COPPER PLATE- The flat plate utilized by artisans for the different forms of intaglio printing such as engraving and etching. Because copper is a soft metal, the carved image lost its detail gradually as each impression was pulled, limiting the quantity created. Few plates have survived since most were either burnished smooth or melted into new plates for re-use.
EMBOSSED (Plate Mark)- The pressure required to transfer the ink on a lithographic stone or an etched or engraved plate is so great that the paper tends to show the edge of the stone or plate impression. Occasionally the paper was trimmed before binding and the embossed plate mark does not show.
ENGRAVING- The method of incising lines, with a burin (a sharp pointed instrument), into a copper plate to create an image. The engraver carves the image in reverse to compensate for the reversal onto the paper. The recessed lines hold the ink which is then picked up by damp paper as it is run through the press. Engraving provides detail that no modern technology has been able to duplicate. It was developed in the 1400's.
FOXING- The brown spots on the paper of many old prints caused by acid burns and fungoid growth. Prevalent in many papers beginning in the mid-19th century through the 19th century. Treatment with a deacidifier usually arrests the condition.
HAND COLOUR- Early printing was not possible with color. Colorization was achieved after the image outline was printed with black waterproof ink. Separate artists were then required to apply watercolor or gouache in washes over the print.
NUMBERING- A number such as 22/50 on a print means it is the 20th in a limited edition of 50. After the artist has pulled 50 good prints, the plate is deeply scarred or the word "cancelled" is scored into the plate to destroy it. The limited edition print is not found before 1880. It is to be distinguished from signed and numbered photomechanical prints of today that are not directly produced by the artist.
OFFSET LITHOGRAPHY- The photomechanical printing process used today. The technology has few limitations enabling huge quantities to be produced. The process has not duplicated the brilliancy and detail of hand-painted etchings, engravings and lithographs. The image is created by separating the image into cyan, magenta, black and yellow dots that, when combined, give full color images. Under magnification the dots are visible and are used as a positive identification of the process. Developed in the United States in the first decade of the 20th century.
QUALITY- The quality of a print is a function of three factors: the condition of the printing plate or stone; the skill with which it was inked and pulled; and the care taken through the years to preserve it. Earlier impressions were naturally better than later ones. Prints previously framed and exposed to UV light are not usually in as good condition as those recently pulled from a book.
RAG PAPER- Early prints used paper made from cotton rags. Before the 1800's, rag paper had distinguishing lines formed by the screen the paperwas pressed and dried on. In the early 19th century wove paper was developed which eliminated the line patterns. The 100% rag paper used has the potential to last for centuries while the wood pulp, chemically treated paper of today is basically inferior in durability and deteriorates quickly.
RESTRIKE- Any print made from the original plate after the original edition. Less desirable than an original but superior to a photomechanical reproduction in terms of authenticity and rarity. Usually, but not necessarily, inferior to the original impressions.
© 2008 Beaux Arts
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