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Bron : The Mezzotint Joop Vegter
 

The mezzotint

Joop Vegter

The word illezzotint (Italian mezza tinta, "halftone") is used to indicate a graphic technique as well as the print produced by it.
In comparison witli other graphic techniques such as woodcut, etching, lithograph and silkscreen, mezzotint is rarely practised, probably because it is an extrenlely laborious and tillie-consuming technique.

Mezzotint was invented by Ludwig von Siegen (born near Cologne in 1609). Around 1640 he stayed in Amsterdam for some time, where he made his first mezzotint in 1642.
His invention was the roughening of the surface of a copper plate with a 'roulette': this is an instrument with a small wheel covered with sharp points or ridges (see fig. 1).


By rolling this wheel across the copper plate with some pressure, small pits and burrs are thrown up in the copper plate.
Variation in the pressure causes the pits to become deeper or less so.
The result in the print is grey tones ranging from white to black.
By flattening the pits and burrs slightly in certain places, so that they held less ink and left a lighter impression, Ludwig von Siegen managed to give his print a great variety of grey tones blending with each other.
Von Siegen stayed in Amsterdam for several years at the time when Rembrandt lived there, and he may well have known Rembrandt's work.
His first mezzotint from 1642 was the portrait of Countess Amalia Elizabeth of Hesse-Kassel, widow of William V of Hesse-Kassel.
Ludwig von Siegen, himself an officer, had been appointed by her as her chamber esquire.
It is believed that Ludwig von Siegen met Prince Rupert of the Palatine in Brussels in 1654.
The latter was the son of Frederick V and Elizabeth Stuart, king and queen of Bohemia during the winter of 1619-1620.

After her husband's early death Elizabeth - 'the winter queen' - lived in exile in the Netherlands for 40 years.
From his mother's side Prince Rupert was a nephew of Charles Il of England.
It is Ludwig von Siegen who must have taught Prince Rupert the mezzotint technique. In 1658 his first mezzotint "The Great Executioner" appeared, which he made with the assistance of the French graphic artist Wallerant Vaillant after a painting by the Spanish painter De Ribera.

In 1660 Prince Rupert returned to England and introduced the mezzotint, which became a highly popular technique there.
The Dutch graphic artist Abraham Blooteling is credited with having invented the 'rocker' about 1675, although there is evidence that Ludwig von Siegen, too, may already have used the rocker.

The rocker is an instrument which is still used nowadays to make pits and burrs in the copper plate.
Mezzotint was highly suited for making reproductions of paintings and has been applied for that purpose almost exclusively.
There are two heydays: the first one was in the Netherlands in the last quarter of the 17th century with artists like Abraham Blooteling, Jan and Paul van Somer, Jan and Nicolaas Verkolje and Gerard Valk.
The second heyday is the great period of mezzotint: the 18th century in England, featuring important mezzotinters like John Raphael Smith, Richard Earlom, Valentin Green, William Pether, to name just a few.

After the middle of the 19th century the mezzotint technique fell into almost total disuse for making reproductions of paintings, due to the rise of the lithograph and of photographic reproduction techniques in particular.
In the past two or three decades, roughly from 1960/70, interest in mezzotint has been on the increase again world-wide, not only among a number of graphic artists, but also among collectors.
Nowadays mezzotint is used exclusively by artists to make their own, original graphic work.

The process of making a mezzotint can be divided into three stages:

  1. the preparation of the copper plate
  2. creating the image on the plate
  3. printing the plate.

The Preparation

BeÍore making a mezzotint the surface oÍ a copper plate is roughened. The roughening is done in a classical mamer by means of a specially designed instrument: the cradle or rocker (see Íig. 2).
This tool can be described as a broad, short chisel whose sharp side is not straight, but somewhat curved On the sharp side very narrow grooves have been ground into the blade, so that the curved, sharp side consists of many minute, even teeth.
Rockers come in tyPes: the teeth can be coarsel or finer A coarse rocker (no. 40) has 40 teeth per inch (= 16 per cm) and a very Íine rocker (no. 150) has 150 teeth per inch (= 60 PeÍ cm). Also, rockers can be wider or narower, ranging Írom 6 inches (15 cm) to l inch (2.5 cm). The rocker is rocked over the plate manually and with some Pressule in a sideways rocking movement.

With every rocking movement, a row of fine pits lined with minute burrs is made in the copper (see fig 3). During the rocking action the rocker is slowly moved backwards or forwards, depending on the angle oÍ the rocker and the preÍerence of the artist (see Íig. 4).

 

As a result, a band of zigzags arises, consisting oÍ pits and burrs. Once that band stretches across the entire width oÍ the plate, adjoining bands are rocked parallel to it and overlapping slightly. When the whole copper plate has been roughened in this way, the plate has been rocked in one dÍection only.
Proper roughening requires rocking the plate many times in different directions with constant pressure in as regular a manner as possible.


I myself usually rock the copper plate in Íour directions: horizontally, vertically and both ways diagonally. Then I repeat these four directions 16 to 25 times, which means that the whole plate is worked 64 to 100 times with the rocker. This is a time-consuming job: the Proper rocking oÍ a copper plate size 10 x 10 cm with a Íine-toothed rockel sometimes takes 8 hours. Naturally the teeth oÍ the rocker will wear slightty during this work.

In order to obtain an oPtimal result, i.e. regular pits oÍ approximately identical depth, the rockers must be kept really sharp. As a rule, this implies sharpening the rockeÍ every 10 to 15 minutes. Once the copper plate has been rocked well, the surface is covered with millions oÍ pits and burrs. A plate like this no longer feels like metal, it is velvet to the touch. All these pits and burrs hold a lot oÍ ink when the plate is inked. IÍ we were to print the plate in this stage, the whole print would become velvett deep black.


That is why the Dutch name for mezzotint is zwarte kunst ("black art"), which is nothing to do with magic but everything with that sumptuous, deep black colour. lt stands to reason that other methods have been sought to replace the rocking, which consumes so much strength, time and patience

Without going into them more deeply I mention iust a few methods: - mechanically rocked plates; these are supplied by a Japanese firm; - providing the copper Plate with a dense network oÍ drypoint tines; this gives the Print a special fabdc-like texture (see mezzotint no. 24); - running the copper plate covered with coarse carbodonum sandpaper (no. 80) through the etching Press under pressure, and repeating this some 50 times. Unless sPecial precautions are taken, this method is detlimental to the Press (see mezzotint no. 10); - biting the whole copPer Plate with aquatint oÍ the blackest possible degree (this produces no burrs, but only Pits in the plate); - sandblasting the copper plate (drawback: the Plate warps easily).

Creating the image on the Plate
Mezzotint is a 'tonal process'. The picturc, the image of a mezzotint is composed of tonal values, i.e gradations of light and dark rather than lines. Typical of a mezzotint in bÈck - a 'manière noire' print - is the Possibility of showing a smooth graduation Írom dch velvety black to bright white' To create an image on the rocked copper plate, one can stalt Írom a drawing or a sketch or work dircctly on the Plate' When staÍting from a sketch, it is convenient if the sketch has been conceived in tonal values, while the contours of the shapes have been indicated as well. The idea is Íor the contours to aPPear on the Plate mirrored This can be achieved inter alia by copying the contours on transparent drawing-paper and reversing this transpaÍent papei so that one sees the mirror image By means of carbon

 

paper these mirrored contours are drawn on the copper plaie. Now the desiSn in all its tonal values is created on the iocked plate by more or less scraping away or burnishing the bulrs and pits in places. The flatter the buÍs, the shallower the pits, the less the amount of ink held aÍter inking, which results in lighter tones when Printing (see fig 5)' As there rnay be an endless variation in the height and depth of the burrs and Pits resPectively, it is possible to create a great many greys blending with eac} other in a mezzotint' ihe plate can also be highty polished in places so that it will print white. Flattening the burrs and pits is done by means of'scrapers, 'burnishers' and polishers oÍ agate. A scraper is triangular, oÍ steel, and tapered (see fig. 1). lt has three sharP edges; the edges are used to scraPe away or abrade some of the burrs onlhe rocked copper plate This is why the German word for mezzotint is Schabkunst The more material is scraPed away, the lighter that patch will come out when printed' Thus, when makir1g a mezzotint one works Írom black to white. A burnisher is a smoothly polished piece oÍ steel, with a somewhat rounded end. It is often combined with the scraper into one tool. The burnisher is lrsed to flatten the bu s more or less; no copPer is scraped away, then The burrs become a bit flatter and are pressed into the Pits slightly, which also results in a liShter tone in the Print' The diÍÍerence between this operation and scraping is that a burnished patch pÍoduces a grey in the print with a somewhat moÍe irregular texture. The polisher of agate is mostly used to polish to near or complete smoothness those Patches on the copper Plate that must be almost white or absolutely white in the pdnt For fine details I often work with dentist's tools, sometimes reshaped into minute scrapers ol burnishers Occasionally I use arlold dental engine for polishing with small polishing discs. lt is possible to some extent to check on the copper plate whether all desired tonal values have been actually attained by scraping, burnishing and polishing More gleam on the copper plate implies a lighter tone on the relevant patch oÍ the Print One gets a better check by

making a proof. Removing material is easier than replacing it: hence it is oÍ paramount imPortance that one pÍoceed very cautiously when working from black to white. It is better to scrape away or burnish too little and then to make a proof than to scrape away too much and to Produce too light an area. It is always possible to make a grey on the copPer plate lighter, whereas the reverse is very diÍficult if not impossible. Printing Once the image with all its shades of grey is on the copper plate, it can be printed after having been inked. A mezzotint is pdnted on an etching press, almost in the same manner as an etching, an aquatint or a dryPoint. The whole plate is covered with etching ink. A leather dabbeÍ is used to dab the ink to an even coat, ensuring that it is also forced well into even the smallest pits. Subsequently any excess ink is wiped by hand. Here the difference with dÍypoint or etching is that although mezzotint is an intaglio technique, the Parts that aÍe to remain free from ink lie deeper than those which do hold ink (see Íig. 6).

The wiping must be done with the palm of the hand; if one uses cheesecloth or tarlatan for this or PaPeÍ, as usual when inking etchings, the many burrs on the coPPeÍ plate will tear off tiny fibres which mix with the ink, thus rendering the ink useless. Finally, the mezzotint copper plate is run thlough the etching pÍess along with a sheet oÍ previously dampened etching paper. The edition oÍ a Í\ezzoti^t, printed from a copper plate, is Iimited: due to the pressure of the etching press the burrs wear oÍÍ soon. Still, it is possible to make 50 to 100 good prints. A bigger edition can be printed only íaom steelfaced plates. By means oÍ electrolysis a very thin coat of iron several microns thick can be applied onto the coPPer Plate. A steelfaced plate can produce up to 500 good pÍints. Colour mezzotint A colour mezzotint is usually made oÍ 3 to 4 plates: one foÍ yellow, one for magenta red, and one for cyan blue; another plate can be added Íor an (almost) black colour. Any desired hue can be obtained with these basic colours. I usually staÍt a colour mezzotint with a sketch in colour: in water-colout in acrylic, sometimes in coloured crayon. AII 3 or 4 plates are processed according to the mezzotint technique described above. Every desired colour indicated on the sketch is split up on the face of it into the 3 or 4 basic colours. For example: if the final print is to show a dark olive green in a particular area, then one must scraPe away or burnish almost nothing theÍe on the yellow plate, on the magenta plate one must burnish/scrape away a sizeable amount, but some red must remain; on the cyan blue Plate one must scrape away/burnish to medium blue, whereas, finally, a light grey must remain on the black plate. The images on these 3 or 4 plates do have to fit onto each other exactly. \Arhen one first prints the yellow plate, then the magenta red one, then the cyan blue one and finally the black plate, the area thus processed will show a dark olive green colour in the pÍint.

LIJST VAN ILLUSTRATIES / LIST OF ILLUSTRATIONS

1

ei met veertje
egg with feather
size 10 x 9,9 cm
printed from 1 plate in black

1974

edition 30

2

eierdop
eggshell
size 9,9 x 10 cm
printed from 1 plate in black

1974

edition 30

3

bloemkool
cauliflower
size 19,9 x 19,9 cm
printed from 1 plate in black

1975

edition 30

4

zwarte kat in doos
black cat in a box
size 10 x 10 cm
printed from 1 plate in black

1975

edition 30

5

fles met bekers
bottle with tumblers
size 10 x 10 cm
printed from 1 plate in black

1975

edition 30

6

papieren bootje
paper boat
size 9,8 x 9,8 cm
printed from 1 plate in black

1975

edition 30

7

ei met lepeltje
egg with a spoon
size 10 x 9,8 cm
printed from 1 plate in black

1975

edition 30

8

uien
onions
size 14,9 x 14,9 cm
printed from 1 plate in black

1976

edition 30

9

tennisballen
tennisballs
size 20 x 12,5 cm
printed from 1 plate in black

1977

edition 30

10

kroes
mug
size 10 x 10 cm
printed from 2 plates in 3 colors

1977

edition 30

11

receptie
reception
size 19,8 x 24,8 cm
printed from 1 plate in black

1977

edition 30

12

glazen en knikkers
glasses and marbles
size 24,6 x 19,9 cm
printed from 1 plate in black

1977

edition 50

13

knikker
marble
size 5 x 5 cm
printed from 1 plate in dark blue

1977

edition 50

14

tennisballen op grind
tennisballs on gravel
size 24,8 x 20 cm
printed from 1 plate in black

1978


edition 50

15

schelpje
little shell
size 5 x 4,8 cm
printed from 1 plate in black

1978

edition 50

16

twee peren
two pears
size 10 x 10,1 cm
printed from 2 plates in colors

1978

edition 25

17

rij bomen in zomer
row of trees in summer
size 24,7 x 19,8 cm
printed from 1 plate in 3 colors

1979

edition 50

18

poes op pakpapier
cat on wrapping paper
size 9,9 x 9,9 cm
printed from 1 plate

1979

edition 50

19

knoflook met radijsjes
garlic with radishes
size 9,8 x 9,8 cm 
printed from 2 plates 3 colors

1979

edition 50

20

Vier mokken
four mugs
size 29,4 x 39,5 cm printed from 2 plates in 3 colors

1980

edition 30

21

plastic bekers
plastic cups
size 20 x 12,4 cm
printed from 1 plate in black

1980

edition 50

22

twee steentjes
two pebbles
size 5 x 4,9 cm
printed from 2 plates in 3 colors

1980

edition 50

23

framboos
raspberry
size 5 x 4,9 cm
printed from 2 plates in 2 colors

1980

edition 50

24

citroen
lemon
size 9,8 x 10 cm
printed from 2 plates in 3 colors

1980

edition 50

25

negen radijsjes
nine radishes
size 9,9 x 10 cm
printed from 2 plates in 3 colors

1980

edition 50

26

schuur van de buren
barn of the neighbours
size 29,7 x 24,7 cm
printed from 2 plates in 4 colors

1980

edition 50

27

golfbal
size 19,2 x 12,5 cm
printed from 2 plates in 2 colors

1981

edition 50

28

ping pong ballen
table tennis balls
size 9,8 x 9,7 cm
printed from 1 plate

1981

edition 50

29

slakkenhuis
snailshell
size 4,9 x 4,7 cm
printed from 3 plates in 3 colors

1981

edition 50

30

Tommy
size 9,7 x 9,6 cm
printed from 1 plate
1981

edition 50

31

komkommers
cucumbers
size 24,4 x 19,6 cm
printed from 2 plates in 3 colors
1982

edition 50

32

drie kersen
three cherries
size 9,9 x 9,8 cm
printed from 2 plates in 2 colors
1982

edition 50

33

doorgesneden tomaten
cut tomatoes
size 19,7 x 19,8 cm
printed from 3 plates in 4 colors
1982

edition 50

34

gras bij nacht
grass at night
size 19,8 x 14,8 cm
printed from 2 plates in 3 colors
1982

edition 75

35

oog
eye
size 7,4 x 7,4 cm
by commission of Dr. T. U. Hoogenraad for his thesis on ocular muscles
1982

edition 100

36

perzik
peach
size 9,8 x 9,8 cm 
printed from 3 plates in 4 colors

1982

edition 50

37

witte klaver 
white clover
size 4,7 x 4,9 cm 
printed from 2 plates in 2 colors
1982

edition 50

38

aardbei
strawberry
size 4,6 x 4,8 cm
printed from 3 plates in 3 colors
1982

edition 75

39

schelpje 2
little shell 2
size 4,8 x 5 cm
printed from 2 plates in 2 colors
1983

edition 75

40

geschilde appel
peeled apple
size 9,8 X 9,8 cm
printed from 4 plates in 5 colors
1983

edition 75

41

partjes sinaasappel op handdoek
slices of orange on a towel
size 24,6 x 19,8 cm
printed from 3 plates in 3 colors
1983

edition 75

42

kruisbessen
gooseberries
size 9,7 x 9,8 cm
printed from 4 plates in 5 colors
2nd prize Miniature Print Biénnal
"Kunstforum" Schelderode, Belgium
1983

edition 75

43

kruisbes
gooseberry
size 4,8 x 4,8 cm
printed from 3 plates in 3 colors
1983

edition 75

44

citroenen op tafel
lemmons on a table
size 19,8 x 14,8 cm
1983

edition 75

45

glas water met citroenen
glass of water with lemons
size 19,7 x 19,7 cm
printed from 2 plates in 2 colors
1983

edition 75

46

"Japie" op een stoel
"Japie" on a chair
size 14,8 x 14,8 cm
printed from 1 plate in black
1983

edition 75

47

drie tomaten
three tomatoes
size 9,7 x 9,7 cm
printed from 3 plates in 3 colors
1983

edition 75 

48

beukenootje
beech-nut
size 4,8 x 4,8 cm
printed from 3 plates in 3 colors
1983

edition 75

49

twee halve peren
two half pears
size 9,6 x 9,6 cm
printed from 3 plates in 3 colors 
1984

edition 75

50

frambozen in kom
raspberries in a bowl
size 19,5 x 19,7 cm 
printed from 3 plates in 3 colors
1984

edition 75

51

dauwdruppel aan gras 
dewdrop on grass
size 4,8 x 4,8 cm
printed from 3 plates in 3 colors
based on a haiku by J. van Tooren
Red Ink Award, Pratt Graphics, New York
10th International Miniature Print Competition, 1985
1984

edition 75

52

klaproos 
poppy
size 9,7 x 9,7 cm  
printed from 4 plates in 4 colors
based on a haiku of Issa
made for the project "Pennen en Penselen"
(Pens and Brushes)
1984

edition 75

53

kommen en kroes in schemering 
bowls and mug in twilight
size 9,7 x 9,7 cm
printed from 2 plates in 2 colors
based on a haiku of Bashö
made for the project "Pennen en Penselen"
(Pens and Brushes)
1984

edition 75

54

herderstasje
shepherdpurse
size 4,8 x 4,7 cm
printed from 2 plates in 2 colors
made for the project "Pennen en Penselen" (Pens and Brushes) 
1984

edition 75

55

kersen en perziken
cherries and peaches
size 24,7 x 19,7 cm
printed from 4 plates in 4 colors
1985

edition 60

56

"Japie" op rode tafel
"Japie"on a red table
size 24,4 x 19,6 cm 
printed from 4 plates in 4 colors
1986

edition 75 

57

tulp "Amerikaanse Vlag"
Dutch tulip "American Flag"
size 9,6 x 9,6 cm
printed from 3 plates in 3 colors

1986

edition 75

58

chionodoxa tussen grind
chionodoxa between pebbles
size 4,8 x 4,8 cm
printed from 3 plates in 3 colors
1986

edition 100

59

een beetje wijn
a little bit of wine
size 9,8 x 9,8 cm
printed from 3 plates in 3 colors

1986

edition 100

60

regendruppel op blaadje
raindrop on a small leaf
size 1,9 x 1,9 cm
printed from 3 plates in 3 colors

1986

edition 75

 61 het groene glas
the green glass 
size 19,6 x 19,5 cm
printed from 3 plates in 3 colors 
1986

edition 75

62 druppel en knikker
marble and waterdrop
size 4,9 x 4,8 cm
printed from 3 plates in 3 colors
1st prize first British International 
Miniature Print Competition

1986

edition 75

63 appels
apples
size 24,4 x 19,7 cm
printed from 3 plates in 3 colors
1987

edition 75

64 Sylvia's Cola
size 19,5 x 19,6 cm
printed from 4 plates in 4 colors
1987

edition 75

65 de witte en de blauwe kroes
the white and the blue mug
size 9,6 x 9,6 cm
printed from 4 plates in 4 colors 

1987

edition 75

66 viooltje
pansy
size 4,5 x 4,5 cm
printed from 3 plates in 3 colors edition

1987

edition 75

67 kiwi's en radijs
kiwis and radish
size 9,5 x 9,5 cm
printed from 4 plates in 4 colors

1987

edition 100

68 niet storen s.v.p.
do not disturb
size 9,6 x 9,4 cm
printed from 1 plate
1987

edition 75
69 herfst
fall
size 4,5 x 4,7 cm
printed from 4 plates in 4 colors
1987

edtion 75

70 de "Glass Veranda" knikker
the "Glass Veranda" marble
size 4,6 x 4,6 cm
printed from 4 plates in 4 colors
1st prize (ex aequo) Mini Print Internacional 
1988 Cadaques, Spain

1988

edition 75

71 kersenbloesem
cherry blossom
size 4,7 x 4,7 cm 
printed from 4 plates in 4 colors 

1988

edition 75 

72 19e eeuws handwerkgerei met meetlint
19th c. things for needlework with tape measure
size 9,6 x 9,6 cm
printed from 3 plates in 3 colors

1988

edition 75 

73 maasbal en kluwenhouder 19e eeuw 
19th century darningball and clew holder
size 9,6 x 9,6 cm 
printed from 3 plates in 3 colors

1988

edition 75

74 akelei
columbine
size 9,5 x 9,4 cm
printed from 3 plates in 3 colors
by commission of the "Province of Utrecht" 

1988

edition 100

75 kom met ei 
bowl with egg
size 9,6 x 9,5 cm
printed from 3 plates in 4 colors 

1988

edition 75

76 uit de zee
from the sea
size 24,5 x 19,7 cm
printed from 3 plates in 3 colors 

1989

edition 75

 
77 kastanje
chesnut
size 4,5 x 4,5 cm
printed from 3 plates in 3 colors 
1989

edition 100 

78 blauw flesje
small blue bottle
size 19,5 x 19,7 cm
printed from 4 plates in 4 colors 
1990

edition 75

79 neerdwarrelend veertje
descending feather
size 9,5 x 9,5 cm 
printed from 3 plates in 3 colors
1990

edition 100

80 colorbanded snail shell
size 4,6 x 4,6 cm
printed from 4 plates in 4 colors
1990

edition 75

 81 peren en framboos
pears and raspberry
size 19,6 x 19,7 cm
printed from 4 plates in 5 colors edition

1990

edition 75

82  twee madeliefjes
two daisies
size 9,6 x 9,6 cm
printed from 3 plates in 3 colors

1990

edtion 100

83  vallende kastanje
falling chestnut
size 9,7 X 9,7 cm
printed from 3 plates in 3 colors

1990

edition 100

84  partje manderijn
part of mandarin
size 4,7 x 4,7 cm
printed from 4 plates in 4 colors
1990

edtion 75

85  teddy beer
teddy bear
size 9,7 x 9,7 cm
printed from 3 plates in 3 colors
made for private use

1991

edtion 75

86 wind en wijn
wind and wine
size 24,6 x 19,7 cm
printed from 3 plates in 3 colors

1991

edtion 75 

87 Paprika's
size 19,5 x 19,7 cm
printed from 4 plates in 4 cilors

1991

edition 100

88 mosselschelpen
mussel shells
size 9,7 x 9,7 cm
printed from 5 plates in 5 colors 

1991

edition 75

89 perzik en peer
peach and pear
size 9,6 x 9,6 cm
printed from 4 plates in 4 colors

1991

edtion 75

90 klosje rood garen
reel with red yarn
size 4,7 x 4,7 cm
printed from 4 plates in 4 colors edition

1991

edition 75

91 schelp en knikker
shell and marble
size 4,7 x 4,7 cm
printed from 3 plates in 3 colors

1991

edition 100

92 lucht, land en water te Doorn
air, land and water at Doorn
size 24,4 x 19,6
printed from 3 plates in 3 colors
by commission of the city of Doorn: 
this mezzotint is part of the environment
conservation award of the city of Doorn

1992

edtion 50

92 zomernacht 
summernight
size 19,6 x 19,6
printed from 3 plates in 3 colors

1992

edition 100

94 druif met takje
size 4,7 x 4,7 cm
printed from 3 plates in 3 colors
by commission of the "Kamerbeek" company at Amersfoort

1992

edtion 200

95 aankomst van een blad
arrival of a leaf
size 24,5 x 19,7 cm
printed from 3 plates in 3 colors

1992

edtion 100

96 blauwe schelp
blue shell
size 4,7 x 4,7 cm
printed from 3 plates in 3 colors

1992

edtion 100

97 beertje
little bear
size 9,8 x 9,8 cm
printed from plates in colors
made for privat use

1992

edition 100

98 appels in vergiet
appels in a colander
size 19,7 x 24,7 cm
printed from 4 plates in 4 colors

1993

edition 100

99 noten. balk. kruis-bes
size 9,7 x 9,7 cm 
printed from 3 plates in 3 colors
by commission of "Concert in Cothen"

1993

edition 100

100 aalbessen
red currants
size 4,7 x 4,7 cm
printed from 3 plates in 3 colors

1993

edition 100

101 radix medicinae oris 
size 4,7 x 4,7 cm
printed from 4 plates in 4 colors
by commision of "Het Nederlandsch
Tandheelkundig Genootschap"
(Dutch Dental Society)

1994

edition 100

102 twee honden
two dogs
size 24,5 x 19,6 cm
printed from 3 plates in 4 colors

1994

edition 100

103 watertoren
watertower
size 24,6 x 19,7 cm 
printed from 4 plates in 5 colors
this mezzotint is an alternated form of nr. 92

1994

edition 100

104 oud veertje
old feather
size 4,7 x 4,7 cm 
printed from 4 plates in 4 colors

1994

edition 100

105 sinaasappelen in mand
oranges in basket
size 24,6 x 19,7 cm
printed from 4 plates in 5 colors

1994

edition 100

106 mineraalwater
mineralwater
size 9,7 x 9,7 cm
printed from 4 plates in 4 colors
by commision of the "Federatie Kunstuitleen"
at The Hague

1994

edition 60

107 schelp in kistje
shell in a wooden box
size 9,7 x 9,8 cm
printed from 1 plate in black

1994

edition 100

108 appel bij Sterkenburg
apples near Sterkenburg 
size 19,5 x 14,6 cm 
printed from 4 plates in 4 colors
by commision of the province of Utrecht

1995

edition 50

109 drie druiven
three grapes
size 4,7 x 4,7 cm
printed from 4 plates in 4 colors

1995

edtion 100

110 slaappillen
sleeping pills
size 4,7 x 4,7 cm
printed from 3 plates in 3 colors

1995

edition 100

111 op recept
with a prescription
size 9,6 x 9,6 cm
printed from 3 plates in 3 colors

1996

edition 100

112 ontdekking van de wereld
discovery of the world
size 9,7 x 9,6 cm
printed from 3 plates in 3 colors
for the portfolio of the Haagse Ets Club

1996

edtion 75

113 peren en stopflesje 
pears and glass jar
size 24,6 x 19,7 cm 
printed from 3 plates in 3 colors

1996

edition 100

114 blauw flesje bronwater 
blue bottle springwater
size 24,5 x 19,6 cm 
printed from 4 plates in 4 colors

1996

edtion 100

115 japanse kommen
japanese bowls
size 19,6 x 19,7 cm
printed from 4 plates in 4 colors

1996

edtion 100

116 lampionnetjes 
small lanterns
size 4,6 x 4,7 cm
printed from 4 plates in 4 colors

1996

edtion 125

117 drie maten fluiten
size 9,7 x 9,7 cm
printed from 3 plates in 3 colors
by commision of "Concert in Cothen"

1997

edition 100 

118 roze schelp
pink shell
size 4,7 x 4,7 cm
printed from 3 plates in 3 colors

1997

edition 125

119 rabarber
rhubarb
size 24,4 x 19,7 cm
printed from 3 plates in 3 colors
1997

edition 100 

120 twee rode uien en een witte
two red onions and a white one
size 9,8 x 9,8 cm
printed from 3 plates in 3 colors

1998

edition 100 

121 rode uien en glazenpot
red onions and a glass jar
size 19,6 x 24,5 cm
printed from 3 plates in 3 colors

1998

edition 100

122 twee schelpen*
two shells
size 4,7 x 4,7 cm
printed from 3 plates in 3 colors

1998

edition 100

123 druiven en radijs*
grapes and radish
size 4,7 x 4,7 cm
printed from 3 plates in 3 colors
*special edition for luxus edition of the book

1998

edition 100

124 drie paprika's
three paprika's
size 19,6 x 19,6 cm
color mezzotint

1998

edition 100

                                                 

 

Hier informatie en geschiedenis over door Joop gemaakte werken.

Wie heeft een afbeelding en, indien bekend,  wat is de geschiedenis hiervan.

De eerste aanmelding is van Jan Nekkers:

Sinds een groot aantal jaren zijn mijn vrouw en ik verzamelaars van “grafiek op papier”. Via galerieën, veilingen, internetsites of rechtstreeks van de kunstenaar breiden we onze Nekkers-Kapitein-Collectie langzaam maar zeker uit. Omdat we onze verzameling graag goed en uitvoering documenteren proberen we zoveel mogelijk achtergrond informatie over hem/haar te vinden. Bijgaand een foto van de afbeelding “Beukennootje”  1983 Techniek: Ets,  30/75   (ik vermoed dat het een mezzotint is) Afmeting: 4,8 x 4,8 cm Gesig.:  rechts onder in potlood, naam voluit + jaartal  Links onder Titel  en midden onder de oplage.  (Noot webmaster: de foto is van een te slechte kwaliteit; ik heb gevraagd om een foto met een hogere resolutie)

Het werk is in bezit geweest van Kunstuitleen “De Krabbendans” uit Eindhoven met nr. A95-006 (Kunstuitleen is opgeheven in 2012). Het werk was geprijsd  f. 295,00 incl. lijst.

Het werk heeft mogelijk gehangen in Singer Museum te Laren in een expositie Grafiek NU 2. Nov.-Dec. 1986. In de Leeuwarder Courant van 28-11-’86 wordt gesproken over “de pieterpeuterige beukennootjes” van Joop Vegter.  

Reden waarom we werk van Joop Vegter in onze verzameling hebben opgenomen is, naast de prachtige afbeelding en hoge technische kwaliteit van het werk, het feit dat hij lid is/was van het Amersfoorts Kunstenaars genootschap De Ploegh.

Dat laatste is (één van de) criteria bij aanschaf van grafiek op papier. (we moeten tenslotte ergens een grens trekken!)

  • ● ●

Paul Wetselaar:

In het verleden heb ik een kunstwerk gekocht van Joop Vergter tijdens een expositie in Leiden. Het kunstwerk heet: Kersen en Perziken uit het jaartal 1985 en vind het nog altijd prachtig.

  • ● ●

Wordt een werk van Joop Vegter te koop aangeboden of tentoongesteld in uw galerie,
stuur dan een bericht naar onderstaand emailadres

If there is an offer of a mezzatint of Joop Vegter send us a message
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Beperking/Limitation:

Paul Schütz kan zonder hierover met u te hoeven overleggen artikelen verwijderen.

At any time Paul Schütz can remove articles without arguments.

Paul Schütz heeft geen enkel commercieel belang in aankoop/verkoop van mezzatint van Joop

Paul Schütz has no commercial interest in buying/selling of mezzatint of Joop

De erfgenamen van Joop Vegter zien, per 31 januari 2021, af van het auteurs/portret recht van de werken van Joop.
Dit betekent dat de werken die o.a. bij het Rijksmuseum in bezit zijn getoond kunnen worden op hun website.
Dit betekent ook dat we, op onze website, meer afbeeldingen van de werken van Joop op onze website kunnen plaatsen zonder afbreuk te doen van de rechten van de erfgenamen.
De afbeeldingen op de website kunnen echter nooit als vervanging dienen van de echte Mezzotint werken van Joop en zijn slechts bedoelt om alle werken van Joop voor iedereen zichtbaar te maken.
●●●●

Paula Vegter-Kossen is 30 november 2020 overleden.
Joop Vegter is 8 september 2017 overleden.

●●●●

Elena Kornetchuk died Saturday, April 25, 2015.
She had owned the International Art Gallery in Sewickley, PA.
Elena wrote an introduction in “Mezzotint Joop Vegter”

●●●●

Enkele (39) werken van Joop zijn toegevoegd aan de collectie van het Rijksmuseum in Amsterdam

Bloeiende artisjok
Het groene glas
Ontdekking van de wereld
Achter de haag
Bootje van papier
Bloemkool

 

Zoeken - Rijksmuseum
●●●●

Wordt een werk van Joop Vegter te koop aangeboden of tentoongesteld in uw galerie,
stuur dan een bericht naar onderstaand emailadres
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●●●●

Nieuw:
Heeft u een werk van Joop in bezit en wilt u de geschiedenis hiervan met ons delen
stuur dan een bericht met de relevante informatie naar onderstaand emailadres

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