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Major References
on Lindsay's Etchings
Mendelssohn, Joanna,
"The Art of Sir Lionel Lindsay." Folio, Volume II,
two volumes: Etchings, Part A, 164pp, and Chronological Catalogue,
Part B, 328pp, 609 works, fully illustrated, green cloth, gilt
lettering, the two volumes in one green cloth slipcase; a limited
edition of 300 copies, numbered and signed by the publisher.
Sydney, Copperfield Publishing Co., 1987. $770
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Catalogue Notes
Reference numbers in
this catalogue are from Joanna Mendelssohn's books, "The
Art of Sir Lionel Lindsay," Copperfield Publishing, Volume
I on woodcuts [wood engravings], 1982, and Volume II on etchings,
[intaglio prints], 1987.
Round brackets "(" enclosing a title indicate the title
came from Mendelssohn's book, as the print was untitled.
Square brackets "[" enclosing a title indicate the
title was given by Josef Lebovic for identification purposes,
as the print was untitled and not listed in a catalogue raisonne.
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Etching
& Engraving Techniques
Relief
Printing
In this technique, the artist sketches a composition on a wood
block or other surface and then cuts away pieces from the surface,
leaving only the composition raised. Ink is then applied to the
surface with a roller and transferred onto paper with a press
or by hand burnishing or rubbing. Since the recessed, cutaway
areas do not receive ink, they appear white on the printed image.
Relief prints are characterised by bold dark-light contrasts.
The primary relief techniques are:
• woodcut (one of the
oldest processes using the long-grain of the timber);
• wood engraving (uses the end-grain surface of blocks for
a finer line);
• linocut (uses linoleum which is a softer and easier material
to work with, most suited to large designs with contrasting colours).
Intaglio
Printing
Intaglio comes from the Italian word intagliare, meaning "to
incise." In intaglio printing, an image is incised with
a pointed tool (engraving and drypoint) or "bitten"
with acid into a metal plate (etching and aquatint), usually
copper or zinc. The plate is covered with ink, and then cleaned
so that only the incised grooves contain ink. The plate and dampened
paper are run through a press to create the print. Usually, the
plate is smaller than the paper, so that the impression of the
plate, or the plate-mark, remains on the paper. The primary intaglio
techniques are:
• aquatint (plate is covered
with acid-resistant resin and heated to make the particles stick,
then placed in acid, which bites into the exposed areas between
grains of resin); spirit aquatint (the resin is dissolved in
an alcohol base and painted on the plate.);
• drypoint (incised with shallow line, leaving a burr);
• engraving (incised with a deep line without a burr);
• etching (the plate is coated with a waxy substance called
a "ground" then incised and bitten by acid);
• mezzotint (the surface of the plate is completely covered
by pitting it with a roulette. If printed at this stage, the
result would be pure black. The surface is then scraped back
to create a distinctive tonality, with a similar fuzzy quality
to a drypoint.).
(extracted & modified from IFPDA website, and Mendelssohn)
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Sir Lionel Lindsay: Master Printmaker
