Stipple engraving is a technique used to create tone in an intaglio print by distributing a pattern of dots of various sizes and densities across the image. The pattern is created on the printing plate either in engraving by gouging out the dots with a burin, or through an etching process. Stippling was used as an adjunct to conventional line engraving and etching for over two centuries, before being developed as a distinct technique in the mid-18th century. The technique allows for subtle tonal variations.
More history of stipple engraving at the end of the listing. Thanks to Wikipedia!
This is the mate to the other stipple engraving I have listed. If you would like the pair, I will reduce the price. You should save a good deal of the second artwork's shipping.
Medium: Color stipple engraving.
Size: 12 by 10 1/4 inches; framed under glass 19 1/4 by 17 inches.
Condition: Good. The overall condition is as you would expect from an object of substantial age that has been displayed/handled/used, usually over the lifetimes of several owners. Not examined out of frame.
Stipple effects were used in conjunction with other engraving techniques by artists as early as Giulio Campagnola (c.1482 – c. 1515) and Ottavio Leoni (1578 – 1630), although some of Campagnola's small prints were almost entirely in stipple. In Holland in the seventeenth century, the printmaker and goldsmith Jan Lutma developed an engraving technique, known as opus mallei, in which the dots are punched into the plate by an awl struck with a hammer, while in England the faces of portraits were engraved with stippled dots by William Rogers in the sixteenth century and Lucas Vorsterman in the seventeenth.
The process of stipple engraving is described in T.H. Fielding's Art of Engraving (1841). To begin with an etching ground is laid on the plate. The outline is drawn out in small dots with an etching needle, and the darker areas of the image shaded with a pattern of close dots. As in mezzotint use was made of roulettes, and a mattoir to produce large numbers of dots relatively quickly. Then the plate is bitten with acid, and the etching ground removed. The lighter areas of shade are then laid in with a drypoint or a stipple graver; Fielding describes the latter as "resembling the common kind, except that the blade bends down instead of up, thereby allowing the engraver greater facility in forming the small holes or dots in the copper". The etched middle and dark tones would also be deepened where appropriate with the graver.
During the late eighteenth century, some printmakers, including Francesco Bartolozzi, began to use colour in stipple engraving. Rather than using separate plates for each colour, as in most colour printing processes of the time, such as Jacob Christoph Le Blon's three-colour mezzotint method, the different colours were carefully applied with a brush to a single plate for each impression, a highly skilled operation which soon proved economically unviable. This method is also known as à la poupée after the French term for the small cotton pads used for the inking