DOCSLIB.ORG

Catalogue of a Notable Collection of Wood-Engravings by Auguste Lepe

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalogue of a Notable Collection of Wood-Engravings by Auguste Lepe WOOD - ENGRAVINGS BY AUGUSTE LEPERE 1920 1 y Auguste Lepere au Travail (Photo faite en 1918) CATALOGUE OF A NOTABLE COLLECTION OF WOOD- ENGRAVINGS BY AUGUSTE LEPERE [1849-1918] I Galleries of M. KNOEDLER & CO. 556-558 Fifth Avenue near 46th St. New York Commencing October 25th, 1920 FOREWORD AUGUST LEPERE (1849-1918) REDERICK WEDMORE, in his book entitled "Etchings," published 1911, folio 83, writes the follow­ ing: "Auguste Lepere was known as an Original Engraver on Wood some years before he was known at all as an Etcher; a man about sixty years old, the bulk of his work in both these arts is of necessity done, and it has made him famous" "Lepere is the indisputable master of the wood­ cut ; no rival, no contemporary, I should even add no predecessor, has approached him in the force, the delicacy, the quite extraordinary variety of his em­ ployment of it, nor in the richness of pictorial inven­ tion of which he has made it the medium." "The most amazing wood-cut that ever Lepere has wrought is of a scene and monument outside the capital: it is the capital of Normandy. His 'West Front of the Cathedral of Rouen' is the great mas­ terpiece of wood-cutting." (See L. B. 177.) 3 V LEPERE'S EARLY TRAINING IN THE ART OF WOOD-ENGRAVING When but thirteen years of age, he entered the studio of Smeeton, a wood engraver who was one of the principal "Fournisseurs du Magasin Pittor- esque," remaining with him for ten years, acquiring not only all the technical skill which Smeeton pos­ sessed, but adding to it unconsciously the artistic- resourceful genius which, lying dormant, was ready without the least encouragement to issue forth, astonishing not only his friends but the art world. It seemed incredible that one so young should pos­ sess such wonderful adaptability, one whose manners and ways were so simple and unaffected should be capable not only of mastering all the knowledge and technique of the masters who preceded him, but to "carry on," elevating the art to a pinnacle it seemed quite impossible to reach or aspire to. He raised the wood-engravers art, which at that time was looked down upon as purely commercial, to a place among the great arts. The landscapes, the cities, the villages, the country life, the churches and build­ ings all breathe of life, air and movement. M. Leonce Benedite "conservateur du Musee National du Lux­ embourg" in his able preface to Lotz-Brissonneau's catalogue of the Etchings, Wood-engravings and Lithographs of Auguste Leperes among other things writes: "II est devenu, en effet, le plus extraordi­ naire graveur sur bois; les virtuosites les plus sub- tiles du metier n'ont plus de secrets pour sa main, 4 alerte, vive, nerveuse, qui se joue de toutes les dif­ ficulty, qui rivalise avec tous les autres modes d'ex- pression de l'estampe et qui dene jusqu'a la peinture. Et, ce phenomene se produit juste a l'heure fatale ou la gravure semblait tout a fait condamnee par la decouverte et l'emploi chaque jour plus prodigieuse- ment repandu des procedes photographiques. L'une des formes les plus irremediablement attein- tes de cet art etait surtout la gravure sur bois. L'eau-forte, la lithographie garderent encore quelque force, grace a leur prestige d'arts independants. Mais le bois, lui, le bois, jusq'alors n'avait pas vecu de sa vie propre. II n'avait jamai cesse d'etre asservi a la typographic Et, tandis que le livre cou- rant, la revue, le journal, le magazine, tout ce qui avait fait vivre le bois jusqu'a ce jour, l'abandon- naient totalement, dans leur multiplication nouvelle, pour adopter les procedes photographiques, le livre d'art proprement dit traversait lui-meme de telles epreuves que les pauvres xylographes paraissaient devoir a jamais renoncer a tout espoir." NOTES UPON THE PRACTICAL PART OF WOOD-ENGRAVINC Both wood-cuts and wood-engraving are in relief and printed from the surface, the ink rolled over the same as is done in printing from type; in fact, the wood-cut and wood-engraving were developed for illustration of printed matter to appear in con­ junction with it. At first they used straight grained wood, but owing to the great difficulty of produc- 5 ing a clean line, better results were obtained with box-wood prepared by cutting it across the grain. In the large posters, however, and in the coarser work, they still use the straight grained wood. A wood-cut is produced by cutting the block with a knife—the wood-engraving with a graver—the same instrument that is employed in cutting metal. W. J. Linton, in his manual of "Instruction on Wood-Engraving," London, George Bell & Sons, 1884, makes this distinction between a wood-cut and a wood-engraving, viz.: the first process (wood-cut) is done by a mechanic; the second (wood-engraving) by an artist. Most any one with a steady hand and good eye could become an able wood-cutter, but he must be this and more to be a wood-engraver. The lines showing white when printed are the engraved lines (the counter part of the black line of the cop­ per-plate engraver or etcher). "White line alone is art." "Let us keep the name 'an engraving' for works of art only—marking the line between wood­ cut and wood-engraving." "The earliest dated wood-engraving was long con­ sidered to be a "Saint Christopher," an impression of which, colored and much damaged, is in the pos­ session of Earl Spencer. It bears the date of 1428, and was found in the Chartreuse convent of Bux- heim near Memmingen, in Suabia—one of the most ancient convents in Germany." "A book of 'Fables,' printed by Pfister at Bam­ berg in 1461, appears to have been the first book printed with types and wood-cuts." "A great engraver, indeed, was Albert—or Al- brecht Durer, a great engraver in copper,—great in that as in his painting. Great also for his designs, drawn, I suppose, by himself upon the wood. But at the date of his first work, engraving on wood had become extensively practiced. There was no need then for the hand-work in cutting, even setting aside the easily to be shown impossibility of his having had time to cut only a small portion of the design known to be his. And it may be remarked that, however skilful his hand might be in the use of the graver in copper, the altogether different and unac­ customed work of cutting with a knife would cer­ tainly not have been done by him so well as by one used to it. The very excellence (clean and exact rendering of line) would rather point to the skilled mechanic as its doer: the better the work as engrav­ ing, the less likely (and the remark applies to other painters or draughtsmen credited with engraving their own drawings on wood)—the less likely that he had any hand in it. More truly is he called 'the greatest promoter' of the art of wood-engraving, from the number as well as the grandeur of his works of that kind." *Chatto writes: "There are about two hundred subjects engraved on wood which are marked with the initials of Albert Durer's name; and the greater part of them, though evidently designed by the hand of a master, are engraved in a manner which cer- •William A. Chatto, an Englishman, b. 1799, d. 1864. Jack­ son & Chatto wrote a "Treatise on Wood-Engraving," 1838. 7 tainly denotes no very great excellence. Of the remainder, which are better engraved, it would be difficult to point out one which displays execution so decidedly superior as to enable any person to say positively that it must have been cut by Albert Durer himself." . Another point well taken by Mr. Chatto. There are quite a number of cross- lines in Durer's wood-cuts. The following we quote verbatim: "What is termed 'Cross-hatching5 in wood-engraving is nothing more than the black lines crossing each other for the most part diagonally; and in drawing on wood it is easier to produce a shade by this means than by thickening the lines; but in engraving on wood it is precisely the reverse, for it is easier to leave a thick line than to cut out the interstices of lines crossing each other." Jerome (Andre) Resch, best (early) engraver of his time, is said by Neudorffer, a contemporary of Durer, to have engraved most of the Durer designs. All this goes to show that the design and drawing upon the block come first and the engraving of that design second; that when both design and engraving are done by the same hand working for the same end, combining artistic knowledge with mechanical excellence, there is bound to be satisfactory results. Lepere with his inborn artistic feeling and years of experience in the studio of Smeeton, the wood- engraved, combined to erect a foundation on which he established a reputation, which one is compelled 8 to acknowledge, is both deserved and justified, and he should be regarded as the greatest wood-engraver of all times. TRIAL PROOFS ARE OBTAINED AS FOLLOWS Gently dab the engraved block over with an ink ball, being careful that the ink does not run down into the cutting, then place India paper over the block with a cardboard over the India paper, then with a burnisher rub evenly the cardboard backing until all the ink has been transferred to the India paper.
Load more

Recommended publications
  • 2666 38: Azu-/E (E.G4s Cz776erzazz
    (No Model.) 2. Sheets-Sheet 1 T. C. EBER HARD, ENGRAVING MACHINE, No. 415,450, Patented Nov. 19, 1889. () a 841 uo 11 for -2666 38: Azu-/e (e.g4s CZ776erzazz/ r. Washington, D.C. (No Model.) 2. Sheets-Sheet 2. T. C. EBER HARDT, ENGRAWING MACHINE, No. 415,450, Patented Nov. 19, 1889. V 928) it vesses s 3v-uovot sy - ZAeop/lavas CZ76erzorae, PETERS. Photo-lthographer. Washington, D.C. UNITED STATES PATENT OFFICE. THEOPHILU'S CHARIES EBER HARDT, OF (UERO, TEXAS. ENGRAVING-MACH NE. SPECIFICATION forming part of Letters Patent No. 415,450, dated November 19, 1889. Application filed December 21, 1888, Serial No. 294,296, (No model.) To all u?ion it inctly concern: transversely on the under side of the platen Be it known that I, THEOPHILUS CHARLES at a suitable distance from the outer end EBERHARDT, a citizen of the United States, thereof, and has notches or rabbets N in its 5. residing at Cuero, in the county of De Witt ends. and State of Texas, have invented a new and O represents a clamp, which is also arranged liseful Improvement in Engraving-Machines, on the under side of the platen, and is pro of which the following is a specification. vided at its ends with right-angled arms P, My invention, relates to an improvement that fit in the rabbets N. From the upper in engraving-machines; and it consists in the side of the clamp O, at the center of the same, O peculiar construction and combination of de projects a stem R, which extends through a vices that will be more fully set forth here central opening in the platen F, and on the inafter, and particularly pointed out in the outer end of the said stem is pivoted a lever claims.
    [Show full text]
  • Image Carrier Poster
    55899-11_MOP_nwsltr_poster_Winter11_v2_Layout 1 2/11/11 2:25 PM Page 1 The Museum of Printing, North Andover, MA and the Image Carrier www.museumofprinting.org Relief printing Wood cuts and wood engravings pre-dated moveable type. Called “xylographic printing,” it was used before Gutenberg for illustrations, playing cards, and small documents. Moveable type allowed corrections and editing. A wood engraving uses the end grain, where a wood cut uses the plank grain. Polymer plates are made from digital files which drive special engraving machines to produce relief plates. These plates are popular with many of today’s letterpress printers who produce invitations, and collectible prints. Metal relief cylinders were used to print repetitive designs, such as those on wrap - ping paper and wall paper. In the 1930s, the invention of cellophane led to the development of the anilox roller and flexographic printing. Today, flexography prints most of the flexible packaging film which accounts for about half of all packaged products. Hobbyists, artists, and printmakers cut away non-printing areas on sheets of linoleum to create relief surfaces. Wood cut Wood engraving and Metal plate Relief cylinder Flexographic plate Linoleum cut Foundry type began with Gutenberg and evolved through Jenson, Garamond, Moveable type Caslon and many others. Garamond was the first printer to cast type that was sold to other printers. By the 1880s there were almost 80 foundries in the U.S. One newspaper could keep one foundry in business. Machine typesetting changed the status quo and the Linotype had an almost immediate effect on type foundries. Twenty-three foundries formed American Type Founders in 1890.
    [Show full text]
  • Place Saint-Michel the Place Saint-Michel Is
    Place Saint-Michel The Place Saint-Michel is simple – a triangle between two streets, uniform buildings along both, designed by the same architect, a walk of smooth cobblestone. The centerpiece is St. Michael defeating a devil; far above them are four statues symbolizing the four cardinal virtues of prudence, fortitude, temperance, and justice. This monument came to be because of the 1848 Revolution and a cholera epidemic in Paris that followed it which killed thousands. This idea of abstract concepts given human form had been popular during the Revolution, the big one, representing the kind of big virtues – like the Four Cardinal Virtues – that everyone could strive for, instead of a single human being whose actions and legacy would turn people against each other. Simultaneous with the creation of Place Saint-Michel, Napoleon III’s renovation brought the Boulevard Saint-Michel into being, and that is the next part of our walk. Facing the fountain with the river at your back, walk on Boulevard Saint-Michel, it’s the street to your left. Walk away from the river along that street. Ultimately, you’ll be turning left on Rue des Écoles, but it’ll be about five minutes to get there, and you can listen to the next track on the way. Boulevard Saint-Michel The character of the street you’re on – wide-open space lined with trees and long, harmonious buildings, plus, often, a view of some landmark in the distance – was a central part of the renovation plan, or the Haussmann plan, as it’s also known.
    [Show full text]
  • Pont Neuf Wrapped by Christo and Jeanne-Claude: the Art of Aesthetics
    California State University, San Bernardino CSUSB ScholarWorks Art 525 Conference Papers Art History 6-15-2015 Pont Neuf Wrapped by Christo and Jeanne-Claude: The Art of Aesthetics Cassandra Jones CSUSB Follow this and additional works at: https://scholarworks.lib.csusb.edu/art-history-papers Recommended Citation Jones, Cassandra, "Pont Neuf Wrapped by Christo and Jeanne-Claude: The Art of Aesthetics" (2015). Art 525 Conference Papers. 3. https://scholarworks.lib.csusb.edu/art-history-papers/3 This Article is brought to you for free and open access by the Art History at CSUSB ScholarWorks. It has been accepted for inclusion in Art 525 Conference Papers by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. Pont Neuf Wrapped by Christo and Jeanne-Claude: The Art of Aesthetics Cassandra Jones Art 525: Art History Seminar June 15, 2015 Jones 2 As one of the most exciting art movements of our time, environmental art celebrates our connection to the natural world through beauty, science, and metaphor. The Le Pont Neuf Wrapped, 1985, by Christo and Jeanne-Claude expresses the points inherent to this movement, combining an engagement between performance and environmental art. These artists interpose within a chosen environment, and in doing so, cause us to identify with that environment in a new way. Wrapping the Pont-Neuf continued this tradition of successive transfiguration through a new sculptural dimension, transforming it into a work of art. The visual effect of Le Pont Neuf Wrapped intervened into the natural state of the bridge. The wrapping process reveals symmetrical shapes and angles that epitomize the very idea of what constitutes a bridge, connecting geographical units and people.
    [Show full text]
  • Table Des Matières Introduction
    TABLE DES MATIÈRES INTRODUCTION G BALADES INSOLITES À PARIS ........................................................................... 15 LE PARIS GALLO-ROMAIN G BALADE No 1 .................................. 18 musée de Cluny • Les arènes de • La crypte archéologique de Lutèce Notre-Dame • Les thermes du LE PARIS MÉDIÉVAL : ÎLE DE LA CITÉ ET RIVE GAUCHE G BALADE No 2 .................................. 23 chapelle du collège de Dormans- • La Conciergerie • La Sainte- Beauvais • La rue Galande et Chapelle • Le parvis et la crypte l’église Saint-Julien-le-Pauvre archéologique de Notre-Dame • L’église Saint-Séverin • La cha- • Notre-Dame • Les rues alen- pelle des Mathurins • Le musée tour et le pont de l’Archevêché national du Moyen Âge • Le jardin • Le collège des Bernardins • La médiéval • Le couvent des Cor- rue du Cardinal-Lemoine • Les deliers • La cour du Commerce- vestiges de l’enceinte de Philippe Saint-André • Le passage Dau- Auguste • Le lycée Henri-IV et phine, la rue Mazarine et l’abbaye l’abbaye Sainte-Geneviève • La de Saint-Germain-des-Prés LE PARIS MÉDIÉVAL : RIVE DROITE G BALADE No 3 .................................. 32 Saint-Martin-des-Champs et le • La place du Châtelet et le théâtre Conservatoire national des arts de la Ville, la tour Saint-Jacques et métiers : l’ancien réfectoire • L’église Saint-Merri • L’église et la collégiale • La maison de Saint-Germain-l’Auxerrois • Le la rue Volta et l’hôtel de Clisson Louvre médiéval • Les vesti- • La rue des Francs-Bourgeois ges de l’enceinte de Philippe et l’impasse des
    [Show full text]
  • A Brief History of Wood-Engraving from Its Invention
    ?- : fi «M*^4S - - . : 1 (CO ENGRAVER Jon Amman (1(68) ^ THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation http://www.archive.org/details/briefhistoryofwoOOcundiala A BRIEF HISTORY OF WOOD -ENGRAVING FROM ITS INVENTION PRINTED BY Sl'OTTISWOODE AND CO., NEW-STREET SQUARE LONDON HEXKY VIII. IN COUNCIL (From IMinshetTs ' Chronicles of England; 1577) rage 100 A BRIEF HISTORY or WOOD -ENGRAVING FROM ITS INVENTION BY JOSEPH CUNDALL ' AUTHOR OF ' HOLBEIN AND HIS WORKS ETC. LONDON SAMPSON LOW, MARSTON, & COMPANY LIMITED St. Shtnstan's "toouse FETTER LANE, FLEET STREET, E.G. 180; . — Art Library I030 CONTENTS CHAPTER I PAGE On Pictures of Saints —The print of The Virgin with the Holy Child in her Lap in the Bibliotheque Boyale de Belgique- On the print of St. Christoplier in the Spencer Library at Manchester—The Annunciation and the St. Bridget of Sweden . 1 CHAPTEB II On the Block Books of the Fifteenth Century—iStblta |9att- pmim ; ^poralnuSte ^aiutt StoljannuS, &c. 11 CHAPTEB III The Block Books of the Fifteenth Century—!3r$ #fartClrtlt— Temptacio Diaboli—Cantt'rum CailttCOrum, and others 20 CHAPTEB IV Block Book—js>jierulum fittmanae £albatt0iutf— Casus Luciferi —The Mentz Psalter of 1459 —Book of Fables The Cologne Bible —Niirnberg Chronicle —Breydenbach's Travels 28 CHAPTER V On Wood-Engraving in Italy in the Fifteenth Century— The Venice Kalendario of 1476—The Triumph of Petrarch — The Hypnerotomachia Poliphili—Aldo Manuzio—Por- trait of Aldus 40 — — HISTORY OF WOOD-ENGRAVING CHAPTER VI On Wood-Engraving in France in the Fifteenth Century — ' Engraving on Metal Blocks ' Books of Hours —Famous French Publishers : Pierre Le Bouge, Simon Vostre, Antoine Verard, Thielinan Kerver, Guyot Marchanfc, Philippe Pigouchet, Jean Dupre, and others .
    [Show full text]
  • Sample Itinerary: Five Days in Paris
    Sample Itinerary: Five Days in Paris Day 1 Arrive in Paris Upon Landing: Airport Pickup Pickup time: 9:00am Welcome to Paris! Your concierge will greet you at the airport and take to your hotel via private car or train/taxi. On the way, your concierge will introduce you to Paris and give you some helpful tips and trips on enjoying your stay in the City of Lights. Afternoon: Montmartre Walking Tour & Shopping Pickup time: 4:30pm Your personal concierge will meet you at your apartment and take you to the top of the Sacré-Cœur for its breathtaking views of Paris. On this private guided tour, you’ll see the artists who still gather to sell their wares in the Place du Tertre and stroll through the cobblestone streets where Van Gogh, Toulouse-Lautrec, and Picasso painted their famous works. Don’t miss La Maison Rose, the Cabaret Lapin Agile, the Moulin Rouge, and the only working vineyard in Paris. Stop in the charming clothing, homeware, and art shops along the way. Tour Length: 3 hours Evening: Night Lights Tour Pickup time: 8:30pm Paris is called the city of lights, and what better way to see it than at night. Your personal guide will take you on a night ride through the city and stop at all the best vantage points, starting with the Sacré-Cœur in Montmartre, to see it all in one gorgeous view. At the Trocadero, get the most sparkling view of the Eiffel Tower reflecting off the Seine. On to the Île de la Cité, an island in the Seine, to see Notre Dame and then a magnificent perspective of Paris from the Pont-Neuf.
    [Show full text]
  • Wandeling Langs De Seine
    Wandeling langs de Seine Van Pont de la Concorde tot Pont Neuf Deze wandeling loopt door het 1e, 6e en 7e arrondissement Begin: Metro Concorde Eind: Metro Pont Neuf Afstand: 4 km Duur: 1,5 - 2 uur De achthoekige place de la Concorde is een immens plein vol verkeer. Het is haast onmogelijk over te steken, maar je kunt er ook omheen lopen. Het plein is een prachtig punt met indrukwekkende gebouwen eromheen. De Champs-Elysées komt erop uit aan de westkant, aan de andere kant ligt de Jardin des Tuileries met het Jeu de Paume en de Orangerie. Aan de noordkant staan twee prachtige gebouwen, het peperdure Hôtel Crillon en het ministerie van Marine, beide gebouwd door architect Gabriel. Ten zuiden van het plein stroomt de Seine met de Pont de la Concorde. Het plein werd aangelegd in 1775 als place Louis-XV, maar in 1792 werd het stand- beeld van die koning neergehaald en werd het plein herdoopt in place de la Révolu- tion. Een jaar later werd er een guillotine opgesteld en binnen korte tijd werden hier ruim 1300 mensen een kopje kleiner gemaakt. Na de Revolutie werd het plein place de la Concorde (plein van de Eendracht) gen- oemd. In het midden verrees een obelisk uit Luxor, een geschenk van Egypte. In de acht hoeken van het plein staan beelden van de Franse steden Brest, Rouen, Lille, Straatsburg, Lyon, Marseille, Bordeaux en Nantes. Steek de Seine over via de Pont de la Concorde, voor een deel gebouwd met stenen van de verwoeste Bastille. din des Tuileries.
    [Show full text]
  • Progress in Printing and the Graphic Arts During the Victorian
    CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Ik Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924032192373 Sir G. Hayter, R./l. Bet* Majesty Queen Tictorta in Coronation Robes. : progress in printing and the 6raphic Hrts during the Victorian Gra. "i BY John Southward, Author of "Practical Printing"; "Modern Printing"; "The Principles and Progress of Printing Machinery"; the Treatise on "Modern Typography" in the " EncyclopEedia Britannica" Cgtii Edition); "Printing" and "Types" in "Chambers's Encyclopaedia" (New Edition); "Printing" in "Cassell's Storehouse of General Information"; "Lessons on Printing" in Cassell's New Technical Educator," &c. &c. LONDON SiMPKiN, Marshall, Hamilton, Kent & Co. Ltd. 1897. X^he whole of the Roman Cypc in tbta Booh has been set up by the Linotj^pe Composing Machine, and machined direct from the Linotj'pc Bars by 6eo. CH. loncs, Saint Bride Rouse, Dean Street, fetter Lane, London, e.C. ^ ^ ^ ^ ^ ^ ^ W Contents. ^^ Progress in Jobbing Printing Chapter I. Progress in Newspaper Printing Chapter II. Progress in Book Printing - Chapter III. Printing by Hand Press Chapter IV. Printing by Power Press Chapter V. The Art of the Compositor Chapter VI. Type-Founding Chapter VII. Stereotyping and Electrotyping Chapter VIII. Process Blocks Chapter IX. Ink Manufacture Chapter X. Paper-Making Chapter XI. Description of the Illustrations Chapter XII. ^pj progress in printing peculiarity about it It is not paid for by the person who is to become its possessor.
    [Show full text]
  • Fiche Horaires
    27 Gare Saint-Lazare Porte d’Ivry e 1 3 Quai Voltaire D. Casanova Comédie Française Quai de Conti Quai des OrfèvresSaint-Germain Gay-Lussac Mairie du Église de la Gare Auriol Quai duQuai Louvre des Orfèvres Vauquelin Darmesteter Quai des Gds Augustins Haussmann 4 Septembre Claude Bernard Tolbiac Havre Auber Opéra Opéra Petits ChampsPyramidesPalais-RoyalMuséeQuai du Louvre FrançoisPont duPont Mitterrand Carrousel desPont Arts desPont Arts NeufPont NeufPt NeufPt St-MichelSaint-MichelSaint-MichelLes ÉcolesLuxembourgSaint-JacquesFeuillantinesBertholletMongeLes GobelinsBanquierPlace d’ItaliePlace d’ItalieLes AlpesNationaleClissonJeannePatay d’Arc OudinéRegnaultMassénaPorte deClaude Vitry Regaud Fiche Horaires R. du Pont R. Bd de Opéra Rue du Louvre Sébastopol Théâtre Notre Rue Scribe Église Notre-Dame Bibli. Bd de Hôpital l’Hôpital Rue de Richelieu de la Ville Dame de la-Gare Nationale Rue Buon Théâtre Q. de Gesvres Rue duBanquier La Pitié-Salpêtrière Gare Saint-Lazare La Seine Jussieu Rue R. du 4 Septembre du Châtelet R.St-Lazare Q. de la Tournelle Bd Saint-Marcel Bd Haussmann#@ Banque Préfecture #@ Comédie Hôtel Rue Jeanne d’Arc Av. de l’Opéra Française de France Neuf de Police Dieu Rue des Petits Champs #@ Rue Jeanne d’Arc Rue Patay Rue Auber R. de la Paix #@ R. Pinel Saint-Germain Rue Paris 3 Clisson #@ Quai de Palais la Mégisserie Q. de Montebello Rue Nationale R. F. Nohain Rue du Fbg Saint - Honoré de Justice Rue Saint - Rue Tronchet Le Monge Bd Masséna Av. Boutroux Rue de Rivoli Arts et Bd des Capucines R. des Pyramides Louvre Henri IV #@ #@ Musée Métiers des Rentiers Rue Q. du Louvre de Cluny Boulevard #@ Honoré D.
    [Show full text]
  • Wood Engraving and Cutting with a Laser
    Wood Engraving and Cutting with a laser Laser systems are now the must-have tool for the woodworking industry. An Epilog Laser can help take your idea from concept to reality. Whether you are looking at purchasing a laser for your woodworking business, or your at-home shop, we have an affordable solution for your engraving and cutting needs. Design . Import a photo, cut clipart, etch text - in a few easy steps you’ll have your own custom engraved and cut designs in all types of wood. Imagine . Being able to create custom projects of almost any kind! Inlays, marquetry, and high-resolution etching, all with laser accuracy. Discover . Defy your expectations of what you can do with woodworking. Customize projects and create one-of-a-kind designs with your own Epilog Laser system! Let’s get started! Pet Urns Cabinet Inlays Contact us to find out how to set up a demonstration of the laser in action! Call +1 303.277.1188 or email [email protected]. 16371 Table Mountain Parkway +1 303.277.1188 www.epiloglaser.com Golden, CO 80403 888.437.4564 [email protected] Custom Inlays · Photo Frames · Game Manufact uring · Personalized Penc ils · Baseball Bat Personaliz Easy to Design · Easy to Setup ation · Signage · Plaques Wooden Pens · Wooden With a laser from Epilog, there’s no difficult Gift Boxes programming involved. It’s truly as simple as printing Jewelry · Memo Holders to a piece of paper. Using your favorite graphic software (CorelDRAW, Adobe, AutoCAD, etc.), import Bird Houses · Overlays your image, create your text and print your file to the · Fraternity Paddles · laser.
    [Show full text]
  • Interview with Wood Engraver, Pete Lawrence
    #NWConnect: Interview with wood engraver, Pete Lawrence Kimberly Glassman (KG): Hello everyone! We have Pete Lawrence here from the Society ​ of Wood Engravers to talk to us about his work and the work of the Society in general. Pete was introduced to the Society of Wood Engravers (SWE) when he started helping hang their annual exhibitions in the 1980s. In 1991 he began his own engravings and joined as a subscriber in the mid-1990s. He was then elected as a member in 1997 and joined the SWE as a designer in 1998, and then finally became a chairman from 2006 until 2011. We are very excited to have you, so thank you Pete for agreeing to do this podcast with us! Pete Lawrence (PL): Thank you for inviting me. ​ KG: No worries! So, just to start, can you please tell us about your practice as a wood ​ ​ engraver and maybe explain a bit more about the process of wood engraving and what it is? PL: Yes, wood engraving is a unique form of producing a print - an image on paper. It goes ​ back to the times in the 1780s-1790s when, who we like to call the ‘founding father of wood engraving’, Thomas Bewick, was working up in Newcastle. He realised that, although his ​ ​ boss Ralph Beilby was working on metal engraving with very sharp tools, he could engrave ​ ​ on boxwood and produce a very fine image, which would replicate the kind of detail that you get by working on metal. So if you could imagine, it gave the effect of metal tools used to do silversmithing and copper engraving, but working on the end grain of boxwood.
    [Show full text]