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) (14596583018).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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aits of ^ His system of engraving is absolutely that of the Drevets almost microscopicallyreduced. His portraits include many famous men of letters (e.g. La Fontaine, Voltaire,Rousseau, Corneille). - His marvellously delicate prints (in all only nine or ten, executed between about1765 and 1771, e.g. Dryden after Kneller, and /. B. Bossiiet after Rigaud) showcuriously mi.ved methods. The best part of his work seems to be achieved by dottingwith the needle, and perhaps with a very fine roulette through the etching ground,strengthening this after biting by dotting with the dry-point and getting some of the highlights by scraping. His grain looks deceivingly like aquatint, so regular is its surface,but I doubt if he used this process. He is said to have engraved on steel plates (seeBibliography), the earliest example of the practice known, if the tradition is correct. ^ See back, p. 148. CORNELIS VAN DALEN THE YOUNGER 151 Giorgione, Sebastiano del Piombo, Aretino, and Boccaccio ^) is also
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/ t Fig. 57.—Cornells van Dalen the younger. Portrait of Charles II. (unfinished plate). probably the work of Van Dalen the younger; but his father of thesame name, who worked in England between 1632 and 1638, occa- ^ This is the Titian at Hampton Court. erard Valck. 152 THE GREAT PORTRAIT ENGRAVERS sionally did such capable work (r.g. his JeJian Polyattder deKerckhoven of 1645) that a dogmatic attribution of the series tothe one or the other is dangerous. Van Dalen, the younger, produced comparatively little, but hisbest work is on just as high a level as that of his more famouspupil Abraham Blooteling (b. 1640). The latter, however, is offar greater importance for the part he took in the development ofmezzotint, so that we need do no more here than mention his por-trait work in line. The same excuse may hold good for GerardValck, apparently Blootelings pupil, though considerably his senior,who accompanied the latter to England in 1673. It is noteworthy how the first great English

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