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ARTIST:
PETER MILTON
TITLE:
THE JOLLY CORNER II:4, c. 1971 (read about the suite below)
This RARE ENGRAVING is HAND SIGNED & NUMBERED from the Limited Edition Suite "Jolly Corner". This engraving is a very strong impression by WORLD RENOWNED Artist Peter Milton (Read biography below). This piece comes from the suite that is limited to only 90 in the world.
MEDIUM:
Pencil Signed & Numbered Limited Edition 85 of 90 Resist-Ground Etching and Engraving on Rives Heavyweight Buff Paper, Arches Cover Buff. Image approc 15" x 10" / Papersize 19" x 15".
SIZE:
19 x 15 inches unframed
CONDITION:
Excellent! Strong Impression. Custom Framed as Shown.
SHIPPING:
Buyer pays Professional Crating, Packing, SHIPPING, and Insurance. FREE SHIPPING - Note: When Free Shipping is offered - this is valid for shipments made within the continental US only! Buyer will be charged for custom crating and insurance. For international shipments, check Fed-Ex for quote
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Peter Winslow Milton (born 1930) is an American artist. A creator of black and white etchings and engravings that often display an extraordinary degree of photo-realistic detail placed in the service of a truly visionary aesthetic, his themes include architecture, history, myth, and memory, their intersections and hidden juxtapositions. His pieces often compress long periods of time into a single moment, as in "Family Reunion" and "The Train from Munich."
Peter Milton received his MFA from Yale University in 1961. His work has been exhibited in most major museums in the U.S. and Europe, including the Metropolitan Museum of Art and the Museum of Modern Art, New York, the British Museum and the Tate Gallery, London, and the Bibliothèque Nationale, Paris. Two major book-collections of his work have been published: The Primacy of Touch: The Drawings of Peter Milton (New York: Hudson Hills Press, 1993) and Peter Milton: Complete Prints 1960-1996 (San Francisco: Chronicle Books, 1996).
The Jolly Corner suite - Edition Notes :
The portfolio is covered with dark brown cloth and is lettered HENRY JAMES [and] PETER MILTON. It measures 20" x 16 ¼". The embossed design of the portfolio cover derives from the architectural details of the interior doors as seen in Plate III-3. The text includes a half-title, frontispiece (Plate 70), title page, copyright page, another half-title, and letterpress text on pages numbered from 7-29, followed by the colophon page on which appear the chop marks of Robert E. Townsend, Gretchen Ewert, and Impressions Workshop. The prints are loose within three folders on which are printed excerpts from the text.
COLOPHON: 'The Jolly Corner' was first printed in The English Review, London, December, 1908. Its first publication in book form was in The Altar of the Dead, etc., Volume XVII of the New York Edition of the complete, works of Henry James, published by Charles Scribner's Sons in 1909. This principal edition of 'The Jolly Corner,' published by Aquarius Press, with twenty-one etchings by Peter Milton on Rives Buff paper, is limited to 150 portfolios numbered from 1/150 to 150/150. It is signed on the frontispiece and this page by the artist. There are five portfolios for the artist, designated as artist's proofs. Eight portfolios lettered from A to H are reserved for the collaborators.
"The preferred edition of twenty-one, of which one is reserved for the artist, contains all of the principal edition plus an additional suite of the twenty-one etchings on Arches Buff paper, each signed by the artist, plus one of the original copper plates, cancelled by the artist. This edition is numbered from I/XXI to XXI/XXI and signed on this page by the artist. "There is also an edition of all of the etchings on Arches Buff paper with wider margins. These are signed by the artist and numbered from 1/90 to 90/90, plus ten artist's proofs.
"The etchings were printed under the supervision of the artist by Gretchen Ewert and Robert Townsend at Impressions Workshop in Boston. The text, set in Monotype Times Roman and ATE Baskerville, was printed on Rives paper at the Press of A. Colish in Mount Vernon, New York. Typography and design are by Abe Lerner. "The portfolio was made by Moroquain, Inc., New York. "This is number (in pencil) (signed in pencil, P. W. Milton)"
In addition to the various editions listed in the colophon, each plate went through a number of state proofs and/or trial proofs before steel facing. These are documented separately under their respective titles. There were also two sets of BAT proofs. One on RHB was delivered to Aquarius Press. The other, on ACB, was divided between the two printers, each receiving impressions of the subject for which they were responsible. These were signed by the artist, and carried the printer's chop. One full set of printer's proofs on ACB was divided between the two printers so as to complete their BAT sets. These were signed by the artist, and carried the printer's chop.
The "Principal Portfolio Edition" on RHB, numbered 1/150-150/150 (and five sets of AP's also on RHB, measuring 15" X 19"), contains the twenty-one etchings. Only the frontispiece and the colophon page are signed by the artist for this edition. The frontispiece print is No. II-2 (70). All prints bear the printer's chop. The colophon page bears both the printers' chops and the Impression Workshop chop. The "Preferred Portfolio Edition," numbered I/XXI-XXI/XXI, contains an identical set of the twenty-one prints of the Principal Portfolio Edition as well as a duplicate set on ACB. Each of the ACB prints is signed by the artist and bears the printer's chop. A cancelled plate is included in each portfolio. The "Collaborators' Portfolio" of eight sets, numbered A-H, was printed on RHB and is identical to the Principal Portfolio Edition.
Of the separate edition of ninety sets, numbered 1/90-90/90 (plus ten AP's), all on ACB and measuring 15"X22", seventy were delivered to the publisher, the twenty numbered 51/90-70/90 to the artist. Each print is signed by the artist and bears the printer's chop as well as that of Ferdinand Roten (Aquarius Press). The twenty sets and ten AP's delivered to the artist from this edition were distributed by him in sets of seven prints in the same three sequences and folders (i, n, and HI) as were used in the portfolio editions, including a fragment of the text.
Two sets of proofs were provided after the plates were cancelled. Those on RHB were printed by Robert E. Townsend, those on ACB by Gretchen Ewert.
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