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1 Klic, Karol (Klietsch, Karl)
[br]b. 31 May 1841 Arnau, Bohemia (now Czech Republic)d. 16 November 1826 Vienna, Austria[br]Czech inventor of photogravure and rotogravure.[br]Klic, sometimes known by the germanized form of his name Karl Klietsch, gained a knowledge of chemistry from his chemist father. However, he inclined towards the arts, preferring to mix paints rather than chemicals, and he trained in art at the Academy of Painting in Prague. His father thought to combine the chemical with the artistic by setting up his son in a photographic studio in Brno, but the arts won and in 1867 Klic moved to Vienna to practise as an illustrator and caricaturist. He also acquired skill as an etcher, and this led him to print works of art reproduced by photography by means of an intaglio process. He perfected the process c.1878 and, through it, Vienna became for a while the world centre for high-quality art reproductions. The prints were made by hand from flat plates, but Klic then proposed that the images should be etched onto power-driven cylinders. He found little support for rotary gravure, or rotogravure, on the European continent, but learning that Storey Brothers, textile printers of Lancaster, England, were working in a similar direction, he went there in 1890 to perfect his idea. Rotogravure printing on textiles began in 1893. They then turned to printing art reproductions on paper by rotogravure and in 1895 formed the Rembrandt Intaglio Printing Company. Their photogra-vures attracted worldwide attention when they appeared in the Magazine of Art. Klic saw photogravure as a small-scale medium for the art lover and not for mass-circulation publications, so he did not patent his invention and thought to control it by secrecy. That had the usual result, however, and knowledge of the process leaked out from Storey's, spreading to other countries in Europe and, from 1903, to the USA. Klic lived on in a modest way in Vienna, his later years troubled by failing sight. He hardly earned the credit for the invention, let alone the fortune reaped by others who used, and still use, photogravure for printing long runs of copy such as newspaper colour supplements.[br]Further ReadingObituary, 1927, Inland Printer (January): 614.Karol Klic. vynálezu hlubotisku, 1957, Prague (the only full-length biography; in Czech, with an introduction in English, French and German).S.H.Horgan, 1925, "The invention of photogravure", Inland Printer (April): 64 (contains brief details of his life and works).G.Wakeman, 1973, Victorian Book Illustration, Newton Abbot: David \& Charles, pp. 126–8.LRDBiographical history of technology > Klic, Karol (Klietsch, Karl)
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2 Meisenbach, Georg
SUBJECT AREA: Paper and printing[br]b. 1841 Nuremberg, Germanyd. 12 December 1912 Munich, Germany[br]German engraver, inventor of the first commercially exploitable halftone printing process.[br]Trained in Nuremberg as a copper-plate engraver, Meisenbach moved to Munich in 1873 and established the first zincographic engraving business in Germany. In 1879 he began experimenting with halftone reproductions and in May 1882 he took out a German patent which described a single-line screen made from the proof of an engraved plate ruled with lines. The screen was then placed before a photographic positive of a picture and the two were photographed together. Approximately half-way through the exposure the screen was turned 90 degrees so that the lines crossed. A halftone negative was thus produced, from which could be made a zinc printing block. The full details of the process were not revealed in the patent so that trade competition would be limited. It was the first commercially practicable halftone process. Ill health forced Meisenbach to retire from the business in 1891, by which time his process was being superseded by Ives's cross-line process.[br]BibliographyMay 1882, German patent no. 22,444 (halftone printing process). 1882, British patent no. 2,156.Further ReadingJ.M.Eder, 1945, History of Photography, trans. E.Epstean, New York.G.Wakeman, 1973, Victorian Book Illustration (a popular account of the introduction of halftone to England).JW -
3 Pouncy, John
SUBJECT AREA: Photography, film and optics[br]b. 1820 Englandd. 1894 Dorchester (?), Dorset, England[br]English photographer and pioneer of the gum bichromate permanent printing process.[br]A professional photographer working from a studio in Dorchester, Pouncy had a long interest in "permanent" photographs. In 1857 he published two volumes of photolithographed views of Dorset. He was later to devise a number of variations of the photolithographic process.Pouncy is best remembered for his pigment process, patented in 1858, using vegetable carbon, gum arabic and potassium bichromate. His prints exhibited at the London Photographic Society the same year were greatly admired. However, Pouncy's gum bichromate process was, in fact, covered by earlier patents filed by Poitevin, but this did not deter Pouncy from submitting his prints to the Duke of Lyne's competition for permanent photographs in 1859. For the excellence of his work, Pouncy was awarded the lesser part of the major prize won by Poitevin. Although Pouncy's work was not original, he pioneered the carbon process in England and can be considered the practical founder of the different technique of gum bichromate printing.[br]Bibliography10 April 1858, British patent no. 780 (gum bichromate permanent printing process).Further ReadingJohn Werge, 1890, The Evolution of Photography, London (an interesting contemporary account of Pouncy's work).J.M.Eder, 1945, History of Photography, trans. E. Epstean, New York.H.Gernshiem and A.Gernsheim, 1969, The History of Photography, rev. edn, London. G.Wakeman, 1973, Victorian Book Illustration, Great Britain (a good popular account of Pouncy's work).JW -
4 Bewick, Thomas
SUBJECT AREA: Paper and printing[br]b. August 1753 Cherryburn House, Ovingham, Northumberland, Englandd. 8 November 1828 Gateshead, England[br]English perfecter of wood-engraving.[br]The son of a farmer, Bewick was educated locally, but his progress was unremarkable save for demonstrating an intense love of nature and of drawing. In 1767 he was apprenticed to Ralph Beilby, an engraver in Newcastle. Wood-engraving at that time was at a low ebb, restricted largely to crude decorative devices, and Hogarth, commenting on a recent book on the art, doubted whether it would ever recover. Beilby's business was of a miscellaneous character, but Bewick's interest in wood-engraving was noticed and encouraged: Beilby submitted several of his engravings to the Royal Society of Arts, which awarded a premium of £80 for them. His apprenticeship ended in 1774 and he went to London, where he readily found employment with several printers. The call of the north was too strong, however, and two years later he returned to Newcastle, entering into partnership with Beilby. With the publication of Select Fables in 1784, Bewick really showed both his expertise in the art of wood-engraving as a medium for book illustration and his talents as an artist. His engravings for the History of British Birds mark the high point of his achievement. The second volume of this work appeared in 1804, the year in which his partnership with Beilby was dissolved.The essential feature of Bewick's wood-engravings involved cutting across the grain of the wood instead of along it, as in the old woodcut technique. The wood surface thus obtained offered a much more sensitive medium for engraving than before. It paved the way for the flowering of engraving on wood, and then on steel, for the production of illustrated material for an ever wider public through the Victorian age.[br]Bibliography1864, Memoir of Thomas Bewick (autobiography, completed by his daughter). 1784, Select Fables.Further ReadingM.Weekley, 1963, Thomas Bewick, Oxford: Oxford University Press.LRD
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