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POSTER. Designed and engraved on wood by the Beggarstaff Brothers. Showing a clever use of silhouette and outline, with appropriate Old English lettering. One of the most harmonious designs we publish.
{220} the letter L, the curves have a knot at each end, one longer than the other, the design is based upon the Rococo, which is often used in modern illustration, when lightness and irregularity are required. The French illustrator Maurice Leloir, in his decorations of some eighteenth century books, Such as “Sterne’s Sentimental Journey,” used it advantageously.
iving forms may be substituted for lines, and the ingenious combination of the figure and its shadows in this specimen suggests a method of construction which is often used by designers. The sky in this little cut is nicely engraved, and could serve as a good exercise for one who had been practicing wood cutting a month or two.
Leaving out the initial, a little rectangular cut like the foregoing makes an effective introduction to a paragraph, and again suggests practice in wood engraving.
All the cuts illustrating this chapter, except the Holbein, are taken from numbers of the French journal, L’Artist, published between 1861 and 1868, and they represent a method of designing in vogue during those years and as far back as 1830, and as late as 1870. The initials were doubtless originally designed for a special purpose, so that the subject related to the text, but later on cuts
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