An Inventory of the Portfolio in the Art Collection at the Harry Ransom
Center
Creator:
Milton, Peter, 1930-
Title:
The Jolly
Corner
Dates:
1971
Extent:
1 portfolio of 21 etchings
Abstract:
Limited edition, published
portfolio, entitled The Jolly Corner (Baltimore: Aquarius Press, 1971), containing 21 etchings by Peter Milton (American,
born 1930), that were inspired by Henry James's short story of the same name.
Call Number:
Art Collection AR-00357
Language:
English
Access:
Open for research. Researchers must
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using
archival materials.
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Peter Milton was born in 1930 in Lower Merion, Pennsylvania. He studied at Yale
University with mentors Josef Albers and Gabor Peterdi. He has also cited the
work
of filmmakers Ingmar Bergman and Federico Fellini as important influences on his
own
artistic aims and philosophy. Milton returned to Yale to teach drawing in 1960,
and
he subsequently held instructor positions at the Maryland Institute in Baltimore
and
Yale Summer School of Music and Art before settling in Francestown, New Hampshire,
to devote his time solely to printmaking. In addition to his lifelong dedication
to
creating extraordinarily detailed black-and-white etchings and engravings, Milton
is
also an accomplished draftsman. His drawings on paper or on a plate can be so
detailed that they are often mistaken for photographs.
Sources:
Richard, Paul. "The Etchings of Peter Milton."
The Washington Post, Times Herald (1959-1973), May
12, 1, 1972. (accessed via https://search.proquest.com on 18 September 2017).
This limited edition published portfolio, entitiled, The Jolly Corner (Baltimore: Aquarius Press, 1971), contains 21 etchings by Peter Milton (American,
born 1930), that were inspired by the short story of the same name, by author Henry
James (American, 1843-1916). The Jolly Corner was first published in
The English Review in December 1908. The full text of the story accompanies Milton's etchings. The suite
of prints is not a linear interpretation
of the narrative, but rather delves into recurring imagery and what Milton has
described as "the dynamics of recollection."
To create the images, Milton first made highly detailed drawings in ink or a collage
of high-contrast
photographs on transparent coated polyester film, sometimes combining the two
processes. Using the polyester film as a negative, he then
transferred these images directly to copper plates using photosensitive
material. Finally, Milton reworked and refined the plate by hand with additional
stages of
lift-ground etching techniques.
