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Davenport Etching news

(June 18, 2016) The Davenport etching sold out in 10 days flat. That’s Yalies for you!

Terms and Conditions

CONTACT: Please call us on +44 (0)20 7704 6808; or write to Capital Prints, 101 Sotheby Road, London N5 2UT; or email enquiry(at)capitalprints(dot)com
DELIVERY POLICY: All prints are despatched in strong cardboard tubes by (international) recorded delivery. If you live outside the UK, please allow 28 days for delivery; or 14 days if you live within the UK. If you decide for any reason that you don’t want the etching you’ve ordered, then if you return it to us undamaged within 14 days of receipt (or 28 days if you live outside the UK), we’ll immediately refund any money you may have paid in full either by cheque or credit/debit card refund. And if any print is damaged in transit, we will either send you a replacement if possible, or refund you in full, as you wish. PAYMENT can be made by cheque, or credit or debit card (details of which we only take over the phone). INVOICES can be emailed to you and/or included in the tube when we send the print.

Intaglio Printmaking – Etching, Engraving and Gravure

Any printmaking process, including engraving, etching and gravure, that involves scoring a mark onto a metal plate is known as an intaglio. Engraving requires the artist to make a mark straight onto copper with an engraving tool, a graver. Etching is a process whereby marks are made by scratching through a hard waxy surface laid onto the copper plate with a needle, so that when immersed in acid, the copper is incised along the lines made by the needle. The artistic advantage of etching over engraving is that, because it is easier to make an incision in wax with a needle than it is to cut straight into copper with a graver, it allows much freer and ‘painterly’ expression. A close relative of etching is gravure – a photo-etching process dating from the 1860s that enables a photographed image to be transferred onto copper, and for the printmaking process thereafter to proceed as with an etching.

In making the plate for the College series of etchings, Ingamells used a combination of gravure and traditional etching. First he made a detailed drawing (at a rate of approximately a square inch a day). This drawing was then photographed and a positive image of it placed over a copper plate which was itself covered with a light-sensitive gelatin. In a light-box the exposed gelatin hardened to form a protective ground over the copper plate, while the gelatin under the dark lines of the drawing could be washed away. The plate was then immersed in acid, and so etched along the lines of the drawing. Not all of the lines from the drawing appeared on the plate, however, so the plate was completed by traditional etching methods of covering it with wax (known as a ground) and then cut into with an needle as and where necessary. The plate was then etched in acid as before and the waxy ground cleaned off. When cleaned and inked up, the plate was then place on the bed of a hand-operated etching press and paper passed over it under the weight of a heavy roller to make each individual print.