wood engraving

In the year 1960, he left for Japan to study the technique of wood engraving.

He was very much at the centre of developments in wood engraving.

He completed the wood engravings, but Hall did not complete the text.

However, its original illustrations were limited to small black and white wood engravings.

Recently, lasers have begun to be used for wood engraving.

In Paris he painted much and also tried his hand successfully at wood engraving.

In 1920 he exhibited three wood engravings at the opening exhibition of the Society.

Each volume includes scores of wood engravings by various artists.

An important source at this time was German wood engravings and etchings.

Being especially skilled in wood engraving, he soon caught the public eye through his engravings for books.

His distinguished body of work was largely responsible for elevating the wood engraving to an art form in twentieth-century America.

Shown below is "South Street Piers," a wood engraving from 1950.

A fourth exhibited version, a wood engraving from a book published in 1869, cannot be confused with the others.

He studied wood engraving under John W. Orr of New York city, as well as oil and water-color painting.

In the early 1830s he taught wood engraving to his younger brother Mason Jackson.

Da Trento probably first learned wood engraving from Ugo da Carpi.

By the mid-19th century, the technique of electrotyping was developed, which enabled a wood engraving to be reproduced into metal.

His next publication 'To Daffadills' (1934) incorporated a delicate wood engraving around Robert Herrick's 17th century poem to the brevity of spring.

From a wood engraving on the wall a slender, angelic girl looked down upon them, and underneath was the legend: "Our Future Queen."

In 1914 she went on to the Central School to study wood engraving under Noel Rooke.