Engraving: Its Origin, Processes, and History

by comte Henri Delaborde

During the same period the English school had been making rapid strides in the other branches of copperplate engraving, line, stipple, and etching. Line, which to this day is considered by many as the highest style of the art, and which most certainly is well fitted to render the human form with grace and purity of outline and detail, has notwithstanding to overcome the difficulty of adequately expressing the various shades of colour and texture, and above all of realising the due effects of atmosphere and distance, a serious matter where the accessories are of importance or where landscape enters largely into the composition of the picture. It is, therefore, not surprising that, with mezzotint at hand with its wide range of capabilities, there should be comparatively few English engravers of eminence devoting themselves to line.

Hogarth, who was born in 1697, and began life as an engraver of arms and cyphers, naturally employed the method of line to give expression to his bold and vigorous designs, and in this was assisted by Luke Sullivan, who had been a pupil of Thomas Major. Major (born 1720) had spent some years in Paris engraving after Berghem, Wouvermans, and others; he was an artist of skill, and lived to a considerable age, holding for forty years the office of seal engraver to the king, and being the first associate[61] engraver elected by the Royal Academy.

In the year 1730, Vivares, who was a Frenchman by birth, and who, in spite of natural artistic talents, had been apprenticed to a tailor, came to England at the age of eighteen and studied under Chatelain, an artist of French Protestant parentage, but born in London. Vivares soon surpassed his master, acquired great renown for his many fine plates of landscape and sea-scenes, and became a member of the Society of Artists; he lived for thirty years in Great Newport Street, and was buried in Paddington Churchyard in the year 1780.

It is, however, from the pre-eminent excellence of the line engravings of Strange, Woollett, and Sharp that the right of England to a place in the hierarchy of the art has been conceded by other nations. Sir Robert Strange, descended from an ancient Scottish family, was born at Orkney in 1721, and served an apprenticeship of six years to Richard Cooper of Edinburgh. In this city Strange started as an engraver on his own account; when the civil war broke out he joined the side of the Pretender, engraved a half-length portrait of him, and was appointed engraver to this prince; after the battle of Culloden, in which he is said to have taken part, Strange escaped to Paris, and had there the advantage of studying under Le Bas. In 1751 he returned to England, and established himself in London, where his talents were readily recognised and appreciated. On the accession of George III., Strange refused the commission to engrave whole-length portraits of the king and his Prime Minister, Lord Bute, thereby giving great offence, which, together with the remembrance of his former adventures, made Strange think it prudent to leave the country for a time; therefore, to turn to good account even such untoward circumstances, he determined to increase the knowledge of his art by travelling through the continent. In Italy he produced some of his finest engravings after Titian, Raphael, Correggio, Domenichino, Guido, and Van Dyck; his talent was everywhere acknowledged; he was elected member of the Academies of Rome, Florence, Bologna, Parma, and Paris; and, on his return to London, by his engraving after West of the apotheosis of the king's three children, who had died in infancy, he regained the royal favour and received the distinction of knighthood. Sir Robert Strange was a member of the Incorporated Society of Artists, but was very hostile to the Royal Academy, deeply and justly resenting their exclusion of engravers from full membership. During the later part of his life he lived in Great Queen Street, Lincoln's Inn Fields, where he died in 1792. He was buried in St. Paul's Churchyard, Covent Garden.

Strange had chiefly devoted himself to classical subjects and the delineation of the human form Woollett, on the other hand, took up the branches of landscape and history, and by his skill of touch and persistently intelligent labour produced such results as were sufficient to call forth ungrudging praise from all competent judges, not only in his own country, but abroad. Among Woollett's most celebrated plates are the "Fishery," the "Battle of La Hogue," and the "Death of General Wolfe." In the printing of the last plate an accident occurred after a few proofs had been taken; a printer in careless fun taking up a hammer, cried out, "General Wolfe seems dying, I'll finish him;" saying this, he suited action to word, and unintentionally brought the hammer down on the face of the general, thus destroying by the freak of a moment the work of days of patient labour. It is said that Woollett cried on hearing the news; the painter, his art once learnt, fired by imagination, can by rapid strokes of his brush give effect to his will, while the engraver only attains his end by months of unremitting and trustful toil.

Woollett was born at Maidstone in 1735, and was apprenticed to John Tinney, who is now best known as having been the master of three distinguished pupils, Anthony Walker, John Browne, and Woollett himself. Anthony Walker engraved the well-known "Law and Physic" after Ostade, and the figures in the print of "Niobe," Woollett's first work of importance. He was the brother of the William Walker who greatly increased the effect of etching by re-biting, and it is said that Woollett, when making use of the process, was wont to exclaim, "Thank you, William Walker."[62] Woollett lived in London all his life in the neighbourhood of Rathbone Place, where, when he had finished a plate, he used to celebrate the event by firing a cannon from the roof of his house; he died in 1785, and a tablet[63] was placed to his memory in the cloisters of Westminster Abbey.

William Sharp was the son of a gunmaker in the Minories, where he was born in 1749, and afterwards apprenticed to Barak Longmate, a notable heraldic engraver, with whom Sharp's first essay as an apprentice was engraving pewter pots. Sharp completed the plate of West's "Landing of Charles II.," left unfinished by Woollett at his death, while many will know one of his finest works, the "Doctors of the Church," after Guido. Although he never left England, his prints were celebrated throughout Europe; he was elected honorary member of the Imperial Academy at Vienna and of the Royal Academy at Munich, but like Woollett, Strange, and Hall, was not recognised by the English Royal Academy. His religious and political views were peculiar, and being considered a dangerous character, he was summoned before the Privy Council, where at length, annoyed by repeated and, as he considered, irrelevant questions, Sharp is said to have deliberately pulled out of his pocket a prospectus of his engraving of the celebrated Polish general and patriot Kosciusko, and handing it to the council, requested their names as subscribers; this and his frank manner relieved him from the unpleasant predicament in which he found himself placed. Sharp also engraved a portrait of Richard Brothers—a fanatic whose prophecies and writings excited attention at the time—with the title of "Prince of the Hebrews," and wrote underneath: "Fully believing this to be the man whom God has appointed, I engrave his likeness." Though successful and industrious in his art, Sharp died in comparative poverty in the year 1824 at Chiswick.

Among other distinguished men who worked in line during this period must be mentioned James Heath, Anker Smith, John Keyse Sherwin, Francis Legat, Thomas Morris—a pupil of Woollett's—who engraved the fine views of the Monument, seen from Fish Street Hill, and St. Paul's Cathedral from Ludgate Hill, and lastly the unfortunate William Wynne Ryland, who engraved the portraits of George III. and Lord Bute, which Strange had refused to undertake, and who, though of greater eminence in line, is credited with bringing into notice in England the stipple manner of engraving. Ryland finally ended an adventurous career by being hanged for forging two bills on the East India Company, and by his death—notwithstanding all efforts to obtain a reprieve—justified words used in relation to the event: "Popes and monarchs have pardoned men who had committed crimes of the deepest dye—even murder—in consideration of their talents as artists; but Ryland lived in England, the land of trade and commerce, and had committed an offence against the laws of money, the god of its idolatry." Nor during the history of this period ought the names of Thomas Worlidge, David Deuchar, and the ingenious Captain Baillie to be omitted; Worlidge in the early part, and Deuchar at the close of the century, etched each in his own style with precision and effect, while William Baillie, an Irishman and retired cavalry officer (born 1723, died 1810), etched and worked in mezzotint with equal happiness and success.

William Blake (born 1757), poet, engraver, and painter, stands alone. In engraving—the laborious art by which he was content to live—he has executed admirable works, apart from his own peculiar methods, both in line, as shown in the portrait of Lavater, and in stipple, as in the "Industrious Cottager," after Morland; as poet and painter he has left songs and designs which, if soaring higher than men can follow, or even his own powers of hand and mind sufficiently express, remain for ever to arouse the wonder and excite the imagination of posterity. Though he lived in poverty, and oppressed with cares, he was always cheerful and beloved by all who knew him intimately; he was ever at work while life lasted, and died in 1827, as he had lived, a righteous and happy man. He was laid in Bunhill Fields burying-ground, but the spot where he was buried is marked by no tombstone, nor can it now be actually identified; but who that has looked at the portrait engraved by Jeens from Linnell's wondrous miniature can ever forget the face of the poet, engraver, and painter, William Blake?

Before speaking of the branch of engraving known by the name of stipple, it would be well to say a few words as to the mode of printing in colour, so prevalent at one time, and of the connection which the works of Kirkall had in relation to the method. Edward Kirkall, born at Sheffield in the year 1722, published a set of plates, in the printing of which he made use both of mezzotint and etching on copperplate combined with wood blocks (that is to say, one printing was from a copperplate, the remainder from wood blocks), in order to give variety of colour to a set of chiaroscuros and other engravings which he executed at that time. His plan differed from that of Leblond in that he used only one copperplate printing, the other tints being given by wood blocks; the results were interesting and effective, partaking more of the character of chiaroscuros, the name he himself gave to them. Apart from the failure of Leblond to realise his ingenious idea that, by the consecutive and proper superposition of three layers of primitive colours, every shade of colour might be produced in the print, there still remained another fatal defect in the process: all his colours were impressed by copperplate printing, that is, he made use of three plates successively printed one after the other on the same sheet of paper. Now a person who can realise the heavy pressure under which a copperplate has to pass so as to force it into the damp paper, in order that the paper should extract the ink from the grain in which it is held, will be able to see that the second and third printing—no matter how accurate the register—must crush the grain or burr given to the paper by the previous printing and thus destroy the beauty of the engraver's work. Notwithstanding the really remarkable results produced by Leblond, this fatal imperfection mars all the engravings he has left executed in this manner. The copperplates which were printed in colour and carried to such perfection, particularly in England, about the close of the eighteenth century, were printed from one plate, generally executed in stipple, and the various tints or colours carefully rubbed in by the printer, who used for this purpose a sort of stump instead of the ordinary dabber. Whatever artistic harmony in colour might be produced was therefore partially the work, and to the credit of the printer; the printed impressions were in addition generally touched up afterwards, and in some cases almost entirely coloured by hand. Every impression printed in colours necessarily varies; some are really exquisite in their delicacy of tone and assemblage of shades, while others are contemptible in their staring vulgarity. Kirkall engraved an elaborate ornamental form on which to give a receipt to his subscribers for these engravings; one of which, running thus, "Receipt from Sir Hans Sloane of one guinea as part payment for twelve prints in chiaroscuro which he (Kirkall) promises to deliver when finished on payment of one guinea more," can be seen at the British Museum, and will give some idea of the moderate remuneration artists of those days were content to receive for their valuable labour.