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Pêcheurs de Concarneau

  • Object:

    Print

  • Place of origin:

    France (possibly, made)

  • Artist/Maker:

    Simon, T. François (made)

  • Materials and Techniques:

    Colour print from metal

  • Museum number:

    E.2124-1913

  • Gallery location:

    Prints & Drawings Study Room, level C, case EE, shelf 53

Physical description

Colour print from metal of fishermen in French town

Place of Origin

France (possibly, made)

Artist/maker

Simon, T. François (made)

Materials and Techniques

Colour print from metal

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

Dimensions

Height: 12 3/4 in, Width: 14 3/8 in

Descriptive line

T. François Simon, Pêcheurs de Concarneau. Colour print from metal.

Bibliographic References (Citation, Note/Abstract, NAL no)

Victoria and Albert Museum, Department of Engraving, Illustration and Design, Accessions 1913, London: Printed for His Majesty's Stationery Office, 1914

Techniques

Colour print from metal

Collection

Prints, Drawings & Paintings Collection

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