New-York tribune., 1890-03-31
fp BLOSSOMS ENGRA VINGS.
xrrn,r1oN AT THE KEPPEL GALLERY.

rxurr,r1oN AT THE KEPPEL GALLERY.
~ closson, whose engravings arc exhibited
W. W. uerv Of Messrs Frederick Keppe d Co., Is
III ~ - m our public as singuarly sensiuvo ana
H"omp,ithed wood d-engraver. The mnnhar claim
~. the American school OF wood-cnsraving is hot
,,cd I'm any other country, Is rarely dlsputed save
V~,,ansv in Paris and of this school Mr. Cosson is
othv representative This exhibition contains
.on % nroof engravings executed originally for
which show the artists apprehension Of
-" snft of his subjects. and the rare delcacy ana
sar,.ntv OF his execution. The sympathetic quality
- the refinement of Mr.. Blossoms WORK arc not
ntamiliar but these engravinSs are accompanied
hv another series which introduce us to new phase
- ,be artists efforts. Mr. Closson announces the
s,.eov.rv OF a method of engraving. Such announce
s are ant 10 be received with little faith, and 1t
-. he said that the judicious will hold their 1udg-
ent in reserve Nevertheless. the character OF the
,~orh which is shown and Mr.. Blossoms thorough
COMPREHENSION Of his art should obtain Tor these en-
cravings q careful consideration.
60 far as the artistic value of the engravings Is con-
cerned II nav be said that nearly all the effects Of
o,,ef enrravng and of etching seem to be realized
rber, is a head of James T. Fields, which is vigor
o,,s example of the free. nerprctativc use OF llne
while in other proofs. like The Related Bird AMI III
the fancfu studies of water nyphs the effect Is not
mike that of mczzotint. The head Of Whittier Is
more interesting as an example of workmanship than
after Rembrandt is certainly effective, although
there has been some loss of gradaons. Mr. Blossoms
original designs betray the weakness OF his draughts
manshp. but this is matter OF littie present. con-
rcrn so far as his naglio plates are concerned, II
will be seen that the artist has been able 10 woh
as freely as in drawing the etching plate and, the
printed line lacks something of the softness and rich
ness of the etched line the difference Will be noted
bv very few The ridges of ink OF the paper show
that Mr. Blossoms line is nothing If not capacious
In some cases the finest possible line has been used
There Is matching, there are effects similar 10
those produced by the roulette and furnishing TOOL IN
short without any explanation, these engravings
would be taken for proofs from etched plates. 1t
IS pointed out, however. in addition to some slight
differences in the quality Of the line, that some
Of these lines taper to point, unlike
The line produced by the etcher's needle
These plates accompanied by two exam
pies of relief engraving by this new method This
Is best illustrated in the effective contrast OF night
and shade which is called lawthornes Boat,house'
The plate will be taken for wsod,engrsv!ng by al
most every observer, but in examining the tones of
the foliage it can be seen that the tnts arc more
sharpls defined than they would be in very delicate
engraving and that they fail to melt into each other
Moreover ii is pointed out that the grays OF the ionage
arc due in very large measure TO the printing Ilie
inference is that the deicacy and command OF snbue
ssdaticns within the reach Of the wood ensraver are
NOT 10 be realized by s method, although 1t may he
satisfactory in most cases.
As 70 the nature Of his method. Mr.. Closson pre-
serves silence which has been broken only once
lie has furnished explanation to Professor Charles
Eliot Norton. Of Harvard University, ana Professor
Nortons approval Of the method is Of the greatest
,ssihle weight. This eminent authority writes The
ART Of engraving now holds 20 large place IN tho
education OF the community that any great improve
ment IN the process By which lts I'aeuce - l.n,
der.d easier, without any lowering Of Its artistic
o. cellsnce is "A matter OF pupnc concern
The specimens which You have shown me
eSactness and decision OF engraving upon metal. with
tie freedom and of etching 20 surprising ar, are
it, results in freedom and e@s1 OF toucn a,u & n1s
that fancy ii may be difficult al first 10 persuade
those who your work that II j. work oi pure
have had no part We are told in the catalogue
that these plates are not line engravnes done Ds
the old methods. which is apparent. that they arc
not cchings and that they are not process work
il is evident that they do not represent oTa"!nss
upon plate and carried on by pro
engravcr. The artist has been able to Graw
with perfect freedom upon metal paie; e eia ~ ss
has been able 10 obtain deep strong line nne ss
decisive that Of the steel engraving but eAhollng
We are told that Mr. has been experimenting
with tools and plates and endeavorlng TO periect ms
method for some six years, but the nature OF Ms
method remains subject OF speculation. II has
been suggested that the design is first drawn upon
metal plate marked rather than inc>ed with point
held Ike a pencil and that the line is chemically
win not attract steel deposited by
put into the bath and film after film Of metal
deposited everywhere but on the lines which after
time would become ina gi!O sunk beneath the surface
Thus the uncertainties Of biting would he avoided
This theory IS quoted for what 1t may be worth il
may pointed out that since the artist has perfect
freedom and since no acid is used. either theory ko
this must be tn. true one. else the artist must draw
ON an extraordinarily soft surface. Among many
EARLIER experiments there have been some IN the use
pf type metal plates which were engraved like wood
blocks, but the results were Of no importance. Mr.
llosson has executed some relief engfavinss for at
least one firm Of publishers aN an experiment. but
none have Yet appeared in Inc magazine. The quality
)f his results certainly entities hi. work to consdcr
ion But whether bis method means actual
economy Of time and labor and a complete command
n eects cannot well be determined under present con-
iitions.