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Vintage 19th Century Boxing Aquatint Print 1846 BENDIGO NICE!!


Vintage Sports Boxing Memorabilia
Spectacular Boxing  Aquatint "
BENDIGO " aka William Thompson (Early 19th Century)

Artist Charles Hunt

Striking early 19th century boxing  aquatint by Charles Hunt.  19th Century Boxer "BENDIGO" aka William Thompson 1846 .   Lower section has date published information, artist'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) 

"BENDIGO" aka William Thompson

color aquatint; boxing print; published by J. Moore, London, 1846  
Beautifully Matted and Framed!
Size sight: 21 x 18 inches, Framed about 24x20"

* See enlargeable images above and below

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

BIO for BENDIGO.  Just Google BENDIGO 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