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Steel engraving

Steel engraving is an intaglio printmaking technique that involves incising designs into hardened steel plates using tools such as a burin or through etching, with ink held in the resulting grooves and transferred to paper under high pressure, producing finely detailed reproductions prized for their durability in applications like book illustrations, banknotes, and postage stamps.^[1]^[2] The process originated in the late 18th century when American inventor Jacob Perkins developed steel engraving around 1792 specifically for secure banknote production, patenting an improved method in Britain in 1819 that involved annealing soft steel plates, engraving them (often with a geometric lathe for precision), and then hardening them to withstand extensive use.^[3] This innovation addressed the limitations of traditional copper plates, which wore quickly under the pressure of printing presses, typically limiting editions to about 2,000 impressions before quality degraded.^[2] Steel plates, by contrast, could yield up to 400,000 high-quality impressions, revolutionizing mass reproduction and enabling the printing of the world's first adhesive postage stamps in 1840 using Perkins' techniques.^[3] By the 1820s, British engraver Thomas Lupton refined the method for larger-scale applications, popularizing steel engraving in fine art and book illustration during the Victorian era, where it became a staple for serial novels such as Charles Dickens' David Copperfield (1849–1850), allowing publishers to produce affordable monthly installments with consistent, intricate images.^[2]^[4] Engravers often combined direct cutting with etching to achieve varied line qualities and shading, though the hardness of steel required specialized tools like tempered burins and sometimes hammers, limiting artistic freedom compared to softer copper but ensuring longevity.^[1]^[5] In the mid-19th century, further advancements like steel-facing—electroplating a thin layer of steel onto copper plates, invented in France around the late 1850s—merged the ease of engraving copper with steel's endurance, sustaining the technique's prominence in commercial printing until photomechanical processes began to supplant it in the late 1800s.^[5] Notable examples include landscape engravings like Harry Fenn's The Catskills (c. 1870), which showcased the method's capacity for tonal depth and detail in large editions.^[1]

Overview and History

Origins and Early Development

Steel engraving emerged in 1792 when American inventor Jacob Perkins developed the technique specifically for banknote printing, seeking to deter counterfeiting through the superior hardness and longevity of steel plates compared to the softer copper plates then in use. Copper plates typically limited print runs to a few thousand impressions before wearing smooth, but steel's resistance to wear allowed for far greater durability, enabling up to 400,000 high-quality prints while maintaining fine details essential for security features.^[3]^[6] In the late 1790s and early 1800s, Perkins conducted experiments with alternative materials, initially trying iron plates, which suffered from rapid wear similar to copper. He then shifted to steel, but its inherent hardness posed challenges for engraving, as it resisted the burin tools needed to incise intricate designs. To address this, Perkins pioneered a softening process involving heating cast steel plates in air to decarbonate the surface, rendering them malleable enough for detailed work without compromising the metal's core properties. After engraving, the plates were re-hardened by reheating to a red glow and quenching in oil or water, with oil preferred to minimize brittleness and cracking during use. This annealing and quenching method effectively overcame early brittleness issues in the hardened steel, allowing plates to withstand repeated printing pressures.^[7]^[8] The first commercial applications of steel engraving appeared in the United States around 1803, when Perkins began producing secure banknotes using his technique for institutions such as the Boston Bank, marking a shift toward more forgery-resistant currency. By 1819, following Perkins' relocation to England, the process gained traction in Britain through his Patent No. 4400, which detailed the steel softening and hardening methods, facilitating its adoption for official printing needs. Early refinements in steel composition and heat treatment further reduced brittleness, paving the way for broader secure printing applications.^[9]^[8]

19th-Century Expansion

By the 1820s, steel engraving had largely supplanted copper plates in commercial printing, driven by steel's enhanced durability that permitted print runs of up to 400,000 impressions or more, compared to copper's typical limit of about 2,000 before significant wear set in.^[3]^[2] This shift, pioneered by innovators like Jacob Perkins and adapted in Britain by engravers such as Charles Heath, aligned with the Industrial Revolution's demand for scalable production methods, enabling publishers to meet rising consumer interest in affordable illustrated works without frequent plate replacement.^[10] The 1830s witnessed a boom in steel-engraved illustrated books and topographical prints, exemplified by William and Edward Finden's Landscape Illustrations of the Bible (1835–1836), a two-volume work featuring over 30 steel engravings after sketches by artists like J.M.W. Turner and David Roberts, which captured Victorian fascination with biblical landscapes and historical sites.^[11] This period's expansion was bolstered by the establishment of specialized engraving firms in London, including Charles Heath's operation, which produced high-volume book illustrations and banknotes using steel processes, capitalizing on industrialized manufacturing to supply the burgeoning market for serial publications and luxury annuals like "Keepsakes."^[12]^[10] Steel engraving maintained dominance in premium reproductions through the mid-19th century, despite competition from lithography, which offered faster production but coarser lines unsuitable for intricate details, and wood engraving, a cheaper relief method that integrated seamlessly with text on standard presses yet lacked steel's tonal finesse.^[13]^[14] By the 1860s, steel's peak commercial viability had solidified its cultural impact, particularly in elevating book illustrations to fine art status amid the era's print explosion.^[10]

Decline and Modern Legacy

The labor-intensive process of steel engraving began to decline from the 1870s onward, primarily due to the advent of photomechanical reproduction techniques such as photogravure and half-tone printing, which enabled faster, more cost-effective production for mass media like books and periodicals.^[15] These innovations, developed in the mid-to-late 19th century, allowed for direct photographic transfer to printing plates, bypassing the need for skilled hand-engraving on steel and reducing production times from weeks to days while accommodating higher print runs.^[16] In currency printing, steel engraving maintained prominence into the early 20th century for its durability and fine detail in security features, but advancements allowed intaglio methods on various metals, including softer ones like copper for ease in etching intricate designs, while steel continued for its superior durability in high-security features.^[3] By the mid-20th century, advancements in etching and plate preparation further diminished reliance on traditional steel plates, though intaglio principles persisted in banknote production.^[17] The 20th and 21st centuries have witnessed selective revivals of steel engraving in fine art printmaking and limited-edition books, where artisans value its capacity for exquisite line work and tonal depth in small-scale, high-quality outputs.^[18] In contemporary applications, digital-assisted steel engraving—integrating computer-aided design with traditional intaglio—continues in modern banknotes to enhance anti-counterfeiting measures, such as micro-text and tactile features that resist replication.^[19] Steel engraving's cultural legacy endures through preserved collections, notably at the British Museum, which holds extensive examples of 19th-century steel-engraved prints illustrating its historical role in visual documentation and artistic expression.^[20] This precision and detail have influenced modern graphic design, emphasizing clean lines and reproducibility in digital media and security printing.^[21]

Engraving Techniques

Core Methods and Tools

Steel engraving primarily employs a combination of burin engraving and acid etching to create intricate line work and tonal effects on durable steel plates. In burin engraving, the artist uses a specialized tool known as a burin—a four-sided steel rod with a sharpened, diamond-shaped point mounted in a wooden handle—to incise precise V-shaped grooves directly into the polished steel surface. The burin is held against the palm of the hand, gripped by the thumb and third finger, and pushed forward with controlled pressure to remove thin slivers of metal, forming clean lines that hold ink during printing. This direct incising method allows for sharp outlines and fine details, with line width and depth varied by adjusting the tool size and applied force.^[22]^[23] To achieve tonal areas and broader shading, acid etching complements the burin work, particularly on steel where the metal's hardness limits extensive manual incising. The plate is coated with an acid-resistant ground, such as a mixture of resin and asphaltum, through which the artist scratches designs using an etching needle to expose the steel. The plate is then immersed in an etching bath of ferric chloride or nitric acid, which corrodes the unprotected areas to create recessed tones; multiple immersions with progressive "stopping out" of completed sections allow for gradations from light to dark. After etching, the burin may be used to deepen or refine lines for enhanced contrast. This hybrid approach leverages etching's efficiency for expansive shaded regions while relying on the burin for precise articulation.^[23]^[10] Textured effects, such as dotted patterns or granular tones, are produced using specialized tools like roulettes and criblés, adapted to steel's greater resistance compared to softer metals like copper. A roulette is a small toothed wheel or cylinder rolled across the plate to imprint rows of fine dots or stipples, varying pressure to control density and achieve subtle textures. Criblés involve a punch-like tool called a mattoir or a serrated implement to create fields of closely spaced dots, often for backgrounds or mid-tones. Due to steel's hardness, these tools must be exceptionally sharp and robust—typically forged from high-carbon steel—to penetrate without slipping, unlike the blunter implements sufficient for copper.^[23]^[24] Shading in steel engraving relies on established line conventions to convey depth and form, with the incised image executed in mirror-image reversal to ensure correct orientation in the final print. Parallel lines spaced closely create mid-tones, while cross-hatching—intersecting sets of lines—builds darker shadows and volume; isolated dots or short dashes add highlights or transitional gradations. These conventions, refined over centuries, allow engravers to simulate light and texture through density and direction of marks, as seen in the bold, sweeping cross-hatchings of Hendrick Goltzius or the precise parallel swells of Georg Wille. The resulting plate, when inked and printed under pressure, yields a reversed impression on paper, bordered by a characteristic plate mark.^[22]^[23]^[10] The workflow for steel demands adaptations due to the material's resistance, which requires significantly more physical force than copper and leads to unique artistic practices. Engravers employ slower, more deliberate strokes with the burin to maintain control and avoid tool breakage, often working in shorter sessions to prevent fatigue; this methodical pace enhances precision but extends production time, as exemplified by Jean Guillaume Bervic's laborious execution of detailed plates. Mechanical aids, such as steadying devices, may assist in achieving uniform pressure on the unyielding surface. After incising, any raised burrs are scraped and burnished flat to ensure even inking.^[23]

Plate Preparation and Durability Enhancements

Steel plates for engraving were typically selected from high-carbon steel blanks, chosen for their ability to withstand the rigors of engraving and high-volume printing while maintaining fine detail. These blanks were initially polished to a mirror finish using progressive grits of abrasives and fine polishing compounds, creating a smooth surface that allowed for precise tool work and minimized unintended ink retention during subsequent printing.^[25]^[26] To enhance durability, a case-hardening process was applied after the initial engraving on soft steel plates, transforming the surface into a wear-resistant layer capable of supporting thousands of impressions. This involved packing the plate in carbon-rich compounds such as bone charcoal and heating it to approximately 900°C for 2-4 hours, allowing carbon diffusion to form a hard case layer with a Rockwell hardness exceeding 60 HRC, while the core remained tougher and less brittle.^[27]^[28]^[29] In the 1860s, the steel-facing technique emerged as a hybrid approach to combine copper's workability with steel's longevity, particularly for high-run editions. This method entailed electroplating a microscopically thin layer of iron (approximately 1 µm or 0.00004 inches thick) onto a finished copper plate via immersion in an electrolytic bath, often containing ferrous cyanide solutions, which deposited the protective steel facing without altering the engraved lines.^[30]^[31]^[32] Following engraving or etching, plates underwent post-processing to refine the surface and optimize ink retention. Burrs raised by the burin or etching process were removed through careful polishing with fine abrasives and burnishing tools, smoothing non-image areas while preserving the incised lines' depth for consistent inking; in some cases, a rocker tool was employed to texture specific regions if mezzotint effects were desired, followed by selective burnishing to control tonal variation.^[33]^[34]^[35]

Printing Process

The printing process for steel engravings follows the principles of intaglio printing, where ink is held in the incised lines of the hardened steel plate and transferred to paper under intense pressure. To begin, the plate is thoroughly inked using oil-based pigments applied with daubers—soft, rounded tools made of materials like horsehair or felt—that work the ink into the grooves through circular motions, ensuring complete saturation of the engraved lines. Excess ink on the plate's surface is then meticulously wiped away using tarlatan cloth or newsprint, leaving ink solely in the incised areas while creating subtle tonal variations from any residual ink on the plate's edges. This wiping step is critical for achieving the crisp, high-fidelity lines characteristic of steel engravings.^[36] Once prepared, the inked plate is placed on an engraved press, typically a roller or flatbed type designed for intaglio work. Dampened, high-quality rag paper is laid over the plate, and the press applies immense pressure—ranging from 7,500 to 15,000 pounds per square inch—to force the paper into the grooves, extracting the ink and producing a raised, embossed impression with a distinct plate mark around the edges. The damp paper absorbs the ink deeply, enhancing detail and preventing distortion, while the steel plate's hardness withstands this force without immediate deformation. The resulting print exhibits fine line work and rich contrast, hallmarks of the medium's precision.^[37] Editioning from a single hardened steel plate can yield up to 100,000 impressions, far surpassing the limits of softer copper plates, before wear requires re-engraving; over repeated printings, patterns of degradation emerge, such as gradual broadening and softening of lines due to the cumulative pressure flattening the grooves. To ensure quality, proofing stages precede full production: trial prints, or working proofs, are pulled at intervals to assess registration alignment, tonal balance, and overall fidelity, allowing adjustments to inking or press settings as needed. The longevity of hardened steel plates, achieved through prior preparation techniques like steelfacing, underpins this capacity for large-scale reproduction while maintaining detail across extensive runs.^[38]^[39]

Mechanical Innovations

Hand Engraving Tools

Hand engraving on steel plates relied on specialized manual tools crafted from high-carbon steel to withstand the metal's hardness, enabling engravers to incise precise lines for intaglio printing. The primary tool was the burin, also known as a graver, a tapered steel rod typically 4-5 inches long with a square or lozenge-shaped cross-section at the cutting end, often fitted with a wooden handle for grip.^[40] Burins varied in shape and angle to produce different effects; for instance, those with a face angle of 40°-45° were used for fine lines and detailed shading, offering sharp control and minimal resistance, while broader angles around 60° facilitated wider lines and shading for tonal depth.^[41] These tools, hardened for durability on steel, allowed engravers to push or rock the cutting face across the plate, displacing metal to form clean furrows without swelling the surface.^[42]^[43] Etching complemented hand engraving by establishing initial outlines on steel plates, using acid-resistant grounds and needles for selective corrosion. Grounds consisted of a thin layer of wax, gums, and resins applied evenly via a heated ball through silk or a roller with spike oil, protecting areas from acid while exposing design lines.^[40] Etching needles, set in holders and varying in thickness, scratched through the ground to reveal the steel beneath; oval-pointed variants produced thicker preliminary lines before refinement with burins.^[40] Stopping-out varnish, such as Brunswick black, was brushed over completed etched sections to prevent further acid bite during multiple immersions, allowing controlled deepening of lines in stages.^[40] Correction and finishing required scrapers and burnishers to refine the unforgiving steel surface. Scrapers, featuring triple-fluted or triangular blades sharpened to a fine edge, removed burrs raised during incising, ensuring smooth furrows that held ink evenly without printing artifacts.^[40] Burnishers, with oval sections and polished, rounded edges, smoothed raised metal or lightened lines by rubbing down excess, polishing highlights to create tonal contrasts essential for illustrative depth.^[40] Precision on steel's resistant surface demanded accessory aids like magnifying lenses, which engravers used to inspect intricate details during incising. These handheld or framed lenses, often wrapped in textured materials for handling, enlarged fine work such as security features on plates, compensating for the metal's minimal forgiveness to errors.

Machine-Assisted Devices

In the 1820s, ruling machines emerged as pantograph-like devices that mechanized the creation of straight, parallel lines on steel plates, primarily for filling backgrounds in engravings and reducing the manual labor associated with repetitive shading.^[44] These machines, inspired by earlier medal ruling techniques dating to 1817, used a tracer arm to guide a cutting tool along predefined paths, producing evenly spaced lines that mimicked hand-drawn hatching but with greater precision and speed.^[44] By 1836, British engraver Percy Heath received a silver medal from the Royal Society of Arts for his improved ruling machine, which automated the production of repetitive line work on steel plates, allowing engravers to focus on more creative elements.^[45] Geometric lathes, such as the rose engine developed in the 1830s, further advanced machine-assisted engraving by enabling the production of intricate ornamental patterns on steel plates, particularly for currency and security printing.^[46] Built by firms like Bryan Donkin in London as early as 1821, these devices rotated the plate while a cutting tool followed rose cams and rocking levers to engrave complex, interlocking designs known as guilloché, featuring 4 to 60 waves per revolution for anti-forgery purposes.^[46] The rose engine's rigid frame and geometric chucks allowed for cycloidal and spiral patterns on steel, which were then used to create compound plates for two-color printing on banknotes and stamps, significantly enhancing durability and replication accuracy.^[47] Engraving duplicators, based on early pantograph mechanisms, facilitated the replication of master designs onto multiple steel plates during the mid-19th century, streamlining production in book illustration firms.^[48] These devices employed articulated arms to trace an original engraving, simultaneously cutting identical or scaled versions on secondary plates, which proved essential for high-volume illustrated works like periodicals and novels.^[49] By the 1850s, such pantographs were integrated into engraving workflows to copy detailed line work, enabling firms to distribute labor across teams while maintaining design consistency.^[49] The adoption of these machine-assisted devices in the 19th century dramatically increased the speed and uniformity of steel engraving, allowing less skilled operators to handle routine tasks and thus scaling production for commercial demands.^[44] However, they did not eliminate the need for expert hand-finishing with tools like the burin to achieve refined tonal quality and artistic nuance.^[47] This hybrid approach preserved the craft's high standards while broadening accessibility, though it also sparked concerns over the potential loss of individual artistry in mass reproduction.^[45]

Applications and Uses

Book and Periodical Illustrations

Steel engraving reached its zenith in book and periodical illustrations during the 1830s and 1840s, particularly in Victorian England, where it facilitated the production of lavishly illustrated volumes amid a burgeoning reading public and expanding publishing industry.^[4] This period marked a shift from copper plates, which wore quickly, to steel's superior hardness, enabling publishers to meet demand for affordable yet detailed visual accompaniments to literature.^[50] The technique's adoption aligned with the rise of serialized novels and gift books, transforming text-heavy publications into visually engaging artifacts that enhanced narrative immersion.^[51] In the engraving process for books, artists' drawings were meticulously translated onto steel plates by skilled engravers, who incised fine lines to capture portraits, landscapes, and dramatic scenes for integration into printed volumes.^[52] This intaglio method involved softening the steel, etching or hand-cutting the design, hardening the plate, and then printing impressions that were bound with letterpress text, often requiring separate press runs due to incompatible processes.^[53] For serial publications like novels, engravers produced plates in advance, allowing consistent imagery across installments, as seen in works by Sir Walter Scott, where steel engravings depicted historical and romantic motifs from his Waverley series.^[54] The advantages of steel engraving lay in its capacity for intricate line work, ideal for rendering the subtle textures of portraits and expansive landscapes, while its durability permitted far larger print runs than copper—often thousands of high-quality impressions per plate before noticeable wear.^[55] For instance, early steel-engraved books achieved editions of at least 3,000 copies from a single plate set, supporting mass dissemination of illustrated literature without compromising detail.^[55] Mechanical tools occasionally assisted in ruling backgrounds or repetitive patterns, streamlining production for complex compositions.^[50] Prominent examples include the illustrated editions of Charles Dickens' novels, such as Pickwick Papers (1836–1837), featuring steel engravings by Hablot K. Browne (Phiz) that vividly portrayed characters and settings, enhancing the serialized format's appeal.^[56] Similarly, Sir Walter Scott's Waverley Novels were adorned with steel plates in collections like The Waverley Album (1832), containing over 50 engravings that captured the romantic Scottish landscapes and historical drama central to his storytelling.^[57] In periodicals, Harper's Weekly employed steel engravings for its covers and interior illustrations from the 1850s onward, showcasing detailed depictions of American life, events, and portraits that drew on the technique's precision for weekly distribution.^[58] These applications underscored steel engraving's pivotal role in visual storytelling, bridging art and narrative during the 19th century's print revolution.^[59]

Currency and Security Features

Steel engraving played a pivotal role in the production of secure currency and financial documents, primarily driven by American inventor Jacob Perkins' innovations in the 1790s. Perkins developed a process known as siderography, which involved engraving designs on soft steel plates that could be hardened afterward, allowing for the creation of intricate vignettes—small, detailed scenes such as allegorical figures or landscapes—that were exceptionally difficult for forgers to replicate by hand. These vignettes were integrated into U.S. banknotes for institutions like the Boston Bank and later the Second Bank of the United States, marking the first widespread application of steel-engraved currency in America to combat rampant counterfeiting.^[60]^[9]^[3] Perkins' techniques extended to British notes after he relocated to London in 1818, where his firm, Perkins, Fairman & Heath, demonstrated the process to the Bank of England, leading to its adoption for enhanced security in note production around that time. In the U.S., steel engraving remained the standard for private banknote issuers until the 1860s, when the federal government centralized printing through the Bureau of Engraving and Printing in 1862, continuing the use of Perkins-inspired methods. This shift underscored steel engraving's reliability in producing tamper-evident designs that deterred forgery through complexity rather than mere size.^[60]^[3] Key security features of steel-engraved currency included micro-lines and guilloché patterns, ornate interlocking geometric motifs produced using geometric lathes to engrave fine lines as narrow as 0.1 mm in width. These patterns, often filling backgrounds or borders, created tamper-evident surfaces where alterations would disrupt the precise, interwoven lines, making replication nearly impossible without specialized machinery. Engraved via lathes that automated repetitive curves and spirals, guilloché added layers of visual intricacy to vignettes and borders, enhancing both aesthetic appeal and anti-forgery measures in bonds, stocks, and banknotes.^[61]^[62] The durability of hardened steel plates was a major advantage, enabling print runs of up to 30,000 impressions per plate—far surpassing copper's limit of about 5,000—while later refinements allowed for hundreds of thousands or even millions of notes from duplicated plates via siderography, significantly reducing production costs for high-volume secure printing. This longevity ensured consistent quality across large circulations, as plates could be transferred and hardened multiple times without losing fine details.^[60]^[3]

Other Commercial and Artistic Roles

Steel engraving found extensive application in topographical and map printing during the 19th century, where its durability enabled the production of intricate, large-scale landscapes for atlases and surveys. The technique allowed for finer lines and more impressions than copper engraving, making it ideal for detailed representations of terrain, buildings, and natural features. For example, in the 1840s, the Ordnance Survey of Great Britain employed steel-engraved plates to create precise county maps, such as those depicting Radnor, which included vignettes and ornamental elements under the direction of Lieutenant Colonel T. Colby.^[63] Similarly, maps like Dugdale's Map of Sussex around 1840 utilized steel engraving to render topographical details with hand-coloring for enhanced visual clarity in educational and reference works.^[64] In the realm of advertisements and trade cards, steel engraving emerged as a preferred method in the mid-19th century for creating high-quality ephemera that promoted businesses through elaborate logos and illustrations. The hardness of steel plates permitted intricate designs with raised ridges detectable by touch, providing a premium tactile and visual appeal that surpassed wood engravings in finesse. Printers like Myers & Co. advertised their steel plate services on trade cards themselves, showcasing vignettes of machinery or products to attract clients in the burgeoning consumer market.^[65] These cards, often distributed at trade shows or inserted in packaging, served as portable endorsements, with examples from the 1870s featuring engraved borders and typographic flourishes to elevate brand prestige.^[66] For fine art reproductions, steel engraving combined with mezzotint techniques produced standalone prints that faithfully captured the tonal qualities of original paintings, particularly in the 19th century when steel plates extended the life of mezzotint rockers and scrapers. This hybrid approach allowed engravers to translate painterly effects like chiaroscuro into durable prints suitable for collectors and galleries. A notable example is the 1860s reproduction "A Halt in the Yosemite Valley" after Albert Bierstadt, where steel mezzotint rendered the dramatic lighting and textures of the landscape, signed by engraver Arthur J. Willmore.^[67] Such works democratized access to high art, with steel's resistance to wear enabling editions of hundreds without loss of detail.^[68] Industrial applications of steel engraving included the creation of etched dies for medals and seals, leveraging the metal's strength for precise, long-lasting tooling in manufacturing. In the 19th century, die-sinkers used hardened steel to engrave intricate motifs for commemorative medals, often employing pantographs for replication from models.^[69] Firms like William Jones Clifton & Co. specialized in such dies for seals, producing embossed impressions for official documents and corporate emblems that required repeated use without degradation.^[70] This application extended to industrial seals for authentication, where steel's durability ensured consistent fine-line etching for security and decorative purposes in trade and governance.^[71]

Notable Figures and Works

Prominent Engravers

Jacob Perkins (1766–1849), an American inventor and engraver, significantly advanced steel engraving through his development of siderography, a process that enabled the mechanical duplication of engraved steel plates for high-security printing applications. Born in Newburyport, Massachusetts, Perkins patented the siderographic technique in 1819, which involved softening steel plates, engraving designs upon them, and then hardening the plates without distorting the engravings, allowing for unlimited reproductions ideal for banknotes and anti-counterfeiting measures.^[72] He relocated to London in 1819, founding Perkins & Fairman (later Perkins, Bacon & Co.), where his innovations were applied to printing Bank of England notes and the world's first adhesive postage stamps in 1840, revolutionizing security printing by combining steel's durability with precise replication.^[72] Charles Heath (1785–1848), a prominent London-based publisher and engraver, played a pivotal role in popularizing steel engraving for illustrated publications during the early 19th century. Beginning his career as a child prodigy who created his first etching at age six, Heath pioneered the shift from copper to steel plates around 1820, as demonstrated in his engraving of 45 plates for Views of London (1825), which allowed for finer details and longer print runs compared to traditional methods.^[73] He established himself as a leader in the genre of gift books and annuals, founding and editing Heath's Picturesque Annual (1832–1845), a series featuring steel-engraved landscapes and vignettes that showcased the medium's potential for scenic and narrative illustrations, often collaborating with artists like J.M.W. Turner.^[73] Despite financial setbacks in the 1820s, Heath's entrepreneurial efforts, including The Keepsake and Book of Beauty, helped integrate steel engraving into mainstream Victorian publishing, emphasizing its aesthetic and commercial viability.^[73] William James Linton (1812–1897), an English-born engraver and political activist who later emigrated to the United States, was renowned primarily as an advocate for wood engraving but also demonstrated expertise in steel engraving, particularly for illustrative works with political undertones. Apprenticed in London, Linton contributed steel engravings to periodicals and books, such as the illustrations in Our Young Folks (1867), where his technical skill enhanced the medium's capacity for detailed, interpretive imagery in a period of rising illustrated journalism.^[74] His involvement in radical politics during the 1830s and 1840s led him to produce engravings for satirical and reformist publications, including political cartoons that critiqued British society, blending his engraving prowess with advocacy for democratic causes before shifting focus to wood processes in America.^[75] Thomas Lupton (1772–1855), a British engraver, refined steel engraving techniques in the 1820s, adapting them for larger-scale fine art reproductions and book illustrations. Known for his mixed-method approach combining burin work with etching on steel plates, Lupton produced notable series such as engravings after J.M.W. Turner for The Ports of England (1826), which demonstrated the medium's ability to capture atmospheric effects and fine details in extended print runs. His innovations helped establish steel engraving as a viable alternative to copper for Victorian publishers, influencing the production of illustrated annuals and novels.^[2]

Iconic Examples and Influences

One of the most celebrated examples of steel engraving is the 1845 line engraving on steel of The Fighting Temeraire, created by James Tibbits Willmore after J.M.W. Turner's 1838 oil painting. This work masterfully demonstrates the technique's capacity for achieving a wide tonal range in maritime subjects, with intricate lines capturing the ethereal glow of sunset on the water, the textured sails of the fading warship HMS Temeraire, and the stark contrast of the modern steam tug against the historical vessel's silhouette. The engraving's fine detail and subtle gradations of light and shadow not only reproduced Turner's romantic vision of naval obsolescence but also highlighted steel's superiority over copper for producing nuanced atmospheric effects in large editions.^[76] In the realm of currency, Jacob Perkins' pioneering steel engravings for banknotes, including iconic eagle vignettes produced by his firm Perkins, Fairman & Heath in the early 19th century, set standards for security aesthetics worldwide. These designs featured majestic eagles in dynamic poses, rendered with exceptional precision to embed anti-counterfeiting complexity through layered lines and textures that were difficult to replicate manually. Perkins' process of softening, engraving, and hardening steel plates enabled mass production of such vignettes, influencing the ornate, symbolic iconography seen in banknotes from the United States to Europe and beyond, where eagles became enduring emblems of national strength and vigilance.^[77]^[3] Steel engravings profoundly shaped Victorian realism in illustrations by facilitating highly detailed, faithful reproductions that emphasized everyday scenes, historical accuracy, and emotional depth in books and periodicals. This technique's ability to convey lifelike textures and shading supported the era's preference for realistic narrative art, as seen in engraved adaptations of literary works that bridged painting and print culture. Furthermore, the durability and scalability of steel plates inspired transitions to photomechanical methods, paving the way for photo-engraving in the late 19th century by demonstrating the demand for efficient, high-quality image reproduction beyond handcraft.^[50]^[78] Significant collections of steel engravings, including Willmore's The Fighting Temeraire, are housed in institutions like the Victoria and Albert Museum, where they illustrate the technique's pivotal role in 19th-century visual culture and its enduring legacy in printmaking history. These holdings preserve examples that highlight steel engraving's contributions to both artistic expression and commercial innovation, serving as resources for studying its technical and cultural impacts.^[76]

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Finden's Landscape Illustrations of the Bible
William Finden (British, London 1787–1852 London); Date: 1836; Medium: Album containing engravings; proofs; Dimensions: Book: 17 15/16 x 12 5/16 x 9/16 in ...Missing: steel | Show results with:steel
[13]
"The Copper and Steel Manufactory" of Charles Heath - jstor
Fine art engraving was but one part of such a continuum" (31 ). In 1820 Heath engraved the first book illustrations using the steel plate process for Thomas ...
[14]
Lithography in the Nineteenth Century
Thanks to ease of production and economical distribution, it did not take long for lithography to find a broad range of applications in art and commerce.
[15]
Nineteenth Century Wood Engraving: its commercial decline
Sep 20, 2016 · So much so, that steel engraving was gradually ousted by wood engraving and lithography. One of the reasons for wood engraving's durability ...Missing: rivalries | Show results with:rivalries<|control11|><|separator|>
[16]
[PDF] Horgan's half-tone and photomechanical processes ..
now included in the generic term, " Processwork." Now that manual engraving has surrendered and photo- mechanical engraving occupies the field, it.
[17]
The Development of Photomechanical Printing Processes in the ...
Gravure and half-tone are technologically very similar but the gravure processes were superior for high quality reproductions. Half-tone did not have the ...
[18]
THE FEEL OF STEEL: BANK-NOTE ENGRAVING IN THE U.S.
May 20, 2012 · The decline of the industry in the late twentieth century closes the history. Part II lays out the process of designing, engraving, and printing ...
[19]
The Art of Engraving: A Brief History
Apr 8, 2025 · Explore the history of engraving, from carvings to modern laser techniques & the significant milestones & innovations that shaped this ...Half A Million Years Bc · Evolving Innovations · Rise Of The Machines
[20]
Master Intaglio Engraver Mixes Art and Anti-Counterfeiting Technology
May 26, 2020 · Intaglio engraving is a complex but subtle combination of wit to protect the security documents from fraud, and beauty to awe those handling it.
[21]
engraving | British Museum
This term is a printmaking method, a variety of intaglio printmaking, in which the lines on a metal plate are cut using a v-shaped tool called a burin. Broader ...
[22]
David A. Hanson Collection - Clark Art Institute
An early use of photomechanical reproduction, which has remained constant throughout its history, has been to beguile readers with images of famous places and ...Missing: decline | Show results with:decline
[23]
Engraving - The Metropolitan Museum of Art
Dec 21, 2018 · Engraving is an intaglio printmaking process in which lines are cut into a metal plate in order to hold the ink.
[24]
Engraving and etching - Internet Archive
... copper, and yielded a very large number of im.pressions, though they were extremely troublesome to work with the burin. The steel engraving survived as an ...Missing: harder | Show results with:harder
[25]
Printmaking - Etching, Intaglio, Engraving | Britannica
Sep 15, 2025 · Etching is a process in which lines or textures are bitten (etched) into a metal plate with a variety of mordants (acids).Missing: roulettes | Show results with:roulettes
[26]
https://artbyjulianne.com/how-plates-are-prepared-for-etching/
[27]
How Plates are Prepared for Etching | Fine Art by Julianne Ricksecker
Plates are prepared by polishing to a mirror shine to prevent ink retention, and beveling sharp edges to prevent tearing during printing.Missing: carbon blanks
[28]
Engraving, Inking, Trimming: The Production of Paper Currency in ...
Jun 21, 2016 · Once the design was approved, a steel engraving was executed and the printing plate was prepared. The engraving was done on a soft steel ...
[29]
https://www.shotgunworld.com/threads/engraving-vs-acid-etching.216510/
[30]
Engraving vs Acid etching - Shotgun Forum
Apr 12, 2010 · Iron and steel engraving is very difficult because the metal is hard. Engraving has to be done before case-hardening. Case-hardening hardens ...Missing: printmaking | Show results with:printmaking
[31]
The Illustrative Processes: Engraving - Bauman Rare Books
### Summary of Steel Engraving Processes (19th Century Focus)
[32]
(PDF) STEEL FACING OF ENGRAVINGS (ACIÉRAGE DES ...
Apr 9, 2024 · In 1857, Garnier invented the steel-facing technique for copper plates using an electrolytic bath. ... bath allows the zone close to the copper to ...
[33]
[PDF] Cyanide Copper Plating
These cyanide copper solutions are used to plate on a wide variety of base materials. These include steels, zinc alloys, aluminum alloys, copper alloys, ...Missing: engraving | Show results with:engraving
[34]
Burr. Beguin. - at Polymetaal
After penetrating into the plate the tool leaves burrs on both sides of the line. The graver* leaves very little burr and usually only causes a slight raising ...Missing: polishing | Show results with:polishing
[35]
Whistler Etchings :: Introduction - University of Glasgow
A flat ended metal tool with a rounded end ('burnisher') is used to smooth and polish areas of a COPPER PLATE, after imperfections or unwanted lines have been ...
[36]
Intaglio Manual: Dry Techniques - nontoxicprint : Art + Science
Burin engraving works best on hammered copper plates or on polished plates of mild steel. ... Plates can also be rubbed with metal polish which, after it is dry, ...Missing: post- | Show results with:post-
[37]
Printing Techniques at The Baynton-Williams Gallery
The ink was rubbed into the plate with a 'dauber,' working in circular movements to ensure that ink was forced into all the engraving. Then the surface of the ...<|separator|>
[38]
NOVA Online | Secrets of Making Money | The Printed Elements - PBS
closeup of engraver preparing Franklin portrait Intaglio printing is what gives the U.S. currency its distinctive look. ... pressure (7,500 to 15,000 psi) which ...
[39]
[PDF] Engraving and printing methods, advertisement illustration, technical
100,000 impressions. There is a great difference, however, in the quality of ... Steel engraving, §27, p96. Stereotyping of electrotypes, §28, p7 ...
[40]
Proofs, and more proofs - Watermark Press Printmaking Studio
Aug 9, 2012 · A Trial or Working Proof is a print made during the course of developing or working on a plate so the printmaker can determine what to work on next.
[41]
Basics of engraving and etching - Coxrail
Engraving and etching involve intaglio, where lines or spaces are the design. Methods include crayon, stipple, and conventional, using tools like needles and ...
[42]
Graver Geometry: The Science of Cutting - GRS
Feb 14, 2025 · Fine Line Engraving & Shading – Use a low face angle (40°-45°) with a short heel for easy control. Deep Relief Engraving – A higher face ...
[43]
Artists' Things | Burin - Getty Museum
“A burin is a steel instrument for engraving on metal.” The best kind, according to this anonymous writer of the entry “Burin” in volume 2 of Diderot and ...
[44]
line engraving. Beguin. - at Polymetaal
The graver (also called burin) is a sharp steel tool which is used to cut lines into the plate. This tool permits the line engraver to make very precise lines ...
[45]
https://repository.si.edu/server/api/core/bitstrea...
... Ruling and Photographic Arts. Smithsonian Studies in History and Technology, number 32, 17 pages, 13 figures, 1975.?Medal ruling is a little known art by ...
[46]
Percy Heath (1803?-1838) - The Bookhunter on Safari
Feb 28, 2019 · And in 1836 he won the large Silver Medal of the Royal Society of Arts for his invention of a ruling machine for taking the wholly repetitive ...
[47]
Rose engine lathe used to manufacture compound printing plates ...
It was devised primarily as a means of preventing forgery – from 1797 until 1821 Britain depended solely on paper currency, and in the decade to 1820 detected ...
[48]
"Art, History, and Processes of Guilloché Engraving, part 1" by G ...
Apr 15, 2016 · Although very similar to the ornamental lathe, the guilloché rose engine evolved with several distinctions that differentiate it from the OT ...Missing: currency | Show results with:currency
[49]
When Size Matters: The Eidograph - Graphic Arts
Sep 19, 2018 · A quick and (relatively) simple way to enlarge or reduce an engraving, map, or chart in the 19th century was to use a Pantograph.Missing: duplicators steel
[50]
Pantographs - Circuitous Root®
This gives a brief history of the pantograph and lists a number of 19th century German pantographs not commonly encountered in the anglophone literature.Missing: steel | Show results with:steel
[51]
The Technologies of Nineteenth-Century Illustration: Woodblock ...
Jul 11, 2017 · In the period 1850-1880, wood engravings accounted for 25% or better of all illustrations, with lithographs in second place (accounting for 27%, ...
[52]
Novel Illustration in the 19th Century - Peter Harrington Rare Books
Nov 25, 2024 · In the 1800s, novels became widely illustrated due to increased demand, new techniques like wood engraving, and the relationship between text ...
[53]
Steel engravings: book illustrations - Antique Prints Blog
May 4, 2010 · An American inventor, Jacob Perkins first developed a process of steel engraving for use in banknote printing. His process was a success and he ...
[54]
[PDF] Steel-Engraved Book Illustration in England
The boom of steel-engraved book illustrations took place in the twenty years between 1825 and 1845, during which time most, if not all, of the important volumes ...
[55]
Fisher's Illustrations to Waverley Novels - Explore the Collections
Great Britain, 1836. Physical description. Line engraving on steel, printed on paper, depicting an illustration from Sir Walter Scott's 'Waverley' novels.
[56]
The First Book with Steel Engraved Illustrations is Published
... copies were printed from the same plates, reflecting the extreme durability of steel engravings compared to engravings from copperplates. There was also a ...
[57]
steel engraving for "Pickwick Papers" by Phiz (March 1837)
The Valentine. Phiz (Hablot K. Browne). March 1837. Steel Engraving. 11.8 cm high by 12.3 cm wide (4 ½ by 4 ¾ inches), vignetted. Dickens's Pickwick Papers ...
[58]
Fifty-One Steel Engravings "The Waverley Album" Illustrating the ...
In stock $39.53 delivery51 steel engraved plates with 51 pages each with a synopsis of the story depicted, all concerning the works of Sir Walter Scott, the plates with tissue guards, ...
[59]
Harper's Engravings - High Quality Mass Printing of Nineteenth ...
Nov 12, 2004 · The engraving is made upon a plate of softened steel, which is then hardened. A steel plate will give many more impressions than one of copper.
[60]
The Print in the Nineteenth Century - The Metropolitan Museum of Art
The invention of lithography around 1800 made it possible to produce an extraordinarily large edition of prints from a single drawing executed on a block of ...Missing: competition | Show results with:competition
[61]
[PDF] AMERICAN BANK NOTE COMPANY - ABCorp
After inventing a nail-making machine, Jacob Perkins turned to bank note engraving. Before Perkins' time the engraving craft had been faced with a dilemma:.<|control11|><|separator|>
[62]
The art of guilloche - Bank of Canada Museum
Jul 7, 2020 · These patterns are called “guilloche.” To create these elaborate patterns on earlier bank notes, geometric lathes were used on metal plates.
[63]
[PDF] About the Banknote Manufacturing Book
Aug 25, 2025 · The lines are so precise that more than ten lines can be engraved within a width of one millimeter. The skill of these engravers shines through ...
[64]
https://www.midhurstgallery.co.uk/dugdale-s-map-of-sussex
[65]
Dugdale's Map of Sussex - The Midhurst Gallery
Artwork Name: Dugdale's Map Of Sussex - c.1840 ; Printing Process: Steel Engraving ; Support Surface: Paper ; Overall Size (w x h, cms): 27 x 21 / 21 x 30 cms ...
[66]
19th Century Printers and Their Trade Cards - Journal of Antiques
Oct 25, 2019 · Steel engraving is essentially the same process as copperplate engraving, except that steel is harder than copper, which meant that engravers ...Missing: advertisements | Show results with:advertisements
[67]
Trade Card for Myers & Co., Designers, Engravers, Steel Plate ...
"Trade Card for Myers & Co., Designers, Engravers, Steel Plate, Lithographic & Letterpress Printers" by Anonymous, British, 19th century (19th century).
[68]
The Art of Engraving - G. B. Tate & Sons Fine Art
Steel Engraving and Mezzotint, 7 X 9.8 Inches Signed in the Plate by Artist and Engraver Engraved by Arthur J. Willmore (English, 1814 - 1888) Published by ...Missing: reproductions | Show results with:reproductions
[69]
Intaglio - Graphics Atlas: Identification
Steel facing, in which iron was chemically electroplated onto the surface of an engraved copper plate, was introduced in the 1850s. The term “steel engraving” ...Missing: 1790s hardening
[70]
Core Knowledge On Minting: Engraving - medalblog - WordPress.com
Jul 23, 2012 · During the 19th century “engraving of dies” and “diesinking” were considered the same, synonymous (and listed as such in trade directories).Missing: seals | Show results with:seals
[71]
Seal Presses - Early Office Museum
William Jones Clifton & Co., die-sinkers and engravers, was founded in the first half of the 19th century. Trade publications dating at least from 1934 to 1946 ...
[72]
Hand engraving - Heritage Crafts
Hand engraving has been used in both practical and decorative applications ranging from hunting arms to royal seals, from coins and bank notes to jewellery.
[73]
[PDF] The Perkins Bacon Story by Richard C A Payne
May 9, 1996 · The method of Perkins for softening and hardening cast steel is given in a contempory way by an article in 'The Monthly Magazine' of May 1820. ...Missing: case- | Show results with:case-
[74]
Engraved on steel - Graphic Arts - Princeton University
Aug 18, 2012 · Charles Heath made his first etching when he was six years old and in 1840, was responsible for engraving on steel the world's first postage ...Missing: firm 19th century<|separator|>
[75]
Our Young Folks, an Illustrated Magazine for Boys and Girls, Vol. III ...
Engraver: William James Linton (British, London 1812–1897 New Haven, Connecticut) ... Medium: Illustrations: steel engraving, wood engraving, color wood engraving ...
[76]
https://collections.vam.ac.uk/item/O603201/the-fighting-temeraire-print-turner-joseph-mallord/
[77]
Bath and Bristol, with the counties of Somerset and Gloucester
Plates engraved by William Tombleson, Mary Byfield, Henry Adlard, James Baylie Allen, William Wallis, William H. Bond, Charles Mottram, Frederick Rudolph Hay, ...
[78]
Fig | A&AePortal
MaterialsSteel engraving. DimensionsUnknown ... Byfield, Mary. Creator name (description)probably Mary Byfield; after John Ruskin ... MaterialsSteel engraving.
[79]
The Fighting Téméraire | Tibbits Willmore, James | Turner, Joseph ...
The Fighting Téméraire ; Physical description. Line engraving on steel, printed on paper ; Credit line. Bequeathed by Horace Mummery ; Subjects depicted. Ships.
[80]
Steel Engraved Specimen Banknote- Perkins, Fairman, & Heath
This engraving was produced using steel hardened plates which could print immensely large numbers of identical banknotes. Previously printing had been achieved ...Missing: patent | Show results with:patent<|control11|><|separator|>
[81]
Timeline - The Art of the Photogravure
Explore an interactive timeline that charts the evolution of photogravure as well as the history of photomechanical printing.Missing: 19th | Show results with:19th