A History of Wood-Engraving

Name: A History of Wood-Engraving
Author: Woodberry, George Edward

Woodberry, George Edward

Wood-engraving; Wood-engraving -- Bibliography

Rembrandt, 147.

Renaissance: in Italy, 67-85;
  in Germany, 91, 97, 110, 111, 115;
  in France, 135-141.

Romances, popular, 59, 141.

Rubens, P. P.:
  reproductions after his designs, 147.

Ruskin, John:
  criticism on Holbein, 126;
  on Bewick, 155.

Saints’ images, 21-26.

Salomon, Bernard, 140-141.

Sand, George, criticism of Holbein, 124.

Satire: in Bible-cuts, 50, 51;
  in the Little Masters, 112;
  in Holbein, 120, 132.

Saxony: Chronicle, 53.

_Schatzbehalter_, 54.

Schäuffelin, Hans, 106.

Schön, Erhard, 114.

Scolari, Giuseppe, 145.

Sebastian, St.:
  print of 1437, 23.

Secularization of art, 50, 110, 111.

Smith, Orrin, 167.

Solis, Virgil, 114.

_Speculum Humanæ Salvationis_:
  description, 34;
  place of issue, 36;
  authorship, 38, _note_, 39;
  character of the cuts, 40.

_Spirituale Pomerium_, 39.

Springinklee, Hans, 106, 110.

Stamps, engraved, early use, 13.

Stimmer, Tobias, 114.

Strasburg:
  Bible, 50;
  press, 57.

Suger, defence of art, 15.

Tenniel, John, 168.

Tewrdannckh, Sir, Adventures of, 106.

Thompson, John, 164.

Titian, reproductions after his designs, 144-146.

Tortorel, Jean, 140.

Tory, Geoffrey, influence on French engraving, 135.

Trento, Antonio da, 146.

Turrecremata’s, Cardinal, Meditations, 68.

Ulm:
  prints, 26;
  press, 57.

Unger, Johann Georg, and Johann Gottlieb Friedrich, 163.

Van der Weyden, Roger, 42.

Van Eyck, 36, 37, 42.

Varro, portraits in his works, 20.

Vecellio, Cesare, 146.

Venice:
  claim to the origin of wood-engraving, 20;
  decree forbidding importation of prints from Germany, 27;
  early cuts, 68;
  early views of the city, 69;
   later cuts, 82-87, 143-147.

Verard, Antoine, 60, 62.

Vesalius’s Anatomy, 145.

Vinci, Leonardo da, 142.

Vostre, Simon, 62.

White line:
  description, 151;
  influence on the art in Bewick’s hands, 153;
  the engraver’s province, 154, 184.

Wise King, The, 106.

Woeiriot, Pierre, 140.

Wohlgemuth, Michael, 53, 54.

Worde, Wynkyn de, 64.

Zainer Gunther, 46, 52.

THE END.

       *       *       *       *       *

Typographical errors corrected by the etext transcriber:

appendix von Albert Ilg. Wein=> appendix von Albert Ilg. Wien {pg 19}

Guyot Marchand’s La Dance Macabre, first published in 1485=> Guyot
Marchand’s La Danse Macabre, first published in 1485 {pg 62}

its bloom in sun difers=> its bloom in sun differs {pg 181}

       *       *       *       *       *

FOOTNOTES:

[1] “Documents, Iconographiques et Typographiques de la Bibliothèque
Royale de Belgique,” Deuxième Livr. Gravure Criblée, par M. H. Hymans.
Bruxelles, 1864-1873. Quoted in Willshire, “An Introduction to the Study
and Collection of Ancient Prints.” London. 1877; 2 vols.; vol. ii., p.
64.

Public-domain text, read in full here on John Shaqi.

Opening the text

A History of Wood-EngravingWoodberry, George Edward

History

A History of Wood-Engraving

Woodberry, George Edward

Wood-engraving; Wood-engraving -- Bibliography

Rembrandt, 147.

Renaissance: in Italy, 67-85;
  in Germany, 91, 97, 110, 111, 115;
  in France, 135-141.

Romances, popular, 59, 141.

Rubens, P. P.:
  reproductions after his designs, 147.

Ruskin, John:
  criticism on Holbein, 126;
  on Bewick, 155.

Saints’ images, 21-26.

Salomon, Bernard, 140-141.

Sand, George, criticism of Holbein, 124.

Satire: in Bible-cuts, 50, 51;
  in the Little Masters, 112;
  in Holbein, 120, 132.

Saxony: Chronicle, 53.

_Schatzbehalter_, 54.

Schäuffelin, Hans, 106.

Schön, Erhard, 114.

Scolari, Giuseppe, 145.

Sebastian, St.:
  print of 1437, 23.

Secularization of art, 50, 110, 111.

Smith, Orrin, 167.

Solis, Virgil, 114.

_Speculum Humanæ Salvationis_:
  description, 34;
  place of issue, 36;
  authorship, 38, _note_, 39;
  character of the cuts, 40.

_Spirituale Pomerium_, 39.

Springinklee, Hans, 106, 110.

Stamps, engraved, early use, 13.

Stimmer, Tobias, 114.

Strasburg:
  Bible, 50;
  press, 57.

Suger, defence of art, 15.

Tenniel, John, 168.

Tewrdannckh, Sir, Adventures of, 106.

Thompson, John, 164.

Titian, reproductions after his designs, 144-146.

Tortorel, Jean, 140.

Tory, Geoffrey, influence on French engraving, 135.

Trento, Antonio da, 146.

Turrecremata’s, Cardinal, Meditations, 68.

Ulm:
  prints, 26;
  press, 57.

Unger, Johann Georg, and Johann Gottlieb Friedrich, 163.

Van der Weyden, Roger, 42.

Van Eyck, 36, 37, 42.

Varro, portraits in his works, 20.

Vecellio, Cesare, 146.

Venice:
  claim to the origin of wood-engraving, 20;
  decree forbidding importation of prints from Germany, 27;
  early cuts, 68;
  early views of the city, 69;
   later cuts, 82-87, 143-147.

Verard, Antoine, 60, 62.

Vesalius’s Anatomy, 145.

Vinci, Leonardo da, 142.

Vostre, Simon, 62.

White line:
  description, 151;
  influence on the art in Bewick’s hands, 153;
  the engraver’s province, 154, 184.

Wise King, The, 106.

Woeiriot, Pierre, 140.

Wohlgemuth, Michael, 53, 54.

Worde, Wynkyn de, 64.

Zainer Gunther, 46, 52.

THE END.

       *       *       *       *       *

Typographical errors corrected by the etext transcriber:

appendix von Albert Ilg. Wein=> appendix von Albert Ilg. Wien {pg 19}

Guyot Marchand’s La Dance Macabre, first published in 1485=> Guyot
Marchand’s La Danse Macabre, first published in 1485 {pg 62}

its bloom in sun difers=> its bloom in sun differs {pg 181}

       *       *       *       *       *

FOOTNOTES:

[1] “Documents, Iconographiques et Typographiques de la Bibliothèque
Royale de Belgique,” Deuxième Livr. Gravure Criblée, par M. H. Hymans.
Bruxelles, 1864-1873. Quoted in Willshire, “An Introduction to the Study
and Collection of Ancient Prints.” London. 1877; 2 vols.; vol. ii., p.
64.

Public-domain text, read in full here on John Shaqi.

A History of Wood-Engraving

A History of Wood-Engraving

No reviews yet