A short history of engraving [and] etching : for the use of collectors and students; with full bibliography, classified list and index of engravers . of each plate in the course of so arge a work. 5 Frontispiece and 70 plates (Rawlinsons Catalogue, 1-71). In additionto the unpublished plates (R. 72-91), 8 drawings of other subjects for the work areknown, which were not engraved at the time (R. 92-99). He also engraved facsimiles of 17 of the plates of the Liber between 1858 and1864. Cf. p. 283. TURNER 245 no less power than is seen in the. best of those by Turners con-temporaries, by Fran
A short history of engraving [and] etching : for the use of collectors and students; with full bibliography, classified list and index of engravers . of each plate in the course of so arge a work. 5 Frontispiece and 70 plates (Rawlinsons Catalogue, 1-71). In additionto the unpublished plates (R. 72-91), 8 drawings of other subjects for the work areknown, which were not engraved at the time (R. 92-99). He also engraved facsimiles of 17 of the plates of the Liber between 1858 and1864. Cf. p. 283. TURNER 245 no less power than is seen in the. best of those by Turners con-temporaries, by Frank Short. Mr. Short has also made copies ofsome of the plates, a considerable number being after those whichwere left unpublished in 1819. It may be added that another ofthe drawings {AIill near the Grande Chartreuse, R- 54) ^vas twiceetched by Seymour Haden (Drake 49 and 50). The reworking of the plates as they became worn in the printingseems to have been done entirely by Turner himself, and the laterimpressions preserve a comparatively greater artistic value than theywould do in the ordinary course, on that account. It is still, how- ff^,^^i. Fig. 91.—J. M. W. Turner. Junction of the Severn and the Wye,from the Liber Stiidionim (proof state). ever, the early engravers proofs, and only the earliest of the publishedstates, which show the delicate mezzotint burr in all its richness. In the Netherlands the eighteenth century was as barren in The Nether-original etching as the preceding period had been rich. Her in- was exhausted with a splendid activity, and her artistswere living in the past, copying and imitating with skill, but breakingno new paths, and expressing few fresh ideas. In the latter part ofthe century Hendrik Kobell caught something of the freshness of Hendrikthe older masters in his landscapes and marines, while his son Jan ^o^ II.,^ who was working in the first decade of the nineteenth jan Kobell ILcentury, showed himself an apt imitat
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