A short history of engraving [and] etching : for the use of collectors and students; with full bibliography, classified list and index of engravers . s. 78 and 79).Portraits such as the Richard Hart Davis, John Hiiiiter, Porson(1810), and Dr. Paine (1815) exhibit a command of gradations oftone seldom seen outside mezzotint. An even more unique position in the development of line- Williamengraving than can be claimed for Strange or Sharp, is held by ooi^-William Woollett, though his large dull plates show how little ^ Which includes also one mezzotint (portrait of the I^cv. IV. Harper). 2o6 LAT
A short history of engraving [and] etching : for the use of collectors and students; with full bibliography, classified list and index of engravers . s. 78 and 79).Portraits such as the Richard Hart Davis, John Hiiiiter, Porson(1810), and Dr. Paine (1815) exhibit a command of gradations oftone seldom seen outside mezzotint. An even more unique position in the development of line- Williamengraving than can be claimed for Strange or Sharp, is held by ooi^-William Woollett, though his large dull plates show how little ^ Which includes also one mezzotint (portrait of the I^cv. IV. Harper). 2o6 LATER DEVELOPMENT OF ENGRAVING can really be achieved by the soundest system of engraving torender the true spirit of landscape. He carried the system ofpreliminary etching to further issues, often using a second or evena third biting before starting to finish with the graver. He firstetches the broadest lines in parallel series of sinuous lines ( worm-lines, they have been called), and for the second biting adds thinnerlines between these heavier strokes. To complete the plate, allexcept the heaviest lines are reworked with the graver, while the. Fig. 78.—William Sharp. Thomas Howard, Earl of plate (part). most delicate parts, such as the faces, are entirely left to this instru-ment. The reproduction of a portion of one of his plates (Fig. 80)will more adequately demonstrate his methods. Woollett had formed the essentials of his system by 1755, theyear in which were published his Vieufs of Oxford after JohnDonowell. It was not, however, until six years later that he pro-duced one of the large plates which have made his name, ie. theNwbe after Richard Wilson. Except for the two celebrated battleplates after West (the Death of Wolfe, 1776, and the Batik of La \ WOOLLETT—ENGLISH LANDSCAPE joy Hos^ue, I 781), most of Woolletts work consists of landscape after Claude and his English imitators, Wilson, George and John Smith of Chichester. Some of his plates were d
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Keywords: ., bookcentury1900, bookdecade1900, booksubjecte, booksubjectetching
