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engraver's proofs

 Subject
Subject Source: Art & Architecture Thesaurus
Scope Note: Proofs of line or halftone engravings. The proofs should ideally be pulled on the same paper as that on which the job is to be printed. In the 19th century such proofs might be signed "engraver's."

Found in 28 Collections and/or Records:

An Herb Basket -- Illustration Proof, 1950

 File — Box 2, Folder: 14
Scope and Contents

Proof of the title page illustration by Wightman Williams for the book An herb basket, by Richard Eberhart (Cummington Press, 1950). The abstract illustration, printed in black ink from a copperplate etching, measures 7 x 8 cm, on a 9 x 12.5 sheet.

Dates: 1950

Blackberry Winter -- Illustrations for page 29, 1946

 File — Box 1, Folder: 20
Scope and Contents Pencil drawings and proofs by Wightman Williams for abstract illustration on page 29 of Robert Penn Warren's Blackberry Winter (1946), comprising two pencil studies, two proofs of the black portion of the illustration with some red sections hand-colored in, one proof of the red portion of the illustration, one proof with both colors together and including the surrounding text, and one black ink drawing of the illustration signed "WW '46." The drawings and proofs are on various sizes of...
Dates: 1946

Blackberry Winter -- Illustrations for page 35, 1946

 File — Box 1, Folder: 21
Scope and Contents

Pencil drawings and proofs by Wightman Williams for abstract illustration on page 35 of Robert Penn Warren's Blackberry Winter (1946), comprising two pencil drawings and two proofs printed in black ink. Each proof corresponds with one of the pencil drawings, and each set of pencil and proof represents one color of the final illustration. The pencil drawings are on papers approximately 7.5 x 7.5 cm, and the proofs are on papers approximately 10 x 14 cm and 13 x 13 cm.

Dates: 1946

Blackberry Winter -- Illustrations for page 40, 1946

 File — Box 1, Folder: 22
Scope and Contents Pencil drawings and proofs by Wightman Williams for abstract illustration on page 40 of Robert Penn Warren's Blackberry Winter (1946), comprising two pencil drawings, one proof printed in black ink, and one proof printed in red ink. Each proof corresponds with one of the pencil drawings, and each set of pencil and proof represents one color of the final illustration. The pencil drawings are on papers approximately 4 x 7.5 cm, and the proofs are on papers approximately 8 x 12.5 cm and 10.5 x...
Dates: 1946

Blackberry Winter -- Illustrations for page 45, 1946

 File — Box 1, Folder: 23
Scope and Contents Pencil drawings and proofs by Wightman Williams for abstract illustration on page 45 of Robert Penn Warren's Blackberry Winter (1946), comprising two pencil drawings, one pencil transfer image, one proof printed in black ink, and one proof printed in teal ink. Each proof corresponds with one of the pencil drawings, and each set of pencil and proof represents one color of the final illustration. The pencil drawings and transfer image are on papers approximately 7.5 x 9.5 cm, and the proofs...
Dates: 1946

Bookplates -- Amherst College, Gift of Thomas A. Ethier, circa 1940s

 File — Box 3, Folder: 15
Scope and Contents Bookplate, proofs, and original artwork for the Amherst College Library bookplate for the gift of Thomas A. Ethier. The final bookplate reads, "AMHERST COLLEGE \\ LIBRARY \\ [logo] \\ from the books of \\ THOMAS A. ETHIER \\ of the class of 1921." The logo depicts the face of a dragon in an East Asian style, printed in two colors. The text and the dragon's face are in black. Itemized list:One proof of the complete bookplate, with the dragon printed in black and red, the text in...
Dates: circa 1940s

Bookplates -- Cummington School, circa 1941-1944

 File — Box 3, Folder: 12
Scope and Contents

Two proofs on a single sheet of the bookplate for the Cummington School library. The design features the initials "CS" inscribed in a circle within a triangle, over the text "CUMMINGTON \\ SCHOOL \\ PLAYHOUSE \\ IN-THE-HILLS \\ INCORPORATED." The word "LIBRARY" appears vertically in the ornamental border on the left. Beneath the lower border are two blanks labeled, "DEPARTMENT OF" and "GIFT OF" with space for additional text.

Dates: circa 1941-1944

Bookplates -- Hagstrom, circa 1940s

 File — Box 3, Folder: 14
Scope and Contents Hagstrom bookplate with two proofs and original artwork. The design features the stylized initials "HK" within a black superellipse, with "HAGSTROM" in all caps below. The bookplate measures approximately 6 x 7 cm and is printed all in black. The original artwork features a pencil drawing of the "HK" logo with the superellipse painted black, and the paper is torn in two pieces, with the tear completely crossing the design. The first proof is printed in black with the initials hand-colored...
Dates: circa 1940s

Bookplates -- Samuel Parkman Tuckerman, circa 1940s

 File — Box 3, Folder: 8
Scope and Contents

Three proofs and two pencil drawings of a bookplate designed for Samuel Parkman Tuckerman. One of the pencil drawings depicts the full Tuckerman family crest, with notes about the color of each element. The other depicts an incomplete drawing of the crest alongside a sketch of a nude woman not part of the crest. The proofs depict the Tuckerman family crest in black and white with the motto "Paratus et Fidelis" and the name "Samuel Parkman Tuckerman" beneath. Date unknown.

Dates: circa 1940s

Christmas cards -- A une raison, 1948

 File — Box 3, Folder: 5
Scope and Contents Original abstract drawing and two proofs of Wightman Williams's illustration for the Cummington Press Christmas card for 1948, which featured the poem "A une raison" by Arthur Rimbaud in French with an English translation by Harry Duncan, who also set the type for the card. The original black ink line drawing measures approximately 8.5 x 6.5 cm on a sheet 29 x 9 cm. The engraver's proof of the illustration alone is printed in black ink on a sheet 9 x 7 cm. The printer's proof of the...
Dates: 1948

Christmas cards -- The firs, 1950

 File — Box 3, Folder: 6
Scope and Contents

Three proofs of the abstract illustration by Wightman Williams for the Cummington Press Christmas card for 1950, which featured the poem "The Firs," by Guillaume Apollinaire. All three of the proofs are printed in black ink on different types of paper, and one of them is further accented with red and green paint. The illustration measures 8.5 x 5.5 cm. The drawing simultaneously resembles a fir tree or a face.

Dates: 1950

Christmas cards -- Watercolor and proofs for 1955, 1955

 File — Box 3, Folder: 7
Scope and Contents Seven pieces related to the 1955 Cummington Press Christmas card, "Glory to God in the high heavens":Watercolor painting over pencil drawing, with three panels. Top panel features a series of blue wavy lines. Second panel features the outline of an angel with a trumpet, facing left, on a field of blue. Third panel features the outline of an angel with a trumpet, facing right, on a field of orange. The borders of the panels have been shaped with white paint. Each panel is...
Dates: 1955

Doctor Drink -- Illustration Proofs, 1950

 File — Box 2, Folder: 15
Scope and Contents

Two proofs of the title page illustration by Wightman Williams for the book Doctor Drink, by J.V. Cunningham (Cummington Press, 1950). The abstract illustration, printed in black ink from a copperplate etching, measures 5 x 9 cm, on two different weights of paper. The abstract artwork depicts a reclining woman holding a bottle, with a snake issuing from her mouth. To one side of the figure is an explosion or burst pattern and to the other side is a steeple.

Dates: 1950

Five Prose Pieces -- Illustration Proofs, 1946

 File — Box 5, Folder: 3
Scope and Contents Two proofs of an illustration by Wightman Williams for Rainer Maria Rilke's Five Prose Pieces (1947). Both proofs are of the illustration from page 9, an abstract work resembling a person and a dog together. The full image was composed of two separate wood blocks, printed together. For both proofs, the two parts of the illustration were printed on separate papers, then mounted together on a larger sheet. The proofs differ from the final illustration and from each other, and both are edited...
Dates: 1946

Five Prose Pieces -- Original Drawings, 1945-1947

 File — Box 1, Folder: 29
Scope and Contents Nineteen drawings by Wightman Williams for the illustrations to Rainer Maria Rilke's Five Prose Pieces (1947). Includes eleven original hand-colored drawings for the illustrations, drawn in black ink accented with colored hash lines of green and purple; five unused variant illustrations, drawn in black ink with no accents; and one proof of the illustration from page 13, cut from a proof of the letterpress text, with a fragment of Rilke's text on the verso. The colored drawing of the person...
Dates: 1945-1947

Fragment of a Meditation, MCMXXVIII -- Illustration, 1947

 File — Box 1, Folder: 37
Scope and Contents

Original drawing and proofs of Wightman Williams's illustration for Fragment of a meditation, MCMXXVIII, by Allen Tate, printed by the Cummington Press, 1947. The original black ink abstract line drawing is initialed and dated, "W.W.-'47." Also included are the carbon paper tracing used to create the woodblock, a proof in black ink, and a proof in red ink. The illustration is 6 x 7 cm, with the drawing, carbon, and proofs on different sizes of paper.

Dates: 1947

I Rise in Flame Cried the Phoenix -- Proofs, 1951

 File — Box 2, Folder: 17
Scope and Contents

Two proofs made from a woodblock engraving by Wightman Williams for I Rise in Flame Cried the Phoenix, by Tennessee Williams (Cummington Press, 1951). The illustration measures 11.5 x 8 cm, and the two are printed on different sizes of paper. One proof has a border of small black squares. The other is partially colored with metallic gold accents. Tennessee Williams objected to the illustration, which was removed from the final published version of the book.

Dates: 1951

The Cricket -- Illustration Proofs, 1950

 File — Box 2, Folder: 16
Scope and Contents

Two proofs of Wightman Williams's illustration for The Cricket, by Frederick Goddard Tuckerman (Cummington Press, 1950). One proof in teal ink on paper approximately 9 x 10 cm, mounted in folder 20 x 16 cm. One proof on letterpress printed folio from the book, featuring the title page, the illustration hand-colored in brown and green, one page of the text, and the colophon. Long pencil marks sweep across the title page and verso of the folio.

Dates: 1950

The Hovering Fly -- Miscellaneous cuts and drawings for illustrations, 1947-1949

 File — Box 2, Folder: 3
Scope and Contents Illustrations created by Wightman Williams for Allen Tate's The Hovering Fly (1949), including many illustrations which were not included in the final book. The illustrations are of various sizes and on various papers, including pencil drawings, ink drawings, engraver's proofs, colored proofs, and proofs altered with white paint. The illustrations include a 10.5 x 19 cm hand-colored portrait of the fly printed on a folded sheet with the colophon facing the illustration, copy numbered 12;...
Dates: 1947-1949

The Hovering Fly -- Proofs for illustration, 1947-1949

 File — Box 2, Folder: 2
Scope and Contents Proofs for 22 of Wightman Williams's illustrations for Allen Tate's The Hovering Fly (1949). Each of these illustrations measures approximately 3.5 x 5 cm. Although some are printed on papers that are larger than the image area, none of the papers measure larger than 10 x 12 cm.Because the artwork is abstract, it may be difficult to determine which side is "up" from the proofs alone. In addition, some proofs are not labeled with their matching page numbers. Contextual photocopies...
Dates: 1947-1949

The Traveler -- Illustration proofs, 1955

 File — Box 2, Folder: 21
Scope and Contents Two color proofs the title page illustration by Wightman Williams for The Traveler, Allegorical Lyrics, by Donald E. Stanford (Cummington Press, 1955). The proofs are made from the copperplate engraving and measure 9 x 6 cm on sheets of different sizes. The illustration is an abstract work. Both proofs were printed in blue ink, differently altered with white paint. One of the proofs has further alterations in yellow and darker blue paint, and a black ink border drawn around the illustration....
Dates: 1955

Three Academic Pieces -- Illustration Proofs, 1947

 File — Box 1, Folder: 34
Scope and Contents

Eight proofs of the illustrations for Wallace Stevens's Three Academic Pieces (Cummington Press, 1947). The illustrations are the stylized initial capital letters for each work in the book: T, O, and S. Included are one proof of the capital S, printed in red; three proofs of the capital O, all printed in black with two hand colored; and four proofs of the capital T, with one in red, one in gray, and two in black, overprinted multiple times on Dixon Long bookplate proofs.

Dates: 1947

Three Poems -- Illustration and proofs, 1948

 File — Box 2, Folder: 11
Scope and Contents Two drawings and two proofs of the title page illustration by Wightman Williams for Three Poems, by Yvor Winters (Cummington Press, 1950). One of the drawings is approximately 3 x 5 cm, on a paper 3 x 5.5 cm. The other is approximately 2.5 x 4.5 cm, drawn on a letterpress printed copy of the title page, situated between the title and the author's name, with pencil marks and white paint showing how the drawing was edited. The two proofs feature the 2.5 x 4.5 illustration on differently sized...
Dates: 1948

Two Conceits for the Eye to Sing, If Possible -- Illustration and proofs, 1950

 File — Box 2, Folder: 10
Scope and Contents

Original drawing and three proofs of the illustration by Wightman Williams for Two Conceits for the Eye to Sing, If Possible, by Allen Tate (Cummington Press, 1950). The black ink line drawing measures 4 x 7 cm. The abstract drawing contains overlapping images of a bird, a lizard, and several eyes. Two of the proofs are printed in black ink and the third in blue.

Dates: 1950

Wightman Williams -- Miscellaneous artwork, circa 1940s-1950s

 File — Box 4, Folder: 10
Scope and Contents Miscellaneous unidentified artwork, mostly drawings along with some paintings, an engraver's proof, and a decorated paper. Works are on different sizes and types of paper, in different media, and in varying degrees of completion, from rough doodles to finished full-color artworks. Most, if not all, are by Wightman Williams. Some drawings are initialed "W.W." Others are recognizably in Williams's style. It is possible that some works by other artists may be in this folder.This...
Dates: circa 1940s-1950s

Wightman Williams -- Miscellaneous artwork, oversized, circa 1940s-1950s

 File — Box 5, Folder: 11
Scope and Contents Miscellaneous unidentified artwork, mostly drawings and paintings on larger sheets of paper, exceeding 28 cm in at least one dimension. Three are unsigned, but all are believed to be by Wightman Williams.This folder includes 14 pieces. Notable selections include:Six black ink line drawings on trimmed papers, mounted on heavier cream paper. All are initialed "W.W." and three are dated 1944 and three 1945. Two are accented with other colors.A full color...
Dates: circa 1940s-1950s

Wightman Williams -- Sketchbook, circa 1940s

 File — Box 4, Folder: 4
Scope and Contents Sketchbook of Wightman Williams with miscellaneous drawings laid in. The bound sketchbook measures 25 x 16.5 cm. No drawings are present on the pages themselves, but instead the book was used as a folder for loose drawings and clippings on various small papers. Fourteen papers have been laid in throughout the book, including an abstract pencil drawing for Two Conceits for the Eye to Sing, if Possible, by Allen Tate, with a clipping of the title page to identify the drawing; several pencil...
Dates: circa 1940s

Wightman Williams -- Unidentified Engravings, circa 1950s

 File — Box 4, Folder: 6
Scope and Contents Fifteen unidentified engravings by Wightman Williams. All are abstract works, printed on different sizes of paper.Six are approximately 9 x 6 cm in size and appear to be printed from the same plate, each being altered in different ways, with extra lines drawn on or colors applied. Some of these are vastly transformed and not readily recognizable as variants of the same picture. These can be identified by searching for the underlying pattern of seven panels like stripes....
Dates: circa 1950s