DOI Heft:
No. 264 (1915)
DOI Artikel:Folliott Stokes, A. G.: Alfred Hartley, painter and etcher
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21212#0109
Alfred Hartley, Painter and Etcher
*
“VERSAILLES” FROM THE PAINTING BY ALFRED HARTLEY, R.B.A., R.E.
master printer, the late Frederick Goulding—then
a stranger to me, but destined to become in after
years a valued friend. After a few days of suspense
a parcel arrived, and there was my work—an
astonishing success. In view of the innumerable
failures that followed, that plate will ever remain a
mystery to me.
“ My acquaintance with aquatinting as a method
dates from my first attempts at colour-etching.
These were made about the time of the appearance
in The Studio of an article on French Colour-
Prints. The method at once made a strong appeal
to me and does so still. Though I first used it for
colour-etching alone, I now find it a very sympathetic
means of expression in monochrome. In colour-
printing I have hitherto confined myself to the aqua-
tint method, in spite of the lure of the wood block,
which has peculiar charms of its own. I usually
limit myself to three plates—a plate for each colour
used: believing that the less colour elaborated,
the better the result in this class of work. Such is
my experience, though I know that some artists
adopt a much more comprehensive plan, and with
success. I should like to say that I owe whatever
knowledge I may possess of the craft primarily to
Sir Frank Short, whose knowledge of the subject
seems to be as inexhaustible as his kindness. And
when I acquired a press of my own and commenced
to do my own printing, Mr. C. J, Watson, that
most accomplished etcher and printer, kindly
helped me over my first difficulties. Perhaps I
ought to add that I studied for some years at the
Royal College of Art, South Kensington, and also at
Professor Brown’s class at Westminster. Among my
fellow students at the former were J. J. Shannon and
Llewellyn, and at the latter Frampton, Greiffenhagen,
Aiming Bell, and many others whose works are now
well known. One of the pleasantest recollections
of my Kensington days is the many happy hours
spent in the Victoria and Albert Museum—a
Mecca to which pilgrimages were constant and
always inspiring.”
Here Hartley smilingly assured me that there
was no more he could recall. This, of course, was
an ultimatum which I accepted with, I trust, a
good grace.
103
*
“VERSAILLES” FROM THE PAINTING BY ALFRED HARTLEY, R.B.A., R.E.
master printer, the late Frederick Goulding—then
a stranger to me, but destined to become in after
years a valued friend. After a few days of suspense
a parcel arrived, and there was my work—an
astonishing success. In view of the innumerable
failures that followed, that plate will ever remain a
mystery to me.
“ My acquaintance with aquatinting as a method
dates from my first attempts at colour-etching.
These were made about the time of the appearance
in The Studio of an article on French Colour-
Prints. The method at once made a strong appeal
to me and does so still. Though I first used it for
colour-etching alone, I now find it a very sympathetic
means of expression in monochrome. In colour-
printing I have hitherto confined myself to the aqua-
tint method, in spite of the lure of the wood block,
which has peculiar charms of its own. I usually
limit myself to three plates—a plate for each colour
used: believing that the less colour elaborated,
the better the result in this class of work. Such is
my experience, though I know that some artists
adopt a much more comprehensive plan, and with
success. I should like to say that I owe whatever
knowledge I may possess of the craft primarily to
Sir Frank Short, whose knowledge of the subject
seems to be as inexhaustible as his kindness. And
when I acquired a press of my own and commenced
to do my own printing, Mr. C. J, Watson, that
most accomplished etcher and printer, kindly
helped me over my first difficulties. Perhaps I
ought to add that I studied for some years at the
Royal College of Art, South Kensington, and also at
Professor Brown’s class at Westminster. Among my
fellow students at the former were J. J. Shannon and
Llewellyn, and at the latter Frampton, Greiffenhagen,
Aiming Bell, and many others whose works are now
well known. One of the pleasantest recollections
of my Kensington days is the many happy hours
spent in the Victoria and Albert Museum—a
Mecca to which pilgrimages were constant and
always inspiring.”
Here Hartley smilingly assured me that there
was no more he could recall. This, of course, was
an ultimatum which I accepted with, I trust, a
good grace.
103