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How to Identify Prints, Second Edition
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You Are Here: Books About Antiques > Antiques Business > Item 179 of 388
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$34.95 |
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| Our Price: |
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$23.07
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Available from Amazon
Price Last Updated : 7-30-2008
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Features
Paperback: 216 pages
Publisher: Thames & Hudson; 2 edition May 24, 2004
Language: English
ISBN-10: 0500284806
ISBN-13: 978-0500284803
Product Dimensions:
9.8 x 8.6 x 0.7 inches
Shipping Weight: 2 pounds
School Arts
[An] engaging compilation of information about every printmaking process one could possibly explore, uncover, or imagine.
Library Journal
Exquisitely presented and profusely illustrated.
Reader Reviews
I almost said "for the beginning print lover," but even the pros might want occasional reminders about obscure processes. This book displays an incredible number of processes and variations. Even within etching, there is standard intaglio process, relief etching, intaglio so deep it's amost relief, spit-biting or open-biting - well, a very long list. This gives an exacting look at the marks specific to each process, and gives good diagnostic descriptions. A special strength in this book is the differential diagnoses, the questions to ask that help distinguish two very similar kinds of marks. Every point made in the text is illustrated real samples, and that makes for a heck of a lot of illustrations. I have almost no quibbles with this text. There are just a few minor points that Gascoigne could have brought out more clearly. First is that Japanese woodcuts are under-represented. It's a rich tradition with a number of distinguishing features: gradations of ink hand-placed on a block, occasional use of mica for luster, and occasional use of un-inked "blind" impressions to impress texture into the paper. Second is a mark that I think is unique to drypoint: the line is often asymmetric, crisp on one side and blurred on the other, capturing the asymmetry of the drypoint burr. The split drypoint line is more famous but, in my experience, less common. I've seen it only in the most aggressively worked drypoints, such as some by Picasso. Third is a feature of some dust-ground aquatints: that the white marks can sometimes form a connected mesh around the black dots, where a spirit ground always has a black ocean dotted with white islands. I know these are minor points, and I hope you see how few there are. I'm a process nut. It's not the only way I enjoy prints, and not the way everyone enjoys them. For me, though, it really adds something to know how the maker's hand created each mark that I see. This isn't strictly a process book, and only accidentally a book of process history. It's a book about how a print looks, and seeing even more in the finest part of its looks. In the end, that's really the best reason to love a print. //wiredweird PS: A little while ago, I was given a very nice color print. It was done in mezzotint style, using burnishers to work from dark to light. Instead of a rocker-made ground, though, it had an aquatint ground. Color came from inking au poupee, dabbed on the plate. The giver was quite surprised that I read its story so precisely. Read this book, and you'll know just what I saw.
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How to Identify Prints, Second Edition
by Bamber Gascoigne
List Price: $34.95
Available from Amazon
Price: $23.07
on 7-30-2008
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