Реклама. ООО «ЛитРес», ИНН: 7719571260.
PREAMBLE
TABLE OF CONTENTS
I. INTRODUCTION
II. THE STONE
III. THE CRAYON
IV. DRAWING ON THE STONE
V. STEPS AND MATERIALS1
VI. THE ROLLER
VII. PRINTING
VIII. ETCHING THE STONE, AND RELATED MATTERS
IX. THE PRESS
X. THE TRANSFER
XI. PAPERS
APPENDIX
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IT IS suggested that one who puts out a technical book should begin by telling his public reasons why it should believe what he says. Reluctantly conforming to this, I will say that I was trained as a painter, also as an etcher, and have paid in time and labor the price necessary to the mastery of the operations involved in both the art and craft of crayonstone lithography. Here is brought into co-operation an artist’s lifelong familiarity with artistic problems and a technical grasp of the craft side of the matter—from graining the stone to flattening the finished proofs. The British Museum has a practically complete set of my prints, presumably as works of art; while in the offices of the heads of several of the best lithographic firms in New York they also may be seen hanging, bought and placed there as examples of craftsmanship. For a year I worked with my stones and presses in London. Then I brought them over to my present home at Woodstock, New York. Here I have gradually rounded out a sufficiently complete equipment. Here it is that I have done my private work, and here people sometimes come to study with me. Here in 1919 I put out what I think was the first published offer in this country to teach artistic lithography. When I go down from this rustic retreat to New York, it is generally to work for the rest of the world—write, lecture, print, exhibit—whatever comes up to be done.
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1 Modern Woodcuts and Lithographs by British and French Artists. With Commentary by Malcolm C. Salaman. Edited by Geoffrey Holme. London, Paris, New York. The Studio, Ltd., 1919.
2 Lithography and Lithographers, p. 261, line 3. New York: Macmillan Co., 1915. “Twenty parts of acid to one of water.”
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