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An Essay on Transparent Prints. London: J. G. Barnard, 1807.
Details
ORME, Edward (1775-1848)
An Essay on Transparent Prints. London: J. G. Barnard, 1807.
A curious and beautiful book by the self-proclaimed inventor of transparencies. Dedicated to Queen Charlotte and her daughters, the volume presents Orme’s experiments using varnishes to create prints on paper which appear transparent when held up to the light. The author gives detailed instructions for making ‘paper panoramas’, provides recipes to make oil varnish, and includes specimens of coloured paper dipped in that very varnish to create an effect of stained glass. Abbey Life 230; Bobins II, 697; Lowndes III, p.1731.
Folio (381 x 265mm). Half-title, text in English and French, four letterpress leaves of subscribers at end, ten plates coloured by a contemporary hand, including seven transparencies, six uncoloured plates including engraved title and plate at end, three uncoloured culs-de-lamps, and a page of coloured paper specimens each dipped in transparent varnish (lacking plate 17, ‘The Cup of Delight’, as called for in the List of Plates, as often with other copies, minor marginal spotting). Modern blue half morocco, gilt spine.
An Essay on Transparent Prints. London: J. G. Barnard, 1807.
A curious and beautiful book by the self-proclaimed inventor of transparencies. Dedicated to Queen Charlotte and her daughters, the volume presents Orme’s experiments using varnishes to create prints on paper which appear transparent when held up to the light. The author gives detailed instructions for making ‘paper panoramas’, provides recipes to make oil varnish, and includes specimens of coloured paper dipped in that very varnish to create an effect of stained glass. Abbey Life 230; Bobins II, 697; Lowndes III, p.1731.
Folio (381 x 265mm). Half-title, text in English and French, four letterpress leaves of subscribers at end, ten plates coloured by a contemporary hand, including seven transparencies, six uncoloured plates including engraved title and plate at end, three uncoloured culs-de-lamps, and a page of coloured paper specimens each dipped in transparent varnish (lacking plate 17, ‘The Cup of Delight’, as called for in the List of Plates, as often with other copies, minor marginal spotting). Modern blue half morocco, gilt spine.
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