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Pêcheurs de Concarneau

Print
Artist/Maker
Place of origin

Colour print from metal of fishermen in French town


Object details

Object type
TitlePêcheurs de Concarneau (assigned by artist)
Materials and techniques
Colour print from metal
Brief description
T. François Simon, Pêcheurs de Concarneau. Working proof "No. 2." Colour print from metal.
Physical description
Colour print from metal of fishermen in French town
Dimensions
  • Height: 12 3/4in (Note: Measurement from: Victoria and Albert Museum, Department of Engraving, Illustration and Design, Accessions 1913, London: Printed for His Majesty's Stationery Office, 1914 )
  • Width: 14 3/8in (Note: Measurement from: Victoria and Albert Museum, Department of Engraving, Illustration and Design, Accessions 1913, London: Printed for His Majesty's Stationery Office, 1914 )
Marks and inscriptions
NOTE ON COLOUR PRINTING BY T. F. SIMON [Translation.] In reply to all the questions you put, I could answer both "yes" and "no," for colour-engraving allows of almost every method and every combination. Accordingly, I am confining myself to answering those questions to which I can best give a reply from my own knowledge and experience. 1. The number of plates for an engraving in colour depends upon the subject and the effect required. (It may, for instance, be a night effect, a grey effect, or a subject with wide planes in neutral tints.) 2. For a subject of fairly simple colour effect and with little complication of tone spaces, tow plates may be employed with advantage ; one for the outlines or contours, the other (aquatint) for the colour. 3. Any effect may be obtained, wehtehr for a subject of full, animated colour, or for an effect of low-toned harmony, by the use of three separate plates, one for each of the primary colours ; but wide experience is essential for the production of a successful result. This method of using the three primary colours is employed in phot-engraving processes, but is hardly ever used in artistic engraving. Colour prints are, however, produced by means of several plates-- it may be three, four or six ; and I am of opinion that this use of several plates ensures the best results, particularly in regard to richness of colour and a harmonious combination of tones. I often use three or four plates when the effect requires it, but I always reserve one plate (the last to be printed) for the outlines. This serves to hold together the principle planes of colour and to systematise the drawing. 4. An even tone upon a colour plate may be obtained by the use of a second plate lightly bitten with aquatint. In colour engraving there is absolute freedom. Everything depends upon the skill, the good taste, and artistic perception of the engraver. It must be clearly understood that a colour print in simple tones (e.g. the colour harmony of a picture by Corot) does not need several plates ; while a subject full of colour (e.g., flowers with brilliant tints) requires many. T.F. SIMON. (Inscription from: Victoria and Albert Museum, Department of Engraving, Illustration and Design, Accessions 1913, London: Printed for His Majesty's Stationery Office, 1914 )
Place depicted
Association
Bibliographic reference
Victoria and Albert Museum, Department of Engraving, Illustration and Design, Accessions 1913, London: Printed for His Majesty's Stationery Office, 1914
Collection
Accession number
E.2124B-1913

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Record createdJune 30, 2009
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