACMILLAN COMPANY NEW YORK MCMXIX CopyriGuHT, 1919, By THE MACMILLAN COMPANY. Set up and electrotyped. Published November, 1919. All rights reserved A$ {2935 Norwood Press J.S. Cushing Co. — Berwick & Smith Co. Norwood, Mass., U.S.A. TO THE KEPPELS AND THOSE OTHER PRINTSELLERS AND PUBLISHERS WHO HAVE BEEN MY LIFELONG FRIENDS AND PATRONS I DEDICATE THIS BOOK GENERAL PREFACE TO THE GRAPHIC ART SERIES HERE are endless series of art books—and endless schools of art, endless lecturers on art and art criticism. But so far as I know there are no series of books on the Graphic Arts, written or edited, by graphic artists. This series is intended to be a survey of the best work in the past—the work that is admitted to be worth studying—and a definite statement as to the best methods of making drawings, prints, and engravings, written in every case by those who have passed their lives in making them. J. Es PREFACE INTRODUCTORY AND EXPLANATORY AM not, in the technical part of this book, going into the history of the methods of work, or the chemical problems involved in etching, unless they are in general use, or of value to etchers. I propose to describe and explain as fully and as clearly as possible, the best manners of making etchings, especially those not yet described, but employed to-day ; and supplement these descriptions and explanations by examples gathered from my own practice and that of other etchers in America, France, Germany, Italy, and England. There are two technical books by Etchers, on Etching, which may be read with profit: Lalanne’s Treatise on Etching (Traité de la Gravure 4 l’Eau Forte, in the original French), and Short’s On the Making of Etchings, re-issued as Etchings and Engravings. Singer and Strang’s Etching and Engraving should have been perfect—one of the authors is an acknowledged authority on the history of the art, the other a recognised etcher, but the combination was not altogether a success. Hamerton’s Etcher’s Handbook was written by an amateur for amateurs. And there are endless others in endless languages, but all alike are of little importance. Hamerton’s Etching and Etchers, while it certainly did turn the attention of the artless to etching, and gave it a financial stand- ing in modern times, had nothing to do with encouraging etchers, as the two or three then living, whose art is discussed, had already encouraged Hamerton, by their work, before Hamerton began to encourage them, by writing of what they had done. His chapters on processes and methods are of small value, mostly disused, while others never were used, unless by himself. His Etcher’s Handbook too is completely out of date, and even Lalanne and Short have no knowledge of many of the present methods or do not refer to them, while some later writers are too conservative, or stupid, or hide-bound to have anything to do with the newer ways of working. Other writers are authors, not artists, and what they say is of no importance technically, unless some artist told them to say it, and then they frequently flounder into technical traps. Far away the best recent historical work is Prof. Dr. Singer’s Die Moderne Graphik, Leipsic, 1914. Haden’s About Etching contains many interesting comments but few practical instructions. Everything about making an etching can be learned from an etcher in a morning: but it will take the student all his life to put his learning into practice: and even then he will almost certainly fail to become an etcher ; though he can easily become a successful manufacturer of commercial copper plates, commercial states, commercial catalogues, and, the end of all, a commercial success. As for the historical, or rather critical, section of this book, the trouble about all historical works on etching, or any of the arts, is that the authors without any discrimina- tion, have included all those who have made a name, a notoriety, a plate, with the result in my case, when reading years ago Hamerton’s Etching and Etchers, that I thought in my ignorance all the work of all the artists discussed in it should be studied, though for the life of me I could not see why, and it was not till years after that I learned it was to be mostly avoided, and only Hamerton’s ignorance, or plates he had got hold of, gained such etchers a place in his big volume. This sort of writing is not only harmful—it is dis- graceful, as it is founded either on ignorance or a wish to pad out a volume. Then ix PREFACE there are other sorts of art writers: parrots—a whole aviary of them,—but they need not be listened to. The real history is usually as pompous as ponderous, and as incomplete as unreliable, useless as a book of reference, unreadable as literature. Such books, however, are taken deadly seriously—and they are deadly—even if mostly made by “authorities”, or maybe because of it. Another sort is the snippety, chirpy, chatty kind; and then there is the gaudy volume with specially prepared plates, sometimes a method of selling a collection, or gratifying the collector’s vanity, or exposing his ostrich-like ignorance; sometimes the work of an amateur with a mission. Now this book is intended for the student and collector, and I propose in the his- torical part, which will be as short as possible, only to discuss the work of etchers of universally admitted position, and that without any reference to their lives, or their gains, or their scandals, or their period. I cannot be responsible if by so doing the stu- dent should go wrong. If he, or any other reader, thinks I have left out a great etcher, I should like to know of him. I do not think I have—that is among the masters who have gone from us—and this book is not an advertisement of living etchers. The trouble is that in all art books, not only art histories, all art teaching, there is no dis- crimination. It is not what the student learns from books or teachers, but what he has to unlearn for himself that is so difficult. But, if he starts by looking at good art in- telligently, and working scientifically, he has—if he has anything in him—only to go ahead. One big modern artist has confessed that it was just because he did not have to unlearn things that he had time—and the ability—to learn and then to practise them. Another big modern teacher has said that he could teach any student to paint, draw, etch, but God alone could make him an artist. And it is with the idea of keeping such rules and laws before the student, that this book has been written, and by writing it, I hope I have done the weakest brother no harm, even though I should persuade him not to try to become an etcher. “We are apt to assume that there was little or no bad work done “in the old times. For my own part I believe on the contrary there “ were mountains of it, but that it has mostly, mercifully for us, passed “ out of existence,” has been written recently. This is true, and if by the things I have said, the methods I have explained, and the examples I have shown in this book, I have not said, ex- plained, or shown anything that might tend to preserve, even a mole-hill, or waste paper basket full, of bad prints to be trampled on in the future, I shall be glad. I have scarce referred to metal engraving for the simple reason that to-day it is scarce practised. In the past Diirer, Marcantonio and Mantegna carried it to perfec- tion succeeded by original engravers, like Nanteuil later, but copyists like Reynolds and Lucas still later, were not really creative artists, only astonishing plodders. Engraving and mezzotint are for the methodical, the mechanical. Etching is for the creator, the personal, passionate artist. The reproductive engraver has for the time disappeared, x PREFACE the commercial etcher has ousted him, but there are no reproductive etchers who have surpassed him. As a record of fact, the photograph—the unfaked, untouched, photograph— surpasses both sorts of copyists. But this book is about Etching, not about Engraving. Haden puts the matter very well in his pamphlet About Etching, when he says “the moment the possibility of act- ing upon the plate by an implement used like a pencil was shown to them (the En- gravers) the burin fell from their hands and they became Etchers. While the graver de- scended at once to a class of men who thenceforth undertook by a slow and laborious process, to which the instrument was not ill adapted, to reproduce the works of others.”’ And he further says after at length pointing out the degeneracy of the modern steel engraver—despite his mechanical dexterity,— ‘The comparison of the etching needle with the burin is the comparison of the pen with the plow.” I have used as illustrations examples of my work in the different methods of etch- ing. ‘These are published as examples, not models, though they are considerably better, I know, than most prints which are being made to-day; but, apart from this fact, as I made them, I can explain how they were made, for most of the authorities never made an etching and many others can’t or won’t describe the process. Finally, Etching is the art of making sunken lines in, and printing from, metal plates: this and the great etchers and their methods are the subject of this book. LONDON, JANUARY, 1916. JOSEPH PENNELL. POSTSCRIPT TO PREFACE THE publication of this book was stopped for four years owing to the war, and in- stead of being issued in London by Mr. Fisher Unwin first, it has been made by Messrs. Macmillan in New York. This however is but a small matter in comparison to what art in a big way has suffered. Many artists have given their lives; more have been ruined ; and a few have found opportunities—subjects—in the horrors and miseries of the war. Galleries in Europe ceased to acquire the few contemporary works that were made, unless these were commanded by the state. Some of the galleries are reported even to be destroyed. Exhibitions, save for the raising of war funds, mostly ceased, especially in Europe. And even as peace dawns, art still flies away. The belief in some quarters that a new art, or a new inspiration, would come from the war has not been realized. No one who knew anything ever thought it would, save in the case of those who recorded the war. But art will never die, it is everlasting, eternal; and though artists have suffered more than the members of any other profession, they will come into their own again. Precious records have vanished. For a while in Europe even those etchers who had the opportunity to work, unless in the government service, could obtain neither copper nor tools nor acids to carry on with. Paper mills in Italy have been burned and bombed. Old paper has disappeared. Technical schools have closed. Dealers x1 PREFACE were unable to obtain prints. Collectors had no time to collect. That such a state of things should come to pass was incredible. Yet it happened in our day and generation. Tradition in art, too, was in danger of being forgotten. It is with a view, then, of recording what I have seen and studied and experienced and practised, with a view of trying to carry on tradition and recording facts, I am glad to have had the volume written and ready to issue in the first year of the war—published now that I hope it is ended, now that I hope there may be no more war. And if the world really cared for art and literature and the arts of peace, there would be no more war or rumours of war. We have relapsed into vandalism and vulgarity. The world is now made up mostly of prigs and prohibitionists; they will venture on the suppression of art as they have ventured on the suppression of wine and song and brought about the unsexing of women. But art will arise again, and laziness, hypocrisy, and sentiment, which crush and cumber the earth, again will be swept away. I shall not see the new earth, but it will come forth. FINALLY FINISHED PHILADELPHIA, JANUARY 1, 1919. Je PB: Nore. I wish to thank the Fine Arts Society, and Messrs. Dowdeswell and Dowdeswell for permission to reproduce Whistler’s Venice Etchings, Messrs. F. Keppel and Co. for much help in the preparation of the illustrations, Mr. H. V. Allison, M. J. H. Guest of the Cincinnati Art Museum and Mr. Weitenkampf of the New York Public Library for the Duveneck plate and Miss Koehler of the Library of Congress for looking up her father’s works, and last but not least Mrs. Pennell for reading the proof. xii CONTENTS GENERAL PREFACE PREFACE LIST OF ILLUSTRATIONS CHAPTER I OF ETCHINGS CHAPTER II OF THE MAKING OF ETCHINGS Cuaprer II OF THE COLLECTING OF ETCHINGS CHAPTER IV OF THE GREAT ETCHERS CHAPTER V OF CHARLES MERYON CHAPTER VI OF JAMES McNEILL WHISTLER . CHAPTER VII OF REMBRANDT . is . CuaPTerR VIII OF FOLLOWERS OF REMBRANDT AND CuapTer IX OF DURER . CHAPTER X OF SEYMOUR HADEN 7 : OTHERS xili PAGE vii xvii 7 21 27 31 45 99 139 145 147 CONTENTS CHAPTER XI OF J. M. W. TURNER CHAPTER XII OF VAN DYCK CHAPTER XIII OF BLAKE CHAPTER XIV OF GOYA AND ROPS CHAPTER XV OF THE MATERIALS NECESSARY FOR MAKING AN ETCHING CHAPTER XVI OF COPPER PLATES AND OTHER PLATES CuHaPTER XVII OF ETCHING GROUNDS CHAPTER XVIIT OF GROUNDING AND PRINTING ROLLERS CHAPTER XIX OF ETCHING NEEDLES CHAPTER XX OF SCRAPERS, BURNISHERS, ROULETTES CHAPTER XXI OF ACIDS CHAPTER XXII OF PRESSES XIV PAGE 157 165 173 177 193 199 203 207 214 219 29 CHAPTER XXIII OF INK CHAPTER XXIV OF PAPER CHAPTER XXV OF GROUNDING PLATES . CHAPTER XXVI OF DRAWING ON THE PLATE CHAPTER XXVII OF BITING IN CHapteR XXVIII OF CORRECTIONS IN BITING CHAPTER XXIX OF RE-GROUNDING CHAPTER XXX OF DRY POINT CHAPTER XXXT OF SAND PAPER AND AQUATINT Z CuaPTtER XXXII OF MEZZOTINT CHAPTER XXXII OF COLOUR ETCHINGS CHAPTER XXXIV OF MONOTYPES AND RELIEF PLATES CONTENTS PAGE 227 231 235 241 249 259 263 269 277 293 393 307 CONTENTS CHAPTER XXXV OF PRINTING CHAPTER XXXVI OF TRIALS AND STATES . CHAPTER XXXVII OF PUBLISHING PRINTS . CHAPTER XXXVIII OF THE PRESERVATION OF PRINTS CHAPTER XXXIX OF THE ARRANGEMENT OF A PRINT ROOM . CHAPTER XL OF CATALOGUING CHAPTER XLI FINALLY TO ETCHERS xvi PAGE 311 323° 329 333 339 351 357 LIST OF ILLUSTRATIONS No. I. Io. II. 12. 13. 14. 15. 16. 17. 18. J. M. N. WHISTLER: JO : ; ‘ Dry point. Engraved on wood by J. H. E. Whitney, Scribner’s Magazine, Vol. XVIII, mise. 1879. The engraving reproduced by process. ALBRECHT DURER: THE CANNON Engraving. Reproduced by process. Both on same page to show difference in line REMBRANDT: THREE TREES Etching. Reproduced by process. CHARLES MERYON: COLLEGE HENRI QUATRE 5 . . iz Bitten line. Reproduced by Ringler in photogravure. CHARLES MERYON: THE MORGUE - é - : ° . Bitten line. Half tone process reproduction. J. M. N. WHISTLER: STREET IN SAVERNE. FRENCH SET Bitten line. Reproduced by process. J. M. N. WHISTLER: THE UNSAFE TENEMENT. FRENCH SET . . Bitten line. Reproduced by half tone process. J. M. N. WHISTLER: BLACK LION WHARF. THAMES SERIES < é Bitten line. Reproduced in photogravure by Ringler. J. M. N. WHISTLER: WEARY ‘ . - . . . Dry point. Reproduced by Ringler in Sisioaaaane J. M. N. WHISTLER: ANNIE- HADEN IN THE BIG HAT . . o Bitten line and dry point. Reproduced by Ringler in photogravure. J. M. N. WHISTLER: BIBI VALENTIN . 6 a . . ai Bitten line. Reproduced by half tone process. J. M. N. WHISTLER: THE BRIDGE. SECOND VENICE SET. Bitten line. Reproduced in photogravure by Ringler. By permission of Messrs. Danidceweall & Dowdeswell. J. M. N. WHISTLER: DOORWAY. FIRST VENICE SET : i Bitten line, reinforced with printing. Reproduced in photogravure by Riwelér, By permission of the Fine Arts Society. J. M. N. WHISTLER: BEGGARS. SECOND VENICE SET . . Bitten line. Reproduced by half tone process. By permission of the Fine as Society: J. M. N. WHISTLER: THE RIVA. FIRST VENICE SET Bitten line. Reproduced by half tone process. By permission of the Fine Arts Society. To show difference of artists’ work. F. DUVENECK: THE RIVA Bitten line. Reproduced by half tone process. REMBRANDT: AMSTERDAM Bitten line. Reproduced in photogravure by Ringler. Both on same page to show difference in the two artists’ technique WHISTLER: ZAANDAM Bitten line. Do. F. DUVENECK: THE RIALTO . s s . . is Bitten line. Reproduced in photogravure by Ringler. REMBRANDT: THE MILL . - . : . ° ° ° Bitten line. Reproduced by half tone process. REMBRANDT: REMBRANDT’S MOTHER . ‘ . . e . . Bitten line. Reproduced in photogravure by Ringler. XVli PAGE II 37 41 51 55 59 65 69 73 79 83 87 gr 95 105 TO0Q 113 NO. 10. 20. 21. 22. 23. 24. a5. 26. 27. 28. 20. 30. 31. 32. $3. 34 35: 36. 37, 38. 39- LIST OF ILLUSTRATIONS REMBRANDT: THE GOLD WEIGHER’S FIELD . : e . ° . Bitten line and dry point. Reproduced: photogravure by Ringler. REMBRANDT: SIX BRIDGE é é ‘i ‘ ‘i . . . Bitten line. Reproduced by process. REMBRANDT: BEGGARS AT THE DOOR OF A HOUSE a e . . Bitten line. Reproduced in photogravure by Ringler. REMBRANDT: CHRIST PRESENTED TO THE PEOPLE . . S . . Bitten line. Reproduced in photogravure by Ringler. REMBRANDT: THE THREE CROSSES é. . : i. . is . Bitten line. Reproduced in photogravure by Ringler. SEYMOUR HADEN: SUNSET IN IRELAND a ’ : . . . Dry point. Reproduced in photogravure by Ringler. SEYMOUR HADEN: BREAKING UP OF THE AGAMEMNON . : i . Bitten line. Reproduced by process. J. M. W. TURNER: ST. CATHERINE’S HILL . . . . ° 5 Bitten line. Guide for mezzotinter. Reproduced by process. VAN DYCK: PORTRAIT OF SNYDERS Bitten line. Reproduced in photogravure by Ringler. To show difference in portrait NANTEUIL: PORTRAIT OF THE DUC DE MELLERAYE engraving and etching: = Line engraving. Reproduced in photogravure by Ringler. F. GOYA: MALA NOCHE. FROM THE CAPRICES . 2 Aquatint. Reproduced by process. FELIX BUHOT: WESTMINSTER . ‘i . j=