A Book of British Etching: From Francis Barlow to Francis Seymour Haden

By Walter Shaw Sparrow | Go to book overview

INDEX AND GLOSSARY TO PART II*
(It includes a good many deceased etchers not mentioned in the text.)
Acid-fumes, when rising from a large surface of metal immersed in a strong bath for fierce biting, need much care from beginners, particularly when a room is ill- ventilated and small. Fumes from powerful nitric acid are the worst, and very bad for the nose, eyes, throat and lungs. To some constitutions they are dangerous. E. S. Lumsden's advice: If coughing begins, open the windows, breathe weak ammonia, and sip water with a little carbonate of soda in it.--Some etchers drink milk when fumes rise from chloric acid.
Acids used in Etching.-- Seymour Haden's baths for zinc: (a) nitric acid, 25, water, 75; (b) hydrochloric acid, 10, chlorate of potash, 2, water, 88.--Haden's baths for copper: (a) nitrous acid, 33 1/3, water, 66 2/3; (b) hydrochloric acid, 20, chlorate of potash, 3, water, 77. Chlorate of potash is first dissolved in boiling water, the hydrochloric acid is diluted with cold water, then the two are mixed together. Haden's baths are slow and safe. Brangwyn prefers rapid mordants, sometimes employing the nitrous pure, more often either half-and- half, or a 75 p.c. strength. Temperamental feeling rules over these technical matters.-- SeeLumsden's accumulated facts.
Ackermann, Messrs., 157a New Bond Street, London, 208.
Adam, J. Denovan, R.S.A., Glasgow, 1842- Glasgow, 1896. A good many etched coppers were discovered by his family a short time ago. A few proofs have been taken from each plate; and as these etchings are really very skilful and concerned mainly with J. D. A.'s favourite cattle subjects, their recovery is important.
Adam, Robert, and John Clerk of Eldin, 109.
Addison, William G., d. 1904, contributed to The Etcher, 1883: "St. Ann's Gate, Salisbury," 5 15/16 × 7 7/8.
Advantages of etching over painting, 86et seq.
Æsop's Fables, Barlow's etchings for, 96, 97, 98, 99, 102, 103, 109, 193.
Æsop's Fables, Bewick's woodcuts for, 193.
"Agamemnon," Haden's plate, 204, 205.
Agasse, J. L., 1767-c. 1849, 91.
Aikman, George W., 1830-1904, contributor in the 'eighties to The Etcher and English Etchings, architecture and landscape, 186.
Airing Prints, particularly those bound up in books, or kept in solander cases, is very useful and necessary, for it enables collectors to see the very first traces of mildew. When mildew does appear on etchings, consult the pamphlets recently published by Dr. Alexander Scott, F.R.S., of the British Museum Laboratory.
Albemarle, First Duke of, and Barlow, 94, 96.
Alexander, William, 1767-1816, 121.
Alken, Henry, London 1785-London1851, 134.
Alken, Samuel, senior, c. 1750-c. 1825, 136.
Allan, David, Alloa 1744-Edinburgh1796; designed and aquatinted plates for Ramsay's Gentle Shepherd, 1788, and etched illustrations for Raspe's Catalogue of Tassie's Gems, 1791. Allan, like Alick and John Runciman, received his training at the Foulis Academy, Glasgow, founded in 1753 by the Brothers Foulis, famous book printers; 83, 111, 123.
Allard, Hugo, and Barlow, 104.
Aluminium, recently attempts have been made to etch on this metal, but it seems unlikely to displace either zinc or copper.
Amber, according to George Vertue, Rembrandt varnished his plates with a ground composed of virgin wax, 1 oz., mastic ⅟2, and ⅟2 oz. of either amber or asphaltum.
Ammonia, a little whitening mixed with ammonia is a good thing for cleaning metal plates before the ground is laid. Rinse the plate under a tap, then dry it rapidly and thoroughly a few feet above a gas ring.
____________________
*
See alsoIndex to Part I, pp. 70-73.

-209-

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