DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52444#0175
DRY-POINTS, AND ETCHINGS.
proofs examined. Impressions in black ink, with very little tinting, are, indeed,
met with, but those of the kind here shown,— that is to say, printed in a warm
ink, with much tinting, only the broad lights wiped clean (note, for instance,
that even the torch held by the hermit in the distance is very perceptibly tinted),
— seem to be decidedly in the majority. This applies more especially to No. 96.
In London, for instance, there is an impression from the plate in its best condi-
tion in ink of a disagreeably cold reddish black, with altogether too much tint-
ing, only the broad lights having been wiped clean. In the very fine impres-
sion in Berlin there is also a heavy tint throughout, with only the broad lights
wiped quite clean. Dresden, on the other hand, has an impression in pure
black ink, with only slight tinting in the close work, and therefore “ silvery,”
but rather flat looking, while the one in Paris is described as “ dry ” in the
notes used in compiling this catalogue. The impression in the Gray Collection,
Boston, is again quite artificial in the printing. The ink is of a warmish black,
and there is very heavy tinting in the cloak of the saint, on his staff, on his legs,
and in the water. The broad lights on the figures, the halo of the Christ child, and
the stone bearing the monogram, are quite clean wiped. A slight tint has been
left on the distance, but the hermit and the lower part of the flame of his torch
have been wiped clean. That the absolutely clean wiping of these lights was
done consciously is shown in the distance on the left, where it extends into the
tree seen at the back of the saint, so that part of it is clean and the other part
tinted. (See No. 97.)
97 ST, CHRISTOPHER WITH THE HEAD TURNED TO
THE RIGHT—B 52; H 715; R 246; M 94.—Mono-
gram AND DATE, 1521, ON A SQUARE BLOCK OF STONE.
a. Fine impression. Printed in black ink, practically clean wiped, with
only very slight tinting. From the Balmanno Collection.
b. Also a fine impression, practically clean wiped, with only very slight
tinting, but printed with a warmer ink, and therefore softer in effect.
The tinting in both the impressions above described is not nearly as heavy as in
No. 96, and the lights in the distance are clean wiped. The impressions in the
cabinets at Paris, London, and Berlin are in general like those here shown, the
one in Berlin, in black ink, being wiped especially clean. Dresden has a fine
warmish impression, with much tinting, more particularly in the drapery of the
saint. The impression in the Gray Collection shows a perceptible tint, only the
broad lights on the figures having been wiped clean.
83
proofs examined. Impressions in black ink, with very little tinting, are, indeed,
met with, but those of the kind here shown,— that is to say, printed in a warm
ink, with much tinting, only the broad lights wiped clean (note, for instance,
that even the torch held by the hermit in the distance is very perceptibly tinted),
— seem to be decidedly in the majority. This applies more especially to No. 96.
In London, for instance, there is an impression from the plate in its best condi-
tion in ink of a disagreeably cold reddish black, with altogether too much tint-
ing, only the broad lights having been wiped clean. In the very fine impres-
sion in Berlin there is also a heavy tint throughout, with only the broad lights
wiped quite clean. Dresden, on the other hand, has an impression in pure
black ink, with only slight tinting in the close work, and therefore “ silvery,”
but rather flat looking, while the one in Paris is described as “ dry ” in the
notes used in compiling this catalogue. The impression in the Gray Collection,
Boston, is again quite artificial in the printing. The ink is of a warmish black,
and there is very heavy tinting in the cloak of the saint, on his staff, on his legs,
and in the water. The broad lights on the figures, the halo of the Christ child, and
the stone bearing the monogram, are quite clean wiped. A slight tint has been
left on the distance, but the hermit and the lower part of the flame of his torch
have been wiped clean. That the absolutely clean wiping of these lights was
done consciously is shown in the distance on the left, where it extends into the
tree seen at the back of the saint, so that part of it is clean and the other part
tinted. (See No. 97.)
97 ST, CHRISTOPHER WITH THE HEAD TURNED TO
THE RIGHT—B 52; H 715; R 246; M 94.—Mono-
gram AND DATE, 1521, ON A SQUARE BLOCK OF STONE.
a. Fine impression. Printed in black ink, practically clean wiped, with
only very slight tinting. From the Balmanno Collection.
b. Also a fine impression, practically clean wiped, with only very slight
tinting, but printed with a warmer ink, and therefore softer in effect.
The tinting in both the impressions above described is not nearly as heavy as in
No. 96, and the lights in the distance are clean wiped. The impressions in the
cabinets at Paris, London, and Berlin are in general like those here shown, the
one in Berlin, in black ink, being wiped especially clean. Dresden has a fine
warmish impression, with much tinting, more particularly in the drapery of the
saint. The impression in the Gray Collection shows a perceptible tint, only the
broad lights on the figures having been wiped clean.
83