Publisher's Synopsis
Excerpt from John Raphael Smith: And the Great Mezzotinters of the Time of Reynolds
The enormous prices that have been realised by mezzotint in recent years have of course only gone for brilliant impressions in perfect condition, and the quality of impression is a more important factor with mezzotint than with engravings in any other process except dry-point. In fact the rarity of good impressions in the case of both mezzotint and dry-point comes from the same reason, the delicacy of the burr which gives to both their deep velvety tone. Twenty or thirty printings may be quite enough to wear down this burr, and leave the later prints as mere ghostly reminders of their former glories. In spite of this many of the most famous plates, such as J. R. Smith's Mrs. Carnac, and John Jones's Miss Kemble (c. S. Have yielded thousands of impressions. The Mrs. Carnac in particular, which is still in the possession of Messrs. P. And D. Colnaghi, has been reworked from time to time with such skill that even some modern impressions are effective. But they have almost lost all relationship with the original work, so drastic have been the restorations, and their value is negligible on that account.
Modern photogravure gives marvellous results in reproducing the tone of oil-paintings. But as a photo-mechanical process that relies on etching for the work on the plate there is a complete absence of the rich burr that lends mezzotint its incomparable qualities of texture and tone.
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