Misplaced Pages

#637362

73-732: Martin Droeshout ( / ˈ d r uː ʃ aʊ t / ; April 1601 – c.  1650 ) was an English engraver of Flemish descent, who is best known as illustrator of the title portrait for William Shakespeare 's collected works, the First Folio of 1623, edited by John Heminges and Henry Condell , fellow actors of the Bard. Nevertheless, Droeshout produced other more ambitious designs in his career. Droeshout's artistic abilities are typically regarded as limited. The Shakespeare portrait shares many clumsy features with Droeshout's work as

146-442: A pantographic system. There are versions for the insides of rings and also the outsides of larger pieces. Such machines are commonly used for inscriptions on rings, lockets and presentation pieces. Gravers come in a variety of shapes and sizes that yield different line types. The burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. The angle tint tool has

219-406: A combination of lost-wax casting and chasing. Engraved gem is a term for any carved or engraved semi-precious stone; this was an important small-scale art form in the ancient world, and remained popular until the 19th century. However the use of glass engraving , usually using a wheel, to cut decorative scenes or figures into glass vessels, in imitation of hardstone carvings , appears as early as

292-588: A conversion to Catholicism, as many of these works depict Catholic saints and use Catholic symbolism. Martin's namesake, Martin the Elder, is known to have remained in London and was a staunch member of the local Dutch Protestant community throughout his life. While in Spain Droeshout also seems to have anglicised his name to "Droeswoode" ("hout" being Dutch for "wood"), possibly because of negative attitudes to

365-708: A copper plate. However, modern hand engraving artists use burins or gravers to cut a variety of metals such as silver, nickel, steel, brass, gold, and titanium, in applications ranging from weaponry to jewellery to motorcycles to found objects. Modern professional engravers can engrave with a resolution of up to 40 lines per mm in high grade work creating game scenes and scrollwork. Dies used in mass production of molded parts are sometimes hand engraved to add special touches or certain information such as part numbers. In addition to hand engraving, there are engraving machines that require less human finesse and are not directly controlled by hand. They are usually used for lettering, using

438-454: A five-pointed raster to score staff lines, various punches in the shapes of notes and standard musical symbols, and various burins and scorers for lines and slurs. For correction, the plate was held on a bench by callipers, hit with a dot punch on the opposite side, and burnished to remove any signs of the defective work. The process involved intensive pre-planning of the layout, and many manuscript scores with engraver's planning marks survive from

511-598: A frontispiece to the Novissimus Librorum Prohibitorum et Expurgatorum Index . Engraver Engraving is the practice of incising a design on a hard, usually flat surface by cutting grooves into it with a burin . The result may be a decorated object in itself, as when silver, gold, steel, or glass are engraved, or may provide an intaglio printing plate, of copper or another metal, for printing images on paper as prints or illustrations; these images are also called "engravings". Engraving

584-466: A great majority, if not all, traditional printmakers today rely solely upon hand push methods. Pneumatic systems greatly reduce the effort required for removing large amounts of metal, such as in deep relief engraving or Western bright cut techniques. Finishing the work is often necessary when working in metal that may rust or where a colored finish is desirable, such as a firearm. A variety of spray lacquers and finishing techniques exist to seal and protect

657-467: A mechanism (usually a piston). The air is actuated by either a foot control (like a gas pedal or sewing machine) or newer palm / hand control. This mechanism replaces either the "hand push" effort or the effects of a hammer. The internal mechanisms move at speeds up to 15,000 strokes per minute, thereby greatly reducing the effort needed in traditional hand engraving. These types of pneumatic systems are used for power assistance only and do not guide or control

730-738: A miniature portrait of Elizabeth I found in a house clearance in 2012, that Cooper described as "a very high quality image by a 16th-century artist". She also curated the display The Real Tudors at the National Portrait Gallery (12 September 2014 – 1 March 2015), which includes results from the NPG's "Making Art in Tudor Britain" research project. She is co-editor of Painting in Britain 1500 - 1630: Production, Influences, and Patronage , an interdisciplinary survey published by

803-615: A mirror finish using a ceramic or cast iron lap, which is essential in creating bright cuts. Several low-speed, reversible sharpening systems made specifically for hand engravers are available that reduce sharpening time. Fixtures that secure the tool in place at certain angles and geometries are also available to take the guesswork from sharpening to produce accurate points. Very few master engravers exist today who rely solely on "feel" and muscle memory to sharpen tools. These master engravers typically worked for many years as an apprentice, most often learning techniques decades before modern machinery

SECTION 10

#1732773387638

876-645: A radius, are commonly used on silver to create bright cuts (also called bright-cut engraving), as well as other hard-to-cut metals such as nickel and steel. Square or V-point gravers are typically square or elongated diamond-shaped and used for cutting straight lines. V-point can be anywhere from 60 to 130 degrees , depending on purpose and effect. These gravers have very small cutting points. Other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects. Burnishing tools can also be used for certain stone setting techniques. Musical instrument engraving on American-made brass instruments flourished in

949-612: A slightly curved tip that is commonly used in printmaking. Florentine liners are flat-bottomed tools with multiple lines incised into them, used to do fill work on larger areas or to create uniform shade lines that are fast to execute. Ring gravers are made with particular shapes that are used by jewelry engravers in order to cut inscriptions inside rings. Flat gravers are used for fill work on letters, as well as "wriggle" cuts on most musical instrument engraving work, remove background, or create bright cuts. Knife gravers are for line engraving and very deep cuts. Round gravers, and flat gravers with

1022-478: A whole. Benjamin Roland Lewis notes that "virtually all of Droeshout's work shows the same artistic defects. He was an engraver after the conventional manner, and not a creative artist." Droeshout was a member of a Flemish family of engravers who had migrated to England to avoid persecution for their Protestant beliefs. His father, Michael Droeshout, was a well established engraver, and his older brother, John,

1095-654: Is a chiselled shell , dating back between 540,000 and 430,000 years, from Trinil, in Java, Indonesia, where the first Homo erectus was discovered. Hatched banding upon ostrich eggshells used as water containers found in South Africa in the Diepkloof Rock Shelter and dated to the Middle Stone Age around 60,000 BC are the next documented case of human engraving. Engraving on bone and ivory

1168-411: Is a term sometimes used for engraving objects other than printing plates, to inscribe or decorate jewellery, firearms, trophies, knives and other fine metal goods. Traditional engravings in printmaking are also "hand engraved", using just the same techniques to make the lines in the plate. Engravers use a hardened steel tool called a burin, or graver, to cut the design into the surface, most traditionally

1241-474: Is achieved during the printing process, by selectively leaving a thin layer of ink on parts of the printing plate. The earliest allusion to engraving in the Bible may be the reference to Judah 's seal ring (Ge 38:18), followed by (Ex 39.30). Engraving was commonly done with pointed tools of iron or even with diamond points. (Jer 17:1). Each of the two onyx stones on the shoulder-pieces of the high priest's ephod

1314-581: Is an important technique for the Art of the Upper Paleolithic , and larger engraved petroglyphs on rocks are found from many prehistoric periods and cultures around the world. In antiquity , the only engraving on metal that could be carried out is the shallow grooves found in some jewellery after the beginning of the 1st Millennium B.C. The majority of so-called engraved designs on ancient gold rings or other items were produced by chasing or sometimes

1387-399: Is extremely important for accuracy in hand engraving. When sharpened for most applications, a graver has a "face", which is the top of the graver, and a "heel", which is the bottom of the graver; not all tools or application require a heel. These two surfaces meet to form a point that cuts the metal. The geometry and length of the heel helps to guide the graver smoothly as it cuts the surface of

1460-506: Is known about the practice. Fewer than one dozen sets of tools survive in libraries and museums. By 1900 music engravers were established in several hundred cities in the world, but the art of storing plates was usually concentrated with publishers. Extensive bombing of Leipzig in 1944, the home of most German engraving and printing firms, destroyed roughly half the world's engraved music plates. Examples of contemporary uses for engraving include creating text on jewellery, such as pendants or on

1533-515: Is one of the oldest and most important techniques in printmaking . Wood engraving is a form of relief printing and is not covered in this article, same with rock engravings like petroglyphs . Engraving was a historically important method of producing images on paper in artistic printmaking , in mapmaking , and also for commercial reproductions and illustrations for books and magazines. It has long been replaced by various photographic processes in its commercial applications and, partly because of

SECTION 20

#1732773387638

1606-509: Is roll stamping or roller-die engraving. In this process, a hardened image die is pressed against the destination surface using extreme pressure to impart the image. In the 1800s pistol cylinders were often decorated via this process to impart a continuous scene around the surface. Engraving machines such as the K500 (packaging) or K6 (publication) by Hell Gravure Systems use a diamond stylus to cut cells. Each cell creates one printing dot later in

1679-419: Is state-of-the-art since the 1960s. Today laser engraving machines are in development but still mechanical cutting has proven its strength in economical terms and quality. More than 4,000 engravers make approx. 8 Mio printing cylinders worldwide per year. For the printing process, see intaglio (printmaking) . See also Steel engraving and line engraving The first evidence for hominids engraving patterns

1752-406: Is traditionally done by a combination of pressure and manipulating the work-piece. The traditional "hand push" process is still practiced today, but modern technology has brought various mechanically assisted engraving systems. Most pneumatic engraving systems require an air source that drives air through a hose into a handpiece, which resembles a traditional engraving handle in many cases, that powers

1825-526: The École Estienne in Paris. In traditional engraving, which is a purely linear medium, the impression of half-tones was created by making many very thin parallel lines, a technique called hatching . When two sets of parallel-line hatchings intersected each other for higher density, the resulting pattern was known as cross-hatching . Patterns of dots were also used in a technique called stippling , first used around 1505 by Giulio Campagnola . Claude Mellan

1898-492: The 18th and 19th centuries. By 1837 pewter had replaced copper as a medium, and Berthiaud gives an account with an entire chapter devoted to music ( Novel manuel complet de l'imprimeur en taille douce , 1837). Printing from such plates required a separate inking to be carried out cold, and the printing press used less pressure. Generally, four pages of music were engraved on a single plate. Because music engraving houses trained engravers through years of apprenticeship, very little

1971-474: The 1920s and utilizes a specialized engraving technique where a flat graver is "walked" across the surface of the instrument to make zig-zag lines and patterns. The method for "walking" the graver may also be referred to as "wriggle" or "wiggle" cuts. This technique is necessary due to the thinness of metal used to make musical instruments versus firearms or jewelry. Wriggle cuts are commonly found on silver Western jewelry and other Western metal work. Tool geometry

2044-698: The Chief Curator and Curatorial Director at the National Portrait Gallery, London . Cooper received her MA in art history from The Courtauld Institute of Art in 1996 where she studied Dutch and Flemish art. She obtained a D Phil from the University of Sussex in 2002. The title of her thesis (2001) was: Memento mori portraiture: painting, Protestant culture and the patronage of middle elites in England and Wales, 1540 - 1630 . She

2117-515: The Dutch in Spain at the time. There are no known records of Droeshout after 1640. Martin is not mentioned in his brother's will, dated 1651, which may mean that he was dead by this date, or that his family had severed links with him due to his Catholicism. Droeshout would have been beginning his career as an engraver when he was commissioned to create the portrait of Shakespeare, who had died when Martin

2190-849: The NPG. In 2010 she was awarded a senior research fellowship by the Paul Mellon Centre which enabled her to complete the book. She was appointed Chief Curator at the NPG in 2011 and was elected as a fellow of the Society of Antiquaries of London in June of that year. In January 2018 she became the National Trust's Curatorial & Collections Director. In this role she will deliver the Trust’s curatorial strategy, including research, engagement, and care for collections and buildings. During her time at UCL, she curated two exhibitions from

2263-887: The United States Bureau of Engraving and Printing , more than one hand engraver will work on the same plate, making it nearly impossible for one person to duplicate all the engraving on a particular banknote or document. The modern discipline of hand engraving, as it is called in a metalworking context, survives largely in a few specialized fields. The highest levels of the art are found on firearms and other metal weaponry, jewellery, silverware and musical instruments. In most commercial markets today, hand engraving has been replaced with milling using CNC engraving or milling machines . Still, there are certain applications where use of hand engraving tools cannot be replaced. In some instances, images or designs can be transferred to metal surfaces via mechanical process. One such process

Martin Droeshout - Misplaced Pages Continue

2336-579: The United States, especially during the Great Depression , coin engraving on the large-faced Indian Head nickel became a way to help make ends meet. The craft continues today, and with modern equipment often produces stunning miniature sculptural artworks and floral scrollwork. During the mid-20th century, a renaissance in hand-engraving began to take place. With the inventions of pneumatic hand-engraving systems that aided hand-engravers,

2409-477: The ancient world, revived at the Renaissance, although the term traditionally covers relief as well as intaglio carvings, and is essentially a branch of sculpture rather than engraving, as drills were the usual tools. Other terms often used for printed engravings are copper engraving , copper-plate engraving or line engraving . Steel engraving is the same technique, on steel or steel-faced plates, and

2482-572: The art and techniques of hand-engraving became more accessible. The first music printed from engraved plates dates from 1446 and most printed music was produced through engraving from roughly 1700–1860. From 1860 to 1990 most printed music was produced through a combination of engraved master plates reproduced through offset lithography. The first comprehensive account is given by Mme Delusse in her article "Gravure en lettres, en géographie et en musique" in Diderot 's Encyclopedia. The technique involved

2555-424: The artist. Because of the high level of microscopic detail that can be achieved by a master engraver, counterfeiting of engraved designs is almost impossible, and modern banknotes are almost always engraved, as are plates for printing money, checks, bonds and other security-sensitive papers. The engraving is so fine that a normal printer cannot recreate the detail of hand-engraved images, nor can it be scanned. At

2628-400: The brittle nature of the material makes the process more time-consuming. Retail engravers mainly use two different processes. The first and most common 'Diamond Drag' pushes the diamond cutter through the surface of the material and then pulls to create scratches. These direction and depth are controlled by the computer input. The second is 'Spindle Cutter'. This is similar to Diamond Drag, but

2701-492: The college's collections. She co-curated (with David Starkey) the exhibition Elizabeth I at the National Maritime Museum in 2003 and was a contributor to the catalogue. She curated Searching for Shakespeare at the National Portrait Gallery in 2006. She was the curator of the exhibition Elizabeth I & her people which was held at the NPG from October 2013 to January 2014. This exhibition included

2774-402: The common use was to push with the handle placed firmly in the center of the palm. With modern pneumatic engraving systems, handpieces are designed and created in a variety of shapes and power ranges. Handpieces are made using various methods and materials. Knobs may be handmade from wood, molded and engineered from plastic, or machine-made from brass, steel, or other metals. The actual engraving

2847-451: The difficulty of learning the technique, is much less common in printmaking, where it has been largely replaced by etching and other techniques. "Engraving" is loosely but incorrectly used for any old black and white print; it requires a degree of expertise to distinguish engravings from prints using other techniques such as etching in particular, but also mezzotint and other techniques. Many old master prints also combine techniques on

2920-414: The doctor is purging the three figures of their respective moral illnesses. He pours "Wisdome and Understanding" down the throat of an ignorant rustic and smokes the brain of the "gallant" (courtier) in an oven to burn away the vanity in it (represented by various images going up in smoke). Two other figures wait to have their own brains smoked. Inset are other designs referring to the religious controversy of

2993-448: The early 20th century, as they were cheaper to use in printing than photographic images. Many classic postage stamps were engraved, although the practice is now mostly confined to particular countries, or used when a more "elegant" design is desired and a limited color range is acceptable. Modifying the relief designs on coins is a craft dating back to the 18th century and today modified coins are known colloquially as hobo nickels . In

Martin Droeshout - Misplaced Pages Continue

3066-421: The engraving artist. One of the major benefits of using a pneumatic system for hand engraving is the reduction of fatigue and decrease in time spent working. Hand engraving artists today employ a combination of hand push, pneumatic, rotary, or hammer and chisel methods. Hand push is still commonly used by modern hand engraving artists who create "bulino" style work, which is highly detailed and delicate, fine work;

3139-481: The engraving head is shaped in a flat V shape, with a small diamond and the base. The machine uses an electronic spindle to quickly rotate the head as it pushes it into the material, then pulls it along whilst it continues to spin. This creates a much bolder impression than diamond drag. It is used mainly for brass plaques and pet tags. With state-of-the-art machinery it is easy to have a simple, single item complete in under ten minutes. The engraving process with diamonds

3212-557: The engraving of copper printing plates to produce artistic images on paper, known as old master prints , first in Germany in the 1430s. Italy soon followed. Many early engravers came from a goldsmithing background. The first and greatest period of the engraving was from about 1470 to 1530, with such masters as Martin Schongauer , Albrecht Dürer , and Lucas van Leiden . Thereafter engraving tended to lose ground to etching , which

3285-470: The engravings remain very similar. The portrait of Francisco de la Peña is similar in its modelling and the drawing of head-shape to the Shakespeare print. His earliest Spanish work depicted the coat of arms of leading Counter-Reformation Spanish statesman Gaspar de Guzmán, Count-Duke of Olivares . His most explicitly Catholic design depicts the "Church as Warrior stamping out Heresy, Error and Temerity",

3358-426: The era over pluralism . The whole is filled with boxed passages of satirical moral verse of unknown authorship. Droeshout's ten known Spanish engravings are all on subjects with distinctly Catholic significance, differing dramatically in that respect to works he had been producing in Britain up to 1632, one of the last of which was an allegory of the theology of presbyterian Puritan Alexander Henderson . Stylistically

3431-449: The first century AD, continuing into the fourth century CE at urban centers such as Cologne and Rome, and appears to have ceased sometime in the fifth century. Decoration was first based on Greek mythology, before hunting and circus scenes became popular, as well as imagery drawn from the Old and New Testament. It appears to have been used to mimic the appearance of precious metal wares during

3504-488: The follies of modern life, depicting figures representing Country, Town and Court life being treated by the doctor. The design "has a complicated ancestry", being an adaptation of an earlier print by Greuter, which itself drew on emblem book designs. Droeshout, or perhaps an unknown person who designed it, seems to have made a number of specific elaborations of the image, including extensive text, adding extra characters and English and Latin phrases, notably verses explaining how

3577-453: The image is protected with an approximately 6 μm chrome layer. Using this process the image will survive for over a million copies in high speed printing presses . Engraving machines such as GUN BOW (one of the leading engraving brands) are the best examples of hand engraving tools, although this type of machine is typically not used for fine hand engraving. Some schools throughout the world are renowned for their teaching of engraving, like

3650-427: The inside of engagement - and wedding rings to include text such as the name of the partner, or adding a winner's name to a sports trophy. Another application of modern engraving is found in the printing industry. There, every day thousands of pages are mechanically engraved onto rotogravure cylinders, typically a steel base with a copper layer of about 0.1 mm in which the image is transferred. After engraving

3723-412: The majority view, that the younger Martin Droeshout was the more likely candidate. In 1991 historian Mary Edmund argued that his uncle, Martin Droeshout the Elder, may have been both a painter and engraver, and that there was no evidence that the younger Droeshout ever worked as an engraver at all. She stated that the Droeshout oeuvre should all be attributed to the elder Martin. Her views were asserted in

SECTION 50

#1732773387638

3796-516: The metal. When the tool's point breaks or chips, even on a microscopic level, the graver can become hard to control and produces unexpected results. Modern innovations have brought about new types of carbide that resist chipping and breakage, which hold a very sharp point longer between resharpening than traditional metal tools. Sharpening a graver or burin requires either a sharpening stone or wheel. Harder carbide and steel gravers require diamond-grade sharpening wheels; these gravers can be polished to

3869-411: The most elaborate of which was Doctor Panurgus , an adaptation of an earlier engraving by Matthaeus Greuter . Ever since the identification of the surviving records of the Droeshout family, there has been uncertainty about whether "Martin Droeshout" the engraver was the brother or the son of Michael Droeshout, though Lionel Cust in the original Dictionary of National Biography asserted what became

3942-513: The new Oxford Dictionary of National Biography . More recent research by June Schlueter reaffirms the traditional attribution of the engravings to the younger Droeshout. Some time between 1632 and 1635 Droeshout emigrated to Spain, settling in Madrid. This is known because he produced a number of signed engravings there from 1635 to 1640. Art historian Christiaan Schuckman believes that Droeshout's move to Spain must have been caused by, or led to,

4015-563: The poor drawing and modelling of the doublet and collar suggests that Droeshout was copying a lost drawing or painting that only depicted Shakespeare's head and shoulders. The body was added by the engraver himself, as was common practice. Droeshout later created portrait engravings depicting John Foxe , Gustavus Adolphus , John Donne , John Howson , George Villiers, 1st Duke of Buckingham and other notables. He also created more ambitious allegorical , mythical and satirical designs. These included The Spiritual Warfare , engraved around

4088-399: The process. A K6 can have up to 18 engraving heads each cutting 8.000 cells per second to an accuracy of .1 μm and below. They are fully computer-controlled and the whole process of cylinder-making is fully automated. It is now common place for retail stores (mostly jewellery, silverware or award stores) to have a small computer controlled engrave on site. This enables them to personalise

4161-429: The products they sell. Retail engraving machines tend to be focused around ease of use for the operator and the ability to do a wide variety of items including flat metal plates, jewelry of different shapes and sizes, as well as cylindrical items such as mugs and tankards. They will typically be equipped with a computer dedicated to graphic design that will enable the operator to easily design a text or picture graphic which

4234-515: The same period, including the application of gold leaf, and could be cut free-hand or with lathes. As many as twenty separate stylistic workshops have been identified, and it seems likely that the engraver and vessel producer were separate craftsmen. In the European Middle Ages goldsmiths used engraving to decorate and inscribe metalwork. It is thought that they began to print impressions of their designs to record them. From this grew

4307-545: The same plate, further confusing matters. Line engraving and steel engraving cover use for reproductive prints, illustrations in books and magazines, and similar uses, mostly in the 19th century, and often not actually using engraving. Traditional engraving, by burin or with the use of machines, continues to be practised by goldsmiths , glass engravers, gunsmiths and others, while modern industrial techniques such as photoengraving and laser engraving have many important applications. Engraved gems were an important art in

4380-472: The same time as the Shakespeare image. This depicts the devil's army besieging a stronghold held by a "Christian Soldier bold" guarded by figures representing the Christian virtues. It has been proposed that this design may have influenced John Bunyan to write The Holy War . It appears to have been reprinted in 1697 in the wake of the success of Bunyan's books. Droeshout created an illustration depicting

4453-399: The software will translate into digital signals telling the engraver machine what to do. Unlike industrial engravers, retail machines are smaller and only use one diamond head. This is interchangeable so the operator can use differently shaped diamonds for different finishing effects. They will typically be able to do a variety of metals and plastics. Glass and crystal engraving is possible, but

SECTION 60

#1732773387638

4526-470: The suicide of Dido which functioned as a frontispiece to Robert Stapylton 's verse translation of the fourth book of Virgil's Aeneid . Among his more complex works are several engraved plates for Thomas Heywood 's The Hierarchy of the Blessed Angels , for which Droeshout was one of five engravers who created plates. Droeshout's most complex independent print is "Doctor Panurgus", an allegory of

4599-429: The surface with a sharp point, laser marked, drawn with a fine permanent marker (removable with acetone) or pencil, transferred using various chemicals in conjunction with inkjet or laser printouts, or stippled . Engraving artists may rely on hand drawing skills, copyright-free designs and images, computer-generated artwork, or common design elements when creating artwork. Originally, handpieces varied little in design as

4672-446: The work from exposure to the elements and time. Finishing also may include lightly sanding the surface to remove small chips of metal called "burrs" that are very sharp and unsightly. Some engravers prefer high contrast to the work or design, using black paints or inks to darken removed (and lower) areas of exposed metal. The excess paint or ink is wiped away and allowed to dry before lacquering or sealing, which may or may not be desired by

4745-579: The younger Martin's biography from surviving information. There is little doubt that a number of engravings were made by the same individual, on stylistic grounds and the similarities of the signatures and monograms used. Though Droeshout's engraving of Shakespeare is his earliest dated work, there is reason to believe he was already an established engraver, possibly having already produced the allegorical print The Spiritual Warfare . He made at least twenty four engravings in London between 1623 and 1632. These included portraits and more complex allegorical works,

4818-671: Was Assistant Curator of the College Art Collections and taught art history at University College London . She moved to the NPG in 2002 to become the 16th Century Curator. She led the seven-year "Making Art in Tudor Britain" project. This project encompassed a detailed and comprehensive scientific survey of Tudor paintings in the NPG. The NPG received a grant from the Getty Foundation to enable her to write Citizen Portrait based in part on her D Phil dissertation together with her research in her role as curator at

4891-507: Was a much easier technique for the artist to learn. But many prints combined the two techniques: although Rembrandt 's prints are generally all called etchings for convenience, many of them have some burin or drypoint work, and some have nothing else. By the nineteenth century, most engraving was for commercial illustration. Before the advent of photography, engraving was used to reproduce other forms of art, for example paintings. Engravings continued to be common in newspapers and many books into

4964-404: Was also a member of the profession. His mother, Dominique Verrike, was his father's second wife. His uncle, also called Martin Droeshout (1560s- c.  1642 ), was an established painter. No direct documentation survives about the life of Droeshout beyond the record of his baptism. Because of the multiple family members, including his uncle with the same name, it is difficult to separate out

5037-450: Was available for hand engravers. These engravers typically trained in such countries as Italy and Belgium, where hand engraving has a rich and long heritage of masters. Design or artwork is generally prepared in advance, although some professional and highly experienced hand engravers are able to draw out minimal outlines either on paper or directly on the metal surface just prior to engraving. The work to be engraved may be lightly scribed on

5110-604: Was engraved with the names of six different tribes of Israel , and each of the 12 precious stones that adorned his breastpiece was engraved with the name of one of the tribes. The holy sign of dedication, the shining gold plate on the high priest's turban, was engraved with the words: "Holiness belongs to Adonai ." Bezalel , along with Oholiab, was qualified to do this specialized engraving work as well as to train others.—Ex 35:30–35; 28:9–12; 39:6–14, 30. Prints : Of gems : Of guns : Of coins : Of postage stamps : Of pins : Tarnya Cooper She has previously been

5183-414: Was fifteen years old. He was 21 when he received the commission. The engraving is probably based on a pre-existing painting or drawing. Since Martin's uncle of the same name was an established painter, it was suggested by E. A. J. Honigmann that the elder Martin may have made the original image, which could explain why his young relation was given the commission for the engraving. Tarnya Cooper argues that

5256-509: Was mostly used for banknotes, illustrations for books, magazines and reproductive prints, letterheads and similar uses from about 1790 to the early 20th century, when the technique became less popular, except for banknotes and other forms of security printing . Especially in the past, "engraving" was often used very loosely to cover several printmaking techniques, so that many so-called engravings were in fact produced by totally different techniques, such as etching or mezzotint . "Hand engraving "

5329-412: Was one of many 17th-century engravers with a very well-developed technique of using parallel lines of varying thickness (known as the "swelling line") to give subtle effects of tone (as was Goltzius ) – see picture below. One famous example is his Sudarium of Saint Veronica (1649), an engraving of the face of Jesus made from a single spiraling line that starts at the tip of Jesus's nose. Surface tone

#637362