seen from China
seen from China
seen from Italy
seen from United States
seen from Italy
seen from Denmark
seen from Australia
seen from United States
seen from Germany
seen from Australia
seen from China
seen from Spain
seen from Venezuela
seen from Mali
seen from Bangladesh
seen from Russia
seen from United States
seen from Bangladesh
seen from Spain
seen from Pakistan
Trevor Sutton, Short Stories II (printer's proof 2 / 2), (etching, aquatint, and drypoint on paper), 2000, Printed by Hugh Stoneman [The Art Fund Hugh Stoneman Archive, Falmouth Art Gallery, Falmouth. Art UK, Staffordshire University Incubator Unit, Stoke-on-Trent. © Trevor Sutton]
Trevor Sutton, Short Stories IV (printer's proof 1 / 2), (etching and aquatint on paper), 2000, Printed by Hugh Stoneman [Falmouth Art Gallery, Falmouth. Art UK, Staffordshire University Incubator Unit, Stoke-on-Trent. © Trevor Sutton]
When asked, Hugh would often describe himself, and those of us lucky enough to work alongside him, as 'backroom boys'. Inky fingered printers 'stuck somewhere back in the eighteenth century'. He was referring, I think, to the raw materials of the studio space--copper plates, ink, scrim, dampened paper, wool blankets, presses--none of which have changed very much in over two hundred years, or would indicate that anything 'cutting edge' might take place.
Sara Lee, on Hugh Stoneman, from 'Hugh Stoneman: Master Printer' (2008), Tate St. Ives
