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Relevant bibliographies by topics / British Engravers

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Academic literature on the topic 'British Engravers'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "British Engravers"

1

Moore, P. G. "Eric Fitch Daglish (1892–1966): naturalist, illustrator, author and editor." Archives of Natural History 38, no. 2 (October 2011): 229–41. http://dx.doi.org/10.3366/anh.2011.0031.

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Eric Fitch Daglish (1892–1966) was a naturalist by inclination, a free-lance author and editor in business and, by practice, a wood-engraver of high repute. Taught wood-engraving skills by Paul Nash, he was a close friend also of other famous engravers (John Nash, Eric Gill) within the Society of Wood Engravers. He applied these skills to illustrating his own books for popular audiences on topics ranging from flowers to birds, beasts and the English countryside. Fluent in German, he translated books from that language to supplement his income in the years succeeding the First World War. He is perhaps best known for his bird books: Woodcuts of British birds, The life story of birds and Birds of the British Isles, but was also a prolific writer about dogs. His oeuvre is examined, and his contribution compared with other contemporary bird artists who embraced wood-engraving techniques. A bibliography of his natural history works as author and as editor is included.

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Hyde, Ralph. "British Map Engravers: A Dictionary of Engravers, Lithographers and Their Principal Employers to 1850. By Laurence Worms and Ashley Baynton-Williams." Imago Mundi 64, no. 2 (May 28, 2012): 229–30. http://dx.doi.org/10.1080/03085694.2012.673785.

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Williams, R. B. "The artists and wood-engravers for Thomas Bell's History of British quadrupeds." Archives of Natural History 38, no. 1 (April 2011): 170–72. http://dx.doi.org/10.3366/anh.2011.0015.

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Jackson, Christine E. "The painting of hand-coloured zoological illustrations." Archives of Natural History 38, no. 1 (April 2011): 36–52. http://dx.doi.org/10.3366/anh.2011.0003.

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Millions of hand-coloured illustrations were incorporated in zoological books and journals between about 1710 and 1925. All the combined skills of the artists, etchers, engravers and lithographers, to produce good and accurate figures for these illustrations could be ruined by bad colouring. Yet we know the names of very few colourists who undertook this vital part of the publishing process. The identity of some of the British colourists, their working conditions and wages, and their method of working have been established from many scattered sources.

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Lapka, Francis. "British map engravers: a dictionary of engravers, lithographers and their principal employers to 1850, Laurence Worms and Ashley Baynton-Williams, London: Rare Book Society, 2011. 744 p. ill. ISBN 9780956942203. £125.00 (hardcover)." Art Libraries Journal 37, no. 3 (2012): 44–45. http://dx.doi.org/10.1017/s0307472200017612.

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Devlin, D. R., and J. H. Borden. "Efficacy of antiaggregants for the pine engraver, Ipspini (Coleoptera: Scolytidae)." Canadian Journal of Forest Research 24, no. 12 (December 1, 1994): 2469–76. http://dx.doi.org/10.1139/x94-318.

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The responses of pine engravers, Ipspini (Say), in British Columbia to ipsdienol-baited traps containing low, medium, and high dose rates of the antiaggregants verbenone and ipsenol, released from impregnated polyethylene and polypropylene beads, respectively, remained significantly lower than responses to ipsdienol-baited control traps throughout the spring. During the summer, the responses remained low only in traps containing medium and high dose rates of impregnated beads. Antiaggregant treatment densities of 100 and 400 bubble cap release points per hectare reduced the numbers of pine engravers caught in ipsdienol-baited, multiple-funnel traps by 66.1 and 76.8%, respectively. In 50 × 50 m thinning-simulation plots treated with a broadcast distribution of antiaggregant-impregnated beads in 1990, 32.9% of the felled lodgepole pines, Pinuscontorta Dougl., were attacked; in untreated control plots, 53.1% were attacked. The mean attack density per square metre of available bark surface in the treated plots (1.3) was significantly lower than that in the untreated plots (1.9); however, where attack occurred there was no difference (8.8 and 9.4 attacks/m2, respectively). In a 1991 experiment, verbenone- and ipsenol-impregnated beads were applied to 15 × 15 m thinning-simulation plots at initial release rates of 2.5 mg of verbenone and 0.05 mg of ipsenol per square metre of ground surface per day, and at double these rates. For three treatments, low and high rates 3 weeks prior to the first attack by I. pini and a high rate 2 weeks prior to attack, the mean attacks per square metre of available bark surface per week were reduced by 77.1, 82.9, and 97.1%, respectively, compared with attacks on felled pines in untreated control plots. The results of these experiments suggest that a timely application of broadcast antiaggregants would prevent the development of an outbreak population of I. pini.

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Borden, J. H., D. R. Devlin, and D. R. Miller. "Synomones of two sympatric species deter attack by the pine engraver, Ipspini (Coleoptera: Scolytidae)." Canadian Journal of Forest Research 22, no. 3 (March 1, 1992): 381–87. http://dx.doi.org/10.1139/x92-050.

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The capture of pine engravers, Ipspini (Say), in ipdienol-baited, multiple-funnel traps in British Columbia was significantly reduced when devices releasing ipsenol or verbenone were placed in the traps. These results suggest that ipsenol and verbenone are synomones released by Ipslatidens (LeC.) and the mountain pine beetle, Dendroctonusponderosae Hopk., respectively. When verbenone and ipsenol were released together from five stations 2 m apart on felled trees, at 50 and 1.5 mg per day per tree, respectively, there was a 66.7% reduction in the number of logs attacked and a 98.8% reduction in attack density. The same treatment caused a 74.1% reduction in attack density on standing trees surrounded by a 4 × 4 grid of 16 release devices at 5- m centres. The antiaggregant composition of verbenone plus ipsenol has considerable operational potential for use in precommercial thinnings and in areas where standing pines are of high value; e.g., in rural subdivisions, shelterbelts, and recreational forests.

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8

Prysiazhniuk, Oleksii. "English antiques in the historiographical tradition." European Historical Studies, no. 18 (2021): 134–46. http://dx.doi.org/10.17721/2524-048x.2021.18.11.

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The history of English antiquarianism is particular importance in the study of the process of formation of national identity and the preservation of national heritage. The purpose of the article is to analyze and systematize the corpus of historiographical works on the problems of history and historiography of English antiques, to define the role of the Society of Antiquaries of London in the formation of British identity and patriotism. Scientific tasks of the article are to carry out a comprehensive analysis of the historiographic works on the problems of the origin and formation of the English tradition of antiquity and antiquities, to outline the main stages of the formation of the oldest society of antiques. The novelty and degree of development follows from the fact that today in Ukrainian historical science there are no generalizing works on the history and historiography of English antiquaries and the London Society of Antiquaries. However, there is a corpus of historiographical works on the individual components of this complex problem. The antiquarian classes of the eighteenth century cannot be dismissed as unconvincing dilettantism, detached from modern life, or confronting the spirit of the Enlightenment. Antiquarianism was of great importance, both in practical and cultural life in Britain. It embodied the nostalgia of years past for those who feared the coming changes, but equally it could serve as an illustration of the past, demonstrating the progress of the present and the unquestionable superiority of the modern century over the backwardness of past times. At the same time, antiquaries made a clear contribution to the formation of British identity and famous English patriotism. Their merits in the field of culture and the arts are also difficult to overestimate: they contributed to the development of the printing business, the art of book design, and infected their enthusiasm with artists, painters, engravers who, through them, became passionate fans of the medieval past of Britain.

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Bulkeley, Rip. "An early political map of Antarctica." Polar Record 52, no. 1 (June 19, 2015): 108–9. http://dx.doi.org/10.1017/s0032247415000467.

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The pair of paperweights illustrated on the front cover of this issue of Polar Record and reproduced as Fig. 1 were made in 1889 at the Burslem pottery of James Macintyre & Co. (best known for employing William Moorcroft a few years later) using maps engraved by the Edinburgh firm of J.G. Bartholomew (JGB). Macintyre produced other paperweights with Bartholomew maps of Central Africa, India, British South Africa and the rarest, Australasia, to a pottery design 9.9cm in diameter, weight 333gm, registered as No.141265. The correspondence shows that the hemispheres came first, and were intended to feature the British Empire worldwide, although that political appellation does not appear.

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Lucas, Peter J. "WILLIAM CAMDEN, SEVENTEENTH-CENTURY ATLASES OF THE BRITISH ISLES AND THE PRINTING OF ANGLO-SAXON." Antiquaries Journal 98 (September 2018): 219–44. http://dx.doi.org/10.1017/s000358151800015x.

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The sixth edition of Camden’s Britannia was published in 1607 with over fifty county maps printed from engraved plates. It was a pioneering work. In 1611, John Speed published his Theatre of The Empire of Great Britaine, again with over fifty county maps, many of them engraved by Jodocus Hondius from Amsterdam, and with an abridged version of Camden’s text. These books established a model that was followed later in Amsterdam itself in the great atlases of Blaeu and Janssonius. One of the ways Camden sought to augment the authority of his work was by using Anglo-Saxon types in his text for county names and the occasional passage in Anglo-Saxon (Old English). As the practice persisted, the progress of these type-designs is examined in relation to the development of the atlases. While Hondius’ map-making skills were imported to add to the English text, when the English text was brought to Amsterdam to add to the Dutch maps, the Dutch printers had to use their own skills to reproduce the Anglo-Saxon characters.

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Dissertations / Theses on the topic "British Engravers"

1

Selborne, Joanna van Antwerp. "The break with tradition : innovation in British wood engraved book illustration, and the typographical renaissance 1900-1940." Thesis, Courtauld Institute of Art (University of London), 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282031.

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Al, Shammari Adhraa. "'History engraved on his shoulder' : a comparative study of the influence of British First World War poetry on post-1980 Iraqi war poetry." Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/5475.

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This study aims to compare British war poetry of the First World War with Iraqi poetry from the mid-20th century with special reference to Iraqi war poetry of the 1980’s Iraq-Iran War and the period that followed it. It will also investigate the influence of the designated British war poetry on the chosen body of Iraqi poetry. Through the comparison of sample poems the study presents, firstly, the direct influence of the British poetry of the Great War and its translation which formed the seeds of a more radical movement in Iraqi poetry during the 1980’s Iran/Iraq War and the period that followed it. The study also presents a comparison of the works of British and Iraqi civilian poets during and after the war time and their contribution in setting the ground for the younger generation to create more subversive poetic forms with special reference to women as influential characters and inspirations in their works. The moment of the 1980’s war marks the break with the clear direct influence of British war poetry and starts another phase of the comparison of a universal bond of similar reactions, conscious and unconscious expression reflecting the lives of the combatant group of men first and then of poets sharing a devastating war reality. The study reveals a remarkable, more radical change of poetic forms in Iraqi poetry between the time of the first seeds planted by the influence of translations from European poetry until the time of the Iran/Iraq war and the Gulf War in 1991 and the rise of the new nihilistic generation of the 1990s subverting war, politics and cultural life through their innovation in prose poem writing and its significance as an alternative space for their political and social subversion.

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Books on the topic "British Engravers"

1

Women engravers. Camden Town, London: Virago, 1990.

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Jaffé, Patricia. Women engravers. London: Virago, 1988.

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3

Hunnisett, Basil. An illustrated dictionary of British steel engravers. Aldershot, England: Scolar Press, 1988.

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4

Ashley, Baynton-Williams, ed. British map engravers: A dictionary of engravers, lithographers and their principal employers to 1850. London: Rare Book Society, 2011.

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5

Smith, John Chaloner. British mezzotinto portraits: Being a descriptive catalogue of these engravings from the introduction of the art to the early part of the present century : arranged according to the engravers, the inscriptions given at full length, and the variations of state precisely set forth : accompanied by biographical notes, and appendix of a selection of the prices produced at public sales by some of the specimens, down to the present time. Mansfield Centre, Conn: Martino Pub., 2004.

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6

The engraved record of the Jacobite movement. Aldershot, England: Scolar Press, 1996.

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British wood-engraved book illustration, 1904-1940: A break with tradition. Oxford: Clarendon Press, 1998.

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8

Bewick, Thomas. A general history of quadrupeds: With figures engraved on wood. Chicago: The University of Chicago Press, 2009.

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9

Gem engraving in Britain from antiquity to the present: With a catalogue of the British engraved gems in the State Hermitage Museum. Oxford, England: Archaeopress, 2010.

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(Firm), Spink. 20th century British sporting pictures: A third exhibition [held] Wednesday 5th July-Friday 21st July 1989 ... at King Street, St. James's , London SW1 and the Game Fair, Stratfield Saye, Hampshire, 27th, 28th and 29th July; also on view engraved glass by Andrew Lawson Johnston and contemporary furniture from The Silver Lining Workshops. London: Spink& Son, 1989.

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Book chapters on the topic "British Engravers"

1

Hunniset, Basil. "Introduction." In An Illustrated Dictionary of British Steel Engravers, 1–7. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003090779-1.

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"British steel line engraving: books." In Engraved on Steel: History of Picture Production Using Steel Plates, 136–69. Routledge, 2018. http://dx.doi.org/10.4324/9781138311428-14.

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"British steel line engraving: prints, maps, book plates." In Engraved on Steel: History of Picture Production Using Steel Plates, 170–212. Routledge, 2018. http://dx.doi.org/10.4324/9781138311428-15.

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Barker, Nicolas. "The Growth of Copperplate Script." In Pen, print and communication in the eighteenth century, 11–30. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622300.003.0002.

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The formation and development of the ‘copperplate’ script was one of the distinctive features of the growth of the British mercantile empire in the eighteenth century. Joseph Champion, whose script typified it, popularised in his engraved writing manuals, and reached its apex in The Universal Penman, a large folio of different scripts and forms used in commercial documents. Through it, ‘copperplate’ spread throughout Britain and its dependencies, and from them to other countries in Europe and North America.

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Van Horn, Jennifer. "Imprinting the Civil." In Power of Objects in Eighteenth-Century British America. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469629568.003.0002.

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This chapter explores a group of large city views, also known as long views, sponsored by local subscribers in Boston, New York, Philadelphia, and Charleston, and engraved in London. These prints perfected urban environments by eliminating spaces of unruly commerce and crime and celebrating residents’ architectural accomplishments. They contributed to colonists’ efforts to reduce the wilderness by adapting the prospect view and drawing upon the science of surveying. The views allowed subscribers to articulate their common goals for urban planning and hope for their cities’ growth. Intended for a British imperial audience, the prints also asserted colonial Americans’ civic growth and reminded British viewers of North America’s large size. Whereas English thinkers belittled America’s fauna and her land, colonial city views proclaimed North America’s magnitude.

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Ledderose, Lothar. "Carving Sutras into Stone before the Catastrophe: The Inscription of 1118 at Cloud Dwelling Monastery near Beijing." In Proceedings of the British Academy Volume 125, 2003 Lectures. British Academy, 2005. http://dx.doi.org/10.5871/bacad/9780197263242.003.0015.

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This lecture discusses the unearthed engraved stones created by the Buddhist monks of the Cloud Dwelling Monastery. It reveals that the rubbings of the inscriptions on these stones can help in analysing the doctrinal predilections of Tongli. The slabs that were excavated even contain two short texts which were written by Tongli himself, further proving the point that he was a leading figure in the Chan Buddhist school, and had close ties to the imperial court of the Liao dynasty.

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Van Horn, Jennifer. "Epilogue." In Power of Objects in Eighteenth-Century British America. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469629568.003.0008.

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In the early republic, Americans faced the challenge of replacing colonial networks of objects with bonds of citizenship. Material goods became increasingly politicized, including Gilbert Stuart’s Lansdowne portrait of George Washington, which celebrates the first president as a civilian leader. New object types brought citizens together at a continental scale, including engravings of Washington, engraved city views, and creamware, or queensware, dining goods. Yet George Washington’s dentures point to the tensions in establishing civility that continued to haunt the new nation. Constructed from teeth taken from Washington’s slaves, the dentures suggest the barbarity that Americans sought to repress in their new political republic.

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Bahn, Paul G. "The Historical Background to the Discovery of Cave Art at Creswell Crags." In Palaeolithic Cave Art at Creswell Crags in European Context. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199299171.003.0006.

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On 14 April 2003, we made the first discovery of Palaeolithic cave art in Britain. Since portable art of the period had long been known in this country (Sieveking 1972; Campbell 1977: vol. 2, figs. 102, 105, 143), it had always seemed probable that parietal art must also have existed. It was fairly obvious that paintings were unlikely to be discovered—barring the finding of a totally unknown cave or a new chamber within a known cave—since paintings tend to be quite visible, and somebody (whether owner, speleologist, or tourist) would probably have reported them by now. Engravings, in contrast, can be extraordinarily difficult to see without a practised eye, oblique lighting, and, often, a great deal of luck. Such was the purpose of our initial survey and, sure enough, we rapidly encountered engraved marks in a number of caves, which we will be investigating more fully and systematically in the near future. At the well-known sites of Creswell Crags, on the Derbyshire/Nottinghamshire border, we found both figurative and non-figurative engravings of the period. This was third time lucky for British cave art, following two false alarms. In the first, in 1912 the abbé Henri Breuil and W. J. Sollas claimed that ten wide red parallel horizontal painted stripes under calcite in the Welsh coastal cave of Bacon Hole (east of Paviland) were ‘the first example in Great Britain of prehistoric cave painting’ (see The Times, 14 Oct. 1912, p. 10; Sollas 1924: 530–1; Garrod 1926: 70; Grigson 1957: 43–4); but Breuil later stated (1952: 25) that their age could not be fixed. Subsequently, these marks rapidly faded, and are now thought to have been natural or to have been left by a nineteenthcentury sailor cleaning his paint brush (Morgan 1913; Garrod 1926; Houlder 1974: 159; Daniel 1981: 81) In 1981, the Illustrated London News rashly published—without verification of any kind—an ‘exclusive’ claiming the discovery of Palaeolithic animal engravings in the small cave of Symonds Yat in the Wye Valley (Rogers et al. 1981; Rogers 1981). Subsequent investigation showed that the marks were entirely natural, and that the claim was utterly groundless (Daniel 1981: 81–2; Sieveking 1982; Sieveking and Sieveking 1981; and, for a grudging retraction, Illustrated London News, May 1981, p. 24).

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