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The technique can also be used with acrylics. The term “gouache” is often used to describe any work using opaque or matt paints.

What is a ‘lithograph’ or ‘chromolithograph’?
This is a widely used term to denote, essentially, an authorised copy of an artist’s work, usually created by the artist, or its production is monitored by the artist (as opposed to a “reproduction” which is simply created, often these days without the artist’s permission, using photomechanical or photoelectronic methods).
The lithographer draws a mirrored image of the original artwork onto stone using a grease-based crayon (or a greasy ink called “tusche”). Once the artist is happy with the quality of the image it starts to be turned into a lithograph. An oil-based ink is applied directly to the plate which bonds with oily medium used to draw the copy and water is applied to the unpainted areas to ensure the ink does not travel across the work.
. A sheet of high quality cotton-based paper is placed over the plate. The inked stone or metal plate with the paper are put in a press and pressure  is used to transfer the ink. If the original was a simple pen and ink drawing, this would be the only press needed, but a coloured lithograph will need several presses with coloured inks.
A chromolithograph is, pretty simply, a coloured lithograph

What is an ‘etching’ or “’engraving’?
Etchings are produced by using an acid-resistant layer of wax on a meal plate. The drawing us “etched” into that was using an etching needle. Once the plate is dipped into acid..the acid works on the exposed drawing lines and so etches the design onto the plate. If some darker lines are needed in the drawing, then sections of the plate can be “stopped out” with a varnish solution so when the whole plate is dipped into acid again the darker lines are created where the design has not been “stopped out”.
An engraving is drawn onto ametal plate using a sharp tool called a graver or a “burin”, using sheer pressure.
 

Other Artwork Terminology
In auctions and on our own website you will find common terms used to describe an individual piece.
A work described by us with the forename(s) and surname or recognised designation of an artist is, in our opinion, or as advised to us in best faith, a work by that artist

“Manner of “  a work we have judged to be in the mentioned artist's style, but of a later date.

“Attributed to”  a piece of the correct timeline and style for the artist, which we believe to be wholly or partially the work of the artist, whether signed or unsigned.
 

“Circle of”  a piece reflecting the correct timeline and style of the artist but we feel should be described as ”showing his influence” rather than more certainly by their own hand.

“Signed/ dated/ inscribed”  We believe it has been signed/inscribed/dated by the artist.

“With signature/ date/ inscription”  We feel the signature/ date/ inscription are not by the named artist (and may even be of a different date).

“School of” always written with a location/region - indicating that from our research and knowledge the piece described was produced at that time and in that area, showing clear characteristics to regionalise the style and/or subject e.g. Scottish School c 1890.

Studio of”  a piece produced in the studio of the artist, and under at least some part of his/her supervision

“Follower of “ a piece in the correct style of the artist, reflecting closely their work, but not necessarily by a pupil of the artist.

“After”  a copy, from any date, of a work by the artist mentioned, or specifically painted to resemble the work of that artist.