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Ye Old Print Shop
Ye Old Print Shop
Maintained by:
Offering authentic 19th Century antique prints & maps. Topics include seascapes & landscapes of England, Scotland, Turkey, Africa, the Balkans, Japan, China & Americas. Also fascinating prints of Thomas Nast, Winslow Homer, the Civil War, science, archetecture, military, engineering & the arts.
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Wood Engraving
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Many of our prints ship for FREE. See indiviudal auctions for shipping information. If there is a shipping charge, all additional prints purchased ship for FREE. International buyers get BIG SHIPPING DISCOUNTS, too, when purchasing multiple prints!
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100% Satisfaction Guarantee. Just return the item within 7 days of receipt for a full refund. No questions asked!  Buyer pays return shipping.
  

Thomas Bewick (most noted for his History of British Birds) was born in 1753 in Northumberland, England He was a self taught artist and apprenticed as an engraver on metal when he was 14. He was accustomed to the fineness of detail available in copper and silver engraving, but he preferred the use of wood. So Bewick began engraving on the end grain of wood blocks, rather than the customary which was to engrave with-the-grain. By using the tools of the metal engraver, he was able to engrave highly-detailed vignettes.

Bewick’s innovations in wood engraving:

Close-up of wood engraving detail.

Click above to view entire print (left click to zoom once image loads).

  • Use of dense, hard, fine-grained wood, namely from the Box tree.

  • Making his cuts across the grain, not with the grain

  • Use of the finer tools of the metal engravers.

These 3 aspects of Bewick’s process, ultimately had enormous consequences through the 1800's on wood engraving. Until this time, detailed work was printed from steel or copper engravings but the plates were not suitable for long print runs. Wood engravings, using Bewick’s innovations, could not only stand up to lengthy pressruns (up to 900,000 impressions) but had the advantage of being able to be locked and printed with the type.

This advancement in wood engraving coincided with the great upheaval in social structure during the Industrial Revolution. The rising literate middle class clamored for illustrations of the new scientific and technological advancements; documentation of plant, animal and bird species; of far-away lands and especially illustrations of military exploits. The entrepreneurs of the day were quick to provide their customers with a proliferation of images in the pictorial press, magazines and books.

Wood engraving, with its ability to be combined with printed text, virtually, revolutionized journalism in the 1800's Ultimately, this brought about the rise of the vastly popular illustrated newspapers. Readers were provided with a vast palette of visual stimulation spanning depictions of battle scenes to the illustration of the grandest balls held by Queen Victoria. Wood engraving was to the 1800's what the Photograph was to the 1900's.

This is a simplification of the process of creating a wood engraving, from the tree to the page.

1. Selection of the proper wood specimen. (Requiring, evenly spaced tree rings & even yellow coloring from the bark to the center.

2. The trunk being approx. 6” in diameter, 5” blocks would be cut and bound together by an iron band.

3. The surface is sanded until uniform in height.

4. Black ink is applied to indicate where cuts have been made.

5. The engraver makes simple line drawing on banded blocks.

6. Ground brick paste (brick-bath) applied to the bound blocks to protect the surface and to enable the engraver to see the drawing lines.

7. The iron hoop is removed.

8. Each block is engraved by various artists. (Engravers tended to specialize in certain aspects of the overall print. For example, sky and water features, textures, people’s faces, cloth textures). Often engravings were not signed, especially news editions, due to the fact that many artisans had participated in the production of a single engraving.

9. Lastly, the individual blocks were once again bound together with an iron band.

An interesting note, moisture in a block of box wood to be engraved was a major problem for the engraver. To have an even ink disbursement across the print, and thus even lines on the engraving, the engraving of the block required a controlled environment. Moisture from the engravers hands, the engravers breath while working, or heat from the intense kerosene lamps located near the engraver as he worked, could have dire consequences to the quality of the final print. Special precautions, such as globes of water to disperse heat and light, face masks and brick paste (moisture barrier applied to the block) were often employed.



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