File:A short history of engraving (and) etching - for the use of collectors and students; with full bibliography, classified list and index of engravers (1908) (14783261645).jpg

Identifier: shorthistoryofen00hinduoft (find matches)
Title: A short history of engraving (and) etching : for the use of collectors and students; with full bibliography, classified list and index of engravers
Year: 1908 (1900s)
Authors: Hind, Arthur Mayger, 1880-1957
Subjects: Engravers Engraving Etchers Etching
Publisher: London : A. Constable
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: MSN

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is most convincingplates after that master. Scarcely less effective are his prints ofMiss Kemble and the Lady Caroline Price (Fig. 97) after Reynolds,but his portraits do not always show a real master of drawing, e.g.the poor modelling of the hands and arms in the Lion. Mrs.Tolleinache after Reynolds and in the Duchess of Marlborough afterRomney. His large landscape, Vietv from Richmond ILill afterReynolds, in which he uses the etched line in combination withmezzotint, shows how loose is this engravers grasp of the structureof things in nature. As a portraitist he forms an exception amonghis contemporaries, in engraving far more men than women. By far the most original talent in the whole group is John John RaphaelRaphael Smith, a son of the landscape painter Thomas Smith of Smith.Derby. He was himself by no means negligible as a portrait painter ^78 MEZZOTINT (e.^^. the George Morland and Sir Nathatiiel Dance both engravedby himself (1805); Home Tooke of 1811 and Williaiii Cobbett oi
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Fig. 97.—John Jones. Portrait of Lady Caroline Price, after Reynolds. 1812 engraved by his pupil William Ward, and Charles James Foxengraved by S. W. Reynolds in 1802). His position as a publisher JOHN RAPHAEL SMITH 279 of prints and his extreme facility with the brush contributed torender him a popular painter of political portraits. Another side of his original work was the society genre, inwhich he showed perhaps no great inspiration, but produced agood many paintings and drawings as well as prints of considerablespirit (e.^. a Ladj in Waiting, 1780). But his original work countsalmost for nothing beside his unequalled power in the interpreta-tion of Reynolds, Romney, and Gainsborough. His female portraitsafter Romney, e.g. Louisa, Viscountess Stormont, the Hon. Mrs.Henrietta North (^11^2), Mrs. Cartvardine and Child oi 1781 (seeFig. 98), Mrs. Robinson (1781), and Emma, Lady Hamilton(1784), are among the most exquisite productions in the wholerange of mezzotint. No less powerful

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