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Vintage 19th Century Boxing Aquatint Print 1839 Deaf Burke NICE

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kevin@cvtreasures.com

Vintage Sports Boxing Memorabilia
Spectacular Boxing  Aquatint "
DEAF BURKE " aka James Burke (Early 19th Century)

Artist Charles Hunt


Striking early 19th century boxing  aquatint by Charles Hunt.  19th Century Boxer Deaf Burke 1839 .   Lower section has date published information, arttist's name in lower right , boxer's name and fighting history. .  Great piece of vintage boxing history and memorabilia. Beautifully framed, exciting piece of sports history. 

Description: Artist CHARLES HUNT (English, 19th century) 

Subject:
DEAF BURKE (James Burke)

color aquatint; boxing print; published by J. Moore, London, 1839  
Beautifully Matted and Framed!
Size sight: 19 3/4 x 16 inches, Framed about 24x20"

* See enlargeable images above and below

NOTE:  We acquired this in a set of TWO.  The other is "Bendigo" aka William Thompson, which is listed here in our Sports Memorabilia Gallery

 

BIO for Deaf Burke.  Just Google Deaf Burke for a full biography or see it HERE
 

History on Aquatints:

Aquatint is an intaglio printmaking technique, a variant of etching.

In intaglio printmaking, the artist makes marks on the plate (in the case of aquatint, a copper or zinc plate) that are capable of holding ink. The inked plate is passed through a printing press together with a sheet of paper, resulting in a transfer of the ink to the paper. This can be repeated a number of times, depending on the particular technique.

Like etching, aquatint uses the application of a mordant to etch into the metal plate. Where the engraving technique uses a needle to make lines that print in black (or whatever colour ink is used), aquatint uses powdered rosin to create a tonal effect. The rosin is acid resistant and typically adhered to the plate by controlled heating. The tonal variation is controlled by the level of mordant exposure over large areas, and thus the image is shaped by large sections at a time.

Another tonal technique, mezzotint, begins with a plate surface that is evenly indented so that it will carry a fairly dark tone of ink. The mezzotint plate is then smoothed and polished to make areas carry less ink and thus print a lighter shade. Alternatively, beginning with a smooth plate, areas are roughened to make them darker. Occasionally these two techniques are combined.

* Read More on the history of the Aquatint printing technique on the Wiki site HERE



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