It is probable that Edward Ward Foster, who described himself as “Profilist from London,” used such a machine, which he thus describes:—“The construction and simplicity of this machine render it one of the most ingenious inventions of the present day, as it is impossible in its delineation to differ from the outlines of the original, even the breadth of a hair.
“Mr. F. wishes the public to understand that, besides sketching profiles, this machine will make a complete etching on copper-plate, by which means any person can take any number he thinks proper, at any time, from the etched plate; and for the further satisfaction of the public, he will most respectfully return the money paid if the likeness is not good. Profiles in black at 5s. and upwards, etc. Derby, January 1, 1811.”
Mr. West, miniature and profile painter, from London, worked with the same machine. His prices were:—profiles on card, in black, 5s.; in colours, 10s. 6d.; on ivory, in colours, one guinea and upwards.
We have succeeded in tracing the recorded description of one of the sitters who actually had a portrait taken by such an instrument, and also one who saw such an instrument as late as 1879. The account is by Mr. H. Hems, Fair Park, Exeter, and brings our tale of mechanical contrivances in connection with silhouette portraiture to a fitting close:—
“Happening to be at Dundee at the time of the Tay Bridge disaster (it occurred upon the last Sunday evening in 1879, when 67 people were drowned), I recollect a Mr. Saunders, a saddler at Broughty Ferry, in the immediate neighbourhood, possessed and showed me as a curio one of these identical portrait-taking machines.”
CHAPTER V.
PROCESSES.
(3) Freehand Scissor-work.
In the foregoing accounts of black profile painting, the cutting out of a sketched outline obtained by shadowgraphy or any other means, little mention has been made of the freehand scissor artist, who, without pencil or pen sketch, cut a small likeness after studying the sitter for a few seconds.
Though there were many other processes which gave charming and artistic results, there is no doubt that from the dated convent work of 1708 and the first known record in England of Mrs. Pyburg, who cut the portraits of William and Mary, up to the few remaining cutters of the present day, this type of freehand scissor-work has persisted in England, and also in Germany.