A short history of engraving [and] etching : for the use of collectors and students; with full bibliography, classified list and index of engravers . 1827, and the small plate of theDuke of Wellington after Lawrence, 1828), and there are a fewothers scattered throughout his work, but these and his subjectplates are of the very slightest importance beside his landscape. The mass of his landscape work is after Constable. We maymention a few small but excellent plates after C. Tomkins (, 1830), another after Bonington {Boulogne, 1836), two of1834 after Horace Vernet, two large and unsat
A short history of engraving [and] etching : for the use of collectors and students; with full bibliography, classified list and index of engravers . 1827, and the small plate of theDuke of Wellington after Lawrence, 1828), and there are a fewothers scattered throughout his work, but these and his subjectplates are of the very slightest importance beside his landscape. The mass of his landscape work is after Constable. We maymention a few small but excellent plates after C. Tomkins (, 1830), another after Bonington {Boulogne, 1836), two of1834 after Horace Vernet, two large and unsatisfactory repro-ductions of J. D. Harding {Corsairs Lsle, 1835, and the GrandCanal, Venice, 1838), the Return to Fort LLonfieur after Isabey(1836), and a rare and most powerful plate oi Jerusalem afterDavid Roberts (1846), and the tale of his work after other paintersin this field is almost told. At first Constable took the responsi-bilities of the reproduction, and it was he and Colnaghi who ^ Cf. p. 299. !S6 MEZZOTINT published in 1833 the Various Siihjects of Landscape. The 22plates of this set, including the frontispiece and vignette, bear. Fig. 99.—David Lucas. Mill near Brighton, after Constable. dates between 1828 and 1832, and show some of the engravers bestwork. ^ The Noon (1830), ^ Summerla7td{xZ^^), Sinnnier Afternoon,Suns/une after a Shozuer (1831), may be cited for their brilliant RECENT MEZZOTINT 287 and luminous rendering of Constables atmospheric effects, whileothers, like the Glebe Farm (1832) and the Water Mill, Dedham,Essex (1832), exemplify the rougher grain which Lucas used whenhe had to deal with darker masses of foliage and heavier foregrounds. The Neiv Series of Engravings of English Landscape afterConstable (14 numbers), which appeared in 1846, was a venture ofthe engraver, and was commercially as complete a failure as theformer set. Constables appreciation unhappily brought Lucas nosubstantial success, and a disappointed life ended miserably in theFu
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Keywords: ., bookcentury1900, bookdecade1900, booksubjecte, booksubjectetching
