James Craig Annan
The Etching Printer - William Strang1907

Not on view

Artist or Maker: James Craig Annan
Title: The Etching Printer - William Strang
Date Made: 1907
Medium: Photogravure
Dimensions: Image: 6 1/16 × 7 3/4 in. (15.4 × 19.7 cm) Primary support: 7 3/4 × 11 in. (19.69 × 27.94 cm) Secondary support: 8 3/16 × 11 7/8 in. (20.8 × 30.16 cm) Mat: 14 × 18 in. (35.56 × 45.72 cm)
Credit Line: The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
Accession Number: M.2008.40.104
Classification: Photographs
Collecting Area: Photography
Curatorial Notes: James Craig Annan learned photography from his father, Thomas Annan (see M.2008.40.98.39), and worked in the family’s Glasgow studio. The younger Annan became adept at the painstaking photogravure process, in which a photographic image is exposed on a sensitized copper plate, then printed in ink. Fittingly, he used this intaglio method for an atmospheric portrait of fellow Scottish artist William Strang, seen working at an etching press. Strang was a key figure in bringing about an international revival of interest in original printmaking around the turn of the twentieth century, advocating for its expressive potential just as Annan did for photography.

Britt Salvesen

2024

Not on view

Artist or Maker: James Craig Annan
Title: The Etching Printer - William Strang
Date Made: 1907
Medium: Photogravure
Dimensions: Image: 6 1/16 × 7 3/4 in. (15.4 × 19.7 cm) Primary support: 7 3/4 × 11 in. (19.69 × 27.94 cm) Secondary support: 8 3/16 × 11 7/8 in. (20.8 × 30.16 cm) Mat: 14 × 18 in. (35.56 × 45.72 cm)
Credit Line: The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
Accession Number: M.2008.40.104
Classification: Photographs
Collecting Area: Photography
Curatorial Notes: James Craig Annan learned photography from his father, Thomas Annan (see M.2008.40.98.39), and worked in the family’s Glasgow studio. The younger Annan became adept at the painstaking photogravure process, in which a photographic image is exposed on a sensitized copper plate, then printed in ink. Fittingly, he used this intaglio method for an atmospheric portrait of fellow Scottish artist William Strang, seen working at an etching press. Strang was a key figure in bringing about an international revival of interest in original printmaking around the turn of the twentieth century, advocating for its expressive potential just as Annan did for photography.

Britt Salvesen

2024