Album of Views in England and Wales
1775-1777 (aquatints); 1780 (stipple portrait)
Artist, British, 1731 - 1809
Artist, British, 1755 - 1838
Artwork overview
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Medium
bound volume with 46 etching and aquatints printed in brown on laid paper, prefaced by stipple portrait of Paul Sandby printed in brown
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Credit Line
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Dimensions
book (volume closed): 46 × 32 × 2.3 cm (18 1/8 × 12 5/8 × 7/8 in.)
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Accession
2004.119.1.1-47
Associated Artworks
See all 47 artworksChepstow Castle
Paul Sandby, Robert Pollard
1777

Manerbawr Castle from the Inward Court
Paul Sandby, Robert Pollard
1775
Windsor Terrass Looking Eastward
Paul Sandby, Robert Pollard
1776
Artwork history & notes
Provenance
John Waldie (1781-1862). Sir Mayson M. (Moss) Beeton (1865-1947)
Associated Names
Exhibition History
2006
The Artist's Vision: Romantic Traditions in Great Britain, National Gallery of Art, Washington, D.C., 2006 - 2007
2008
Medieval to Modern: Recent Acquisitions of Drawings, Prints, and Illustrated Books, National Gallery of Art, Washington, 2008, no. 134 b.
2021
Aquatint: From Its Origins to Goya, National Gallery of Art, Washington, 2021 - 2022.
Bibliography
1835
Nagler, G.K. Neues allgemeines Kunstler-Lexikon, oder Nachrichten von dem Leben und den Werken der Maler, Bildhauer, Baumeister, Kupferstecher, Formschneider, Lithographen, Zeichner, Medailleure, Elfenbeinarbeiter, etc.. 22 vols. Munich: E.A. Fleischmann.
Inscriptions
in gold-tooled letters on brown leather spine: WINDSOR C. / ETON / WARWICK C. / N&S WALES / SANDBY; on typewritten note pasted on free endpaper: Aquatints / Jean Baptiste Le Prince of France invented the principle of Aquatint, his earliest plates dating from 1768. The Hon. Charles Greville bought the secret from him, and passed it on to PAUL SANDBY, an original member of the Royal Academy. / Le Prince used a 'dust ground', but Sandy discovered the spirit-ground process. In 1775 he published the first English Aquatints, - a series of "Twelve Views in Aquatinta from Drawings in South Wales." / Method. 'dust-ground.' Finely powdered resin is scattered evenly over the copper-plate. The ground is fixed by heating the plate just enough to melt the resin. 'Spirit-ground' (Sandby's method) Copper-plate covered with a solution of resin and spirits of wine. As the spirit evaporates it leaves a film of resin to dry on the plate, the resin contracts, and in doing so splits up into minute grains around which the surface metal become exposed. When the plate is submitted to the action of acid, the mordant is unable to attack the copper under the tiny hills of resin, but will be free to act on the minute spaces of exposed metal around them. After the outline of the picture is transferred, the forms and shadows are produced by a succession of careful bitings by the acid, the use of the stopping-out varnish being very important. / These two volumes of Sandby's earliest aquatints are very valuable, and were presented by Sir Mayson Beeton from his collection to Dorothy Grenside.
Markings
on front pastedown: bookplates of Sir Mayson M Beeton and John Waldie; label inside front cover: Fine Arts No. 672 [number written in pen and brown ink]