15) Top to bottom: Imperishable, 1927 Printmaking Techniques Engraving on wove paper Between Birches, 1947 Rockwell Kent, 1882-1971, The two-dimensional works in this shaped groove Etching American exhibition are dominated by prints, the – is used to cut Luigi Lucioni, 1900-1988, American (PR-111-80) medium that has brought art to a larger into a metal, (PR-115-80) public for many centuries. Prints are usually copper Bottom row, left to right: Big Willow, 1946 made using various techniques chosen or zinc, plate, Etching City Park, Winter, c. 1947 providing a to exploit the specific characteristics Luigi Lucioni, 1900-1988, American Lithograph Paysage a Áuvers (Land- of each method. The collection that clean, rich line (PR-010-81) Aaron Bohrod, 1907-1992, the McKeans assembled for the Morse for printing. scape at Auvers), 1873. Etching, Paul Cézanne (1839- American January 30, 2007 – September 16, 2007 demonstrates many of these methods. An etching is 1906), French. (PR-091-81) 16) Top row, left to right: (PR-114-80) created when Relief Prints the image is drawn through a layer of Making Hay, 1872 Company for Supper, 1948 Guide to objects on T h e w a l l In making relief prints, such as the acid-resistant particles, or “ground,” on Publ. Harper’s Weekly, 6 July 1872 Lithograph woodcut prints by Ando Hiroshige the plate. The plate is dipped in acid, Wood engraving Dale Nichols, 1904-1995, American 1) illustration for A Apple Pie: An Old which creates the lines of the draw- Winslow Homer, 1834-1910, (PR-014-81) and wood engravings by Winslow Fashioned Alphabet Book, page 2, Homer, the image to be printed is ing and which ink will fill for printing American (PR-050-94) December Afternoon, 1941 1886 formed on the surface of the wood purposes. To create a softer line more Lithograph Color wood engraving like a drawing, the artist places a piece block by cutting away the part of the Summer Afternoon, 1939 Grant Wood, 1891-1942, American Kate Greenaway, 1846-1901, English surface (the negative space) that is not of paper over a greasier or softer ground Lithograph (PR-055-94) (PR-017-81) to be printed. The wood block is inked and uses a pencil or crayon to mark the John Steuart Curry, 1897-1946, Gift of Center Street Gallery and pressed by hand onto slightly damp ground before it is placed in the acid American 2) Top row, left to right: paper. In the case of Hiroshige’s color bath. (PR-078-80) Towers of San Gimignano, 1932 prints, however, a separate plate was With drypoint techniques, lines are Etching Nude, early 20th century made for each color and registered to scratched into the plate with a steel tool Down to the Bridge, n.d. John Taylor Arms, 1887-1953, Chalk on paper Arthur Bowen Davies, 1862-1928, align properly with the image. that produces a “burr” on either side Etching American American of the line. This results in soft, velvety George A. Bradshaw, 1880-1968, (PR-041-94) (DRAW-069-80) Intaglio Prints lines in the finished print. American (PR-040-81) Also on view are a large number of Purple Clouds over Forte dei Marmi, intaglio prints, which include engrav- Planographic Prints (Lithographs) 1927 ing, etching, and drypoint. Each of The exhibition features, too, a number Gouache and colored crayon on these methods creates a distinctive of lithographs by such artists as Thomas paper appearance, and several are sometimes Hart Benton and Grant Wood. In this Arthur Bowen Davies, 1862-1928, combined on a single plate. All of these method, the designs are drawn with American Sara Wearing Her Bonnet and Coat, processes involve cutting the image to greasy ink or crayons on specially pre- (P-050-81) c. 1904. Transfer lithograph, Mary Cassatt, 1844-1926, American. (PR-037-94) be printed into the surface of the plate pared limestone. The stone is moistened Mountains, Forte dei Marmi, 1927 so that the image is below the surface with water, which the stone absorbs Gouache and colored crayon on in areas not covered by the drawing. of the plane – exactly the opposite paper Nude #18823, n.d. from the woodcut. Because oil and water do not mix, an Arthur Bowen Davies, 1862-1928, Chalk on paper To make an engraving, a burin oily ink, applied with a roller, adheres American Arthur Bowen Davies, 1862-1928, 445 north park avenue, winter park, florida 32789 American – a tool with a metal shaft with a only to the drawing and is repelled by 407-645-5311 www.morsemuseum.org (P-051-81) sharply beveled point that can cut a V- the wet parts of the stone. (DRAW-064-80)

Rare Books & Works on Paper ©2007 Charles Hosmer Morse Foundation, Inc. Bottom row, left to right: Looking into the Hand Mirror (No. 2), 11) Top to bottom: Sunset, 1941 c. 1905 Lithograph Fliry Church, 1920 Drypoint Tower of Library in Parliament Thomas Hart Benton, 1889-1975, Drypoint Mary Cassatt, 1844-1926, American Building, Ottawa, June 30, 1919 American Kerr Eby, 1889-1946, American (PR-014-94) Watercolor on paper (PR-051-94) (PR-047-94) Louis C. Tiffany, 1848-1933, 5) design for a fan, 1887-1888 American Back from the Fields, 1945 Warship Coming In, 1921 Gouache and pastel on paper (55-024) Lithograph Etching Paul Gauguin, 1848-1903, French Gift of Comfort Tiffany Gilder Thomas Hart Benton, 1889-1975, Joseph Pennell, 1857-1926, (P-030-71) American American Gift of Mr. and Mrs. Arthur Taylor Durham, England, 1880 (PR-287-89) (PR-109-81) Aldis Etching Samuel Colman, 1832-1920, Bottom row, left to right: The Three Towers, 1921 6) Top to bottom: American Etching (PR-016-84) Instruction, 1940 Joseph Pennell, 1857-1926, Limehouse, 1859 Lithograph American Etching 12) Top to bottom: Thomas Hart Benton, 1889-1975, (PR-108-81) James Abbott McNeill Whistler, American 1834-1903, American Night Shadows, 1921 (1998-032) Fifth Avenue Noon, 1916 (PR-077-80) Etching Etching Edward Hopper, 1882-1967, Rainy Day, 1938 Childe Hassam, 1859-1935, The Pool, 1859 American Lithograph American Etching Old Man Reading, 1941. Lithograph, Thomas Hart Benton, 1889-1975, American. (PR-117-80) (PR-036-92) Thomas Hart Benton, 1889-1975, (PR-009-81) James Abbott McNeill Whistler, American 1834-1903, American Phoebus on Halzaphron, 1901 (PR-104-88) 3) The Five Sisters, York Minster, 1907 (PR-029-71) Tête de Jeune Fille (Head of Young Dancer, c. 1899 Oil on paper board Etching touched with drypoint Gift of John Tiedtke Girl), 1873 Watercolor and pencil on paper Maxfield Parrish, 1870-1966, Edge of Town, 1938 Sir David Young Cameron, 1865- Etching Walter Crane, 1845-1915, English American Lithograph 1945, Scottish Billingsgate, 1859 Paul Cézanne, 1839-1906, French (DRAW-055-80) (P-035-92) Thomas Hart Benton, 1889-1975, (PR-042-94) Etching (PR-050-80) American James Abbott McNeill Whistler, From One Hundred Famous Views of 13) The Specialist, c. 1945 (1998-031) 4) Top to bottom: 1834-1903, American Towing a Ship, n.d. Edo, #10: Dawn at the Kanda Myojin Conte crayon on wove paper (2006-020) Etching Shrine, 1857 Norman Rockwell, 1894-1978, Le Chapeau Épinglé: La Fille de Sir Frank Brangwyn, 1867-1956, Color woodcut American Berthe Morisot et sa Cousine (The 7) Sara Wearing Her Bonnet and Coat, English Ando Hiroshige 1797-1858, Japanese (DRAW-060-87) Pinned Hat: Berthe Morisot’s Daughter c. 1904 (PR-046-94) (PR-037-82) and Her Cousin), c. 1894 Transfer lithograph Gift of Howard and Martha Seibert 14) Top row, left to right: Etching Mary Cassatt, 1844-1926, American 9) Left to right: Pierre-Auguste Renoir, 1844-1919, (PR-037-94) 10) The Bridge, 19th century Old Man Reading, 1941 French From One Hundred Famous Views of Color woodcut Lithograph (PR-075-80) 8) Top to bottom: Edo, #79: Shimmei Shrine and Zojo Katsukawa Hokusai, 1796-1849, Thomas Hart Benton, 1889-1975, Temple in Shiba, 1858 Japanese American Charles Baudelaire in Profile II, 1869 Paysage à Auvers (Landscape at Color woodcut (PR-036-82) (PR-117-80) Etching, third state Auvers), 1873 Ando Hiroshige, 1797-1858, Gift of Howard and Martha Seibert Édouard Manet, 1832-1883, French Etching Japanese Making Hay, 1872. Publ. Harper’s Weekly, 6 July (PR- 034-96) Paul Cézanne, 1839-1906, French (PR-038-82) 1872, wood engraving, Winslow Homer, 1834-1910, (PR-091-81) Gift of Howard and Martha Seibert American. (PR-050-94)

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