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CORNELL
UNIVERSITY

COLLEGE OF

ARCHITECTURE

LIBRARY

Cornell University Library

NE2135.R56
Etching craft; a guide for students and c

3 1924 020 580 951

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NO. 23233

ETCHING CRAFT

Dedicated

Sir Frank Short, R.A., P.R.E.

in grateful acknowledgment

oj his unfailing

generosity

and help

ETCHING CRAFT

A Guide for Students
and Collectors

W. P. ROBINS, R.E.

With a Foreword by Martin Hardie, R.E.

London : from the Office of

The Bookman 's Journal & Print Collector

173/5 Fl eet Street, E.C. 4

1922

Printed in Great Britain

FOREWORD

By Martin Hardie, R.E.

(Keeper of the Department of Engraving, Illustration and Design at
the Victoria and Albert Museum, South Kensington)

This brief Prologue is written with the more pleasure
because for many years I have known Mr. Robins and
have followed with the keenest interest and admiration
the progress of his work. In our common love of Etching
and our zest for the problems which it inspires, we have
many a time " tired the sun with talking," while we dis-
cussed the many masters and the man}- methods which
form the subject of the following pages. I cannot pene-
trate the past so far as to say that " we twa hae paidl't
i' the burn," but it is certainly " lang syne " — some ten
years at least — since, side by side, we dabbled in the
same acid bath, breathed the same fumes, in the class
of the Roval College of Art where Sir Frank Short, the
supreme master-craftsman in every branch of the en-
graver's art, has given generous draughts to so many
from the fountain of his knowledge. Ever since then,
in his own practice and in teaching his students at the
Central School of Arts and Crafts, Mr. Robins has gone
on acquiring new knowledge and experience, and the
power of imparting to others his own enthusiasm. And
this kind of book, so essential to students and to collec-
tors, can only be written by a man who is not a dilettante
but a working craftsman, one who not only admires the
highest art of the past, but knows why he admires it and
how it was produced.

Xot long ago I asked the Principal of a great School
of Art what were the essentials to success in a school
like his, and he replied, " A student who wants to learn;

viii FOREWORD

a master who knows his job and wants to teach." The
author of this book knows his job. Of that there is no
doubt; it is proved by his own accomplished work in
the various methods about which he writes, above all
by those charming dry-points which render with so much
poetry and refinement the peaceful beauty of our English
countryside. He wants also to teach. Of that, too, there
is no doubt ; or he would never have embarked on the
immense labour that is involved in preparing for the
press the store of facts and the helpful illustrations that
this book contains. And we who want to learn— as
every etcher and every lover of prints should want to
learn — can find in these pages some information about
what has puzzled, baffled or inspired us.

Since Sir Frank Short's book On the Making of Etchings
went out of print many years ago, the gap caused by
the want of a practical handbook has never, to my know-
ledge, been satisfactorily filled. Only the other day I
picked up a plate of my own, which had been put aside
and was badly tarnished. Nothing would remove the
stains that obscured the lines; whitening and ammonia,
which I thought irresistible, were of no avail. " Here
at hand," thought I, " is an acid test for friend Robins,"
and turned to the proofs of this book which had just
arrived. " Salt and vinegar," said Robins, and won my
blessing. A simple and successful remedy : but just for
want of a simple remedy, simply explained, the best-laid
schemes of little etchers and big ones have often gone
agley.

Mr. Robins, however, deals not only with the line
upon line of the working etcher, but with the precept
upon precept to be gained from a study of the master-
etchers of the past and present. Catholic in his judg-
ment, he can find authority and inspiration in etchers
as far remote in outlook and method as Jacque and
Forain, Samuel Palmer and Goya; and he wisely deals
in this volume with men rather than tendencies. His

FOREWORD ix

book will serve a worthy purpose if it teaches the student
of prints to love and choose the best, independently of
origin or history or surroundings or fashion — just because
it is fine work, a thing accomplished. " Tendencies,"
says Ouiller Couch, "did not write The Canterbury
Tales ; Geoffrey Chaucer wrote them. Influences did not
make the Faerie Queene; Edmund Spenser made it."
So we may well say : " Tendencies did not make
the Knight, Death and the Devil; Albert Diirer wrought
it. Influences did not make the Death of the Virgin ;
Rembrandt made it. Revival and tradition did not
make Le Stryge; Meryon made it." Let us not think of
etchings or mezzotints as the products of history or
philosophy; let us just " praise famous men," and give
up searching for abstract influences and tendencies
divisible into periods and capable of being studied in
compartments. If we love the highest when we see it,
we need not worry about its being a superlative, with a
positive and comparative, high, and higher, in the past.

And, by the same token, let us not be led away by
famous names. Let us frankly recognise that the greatest
masters have made only a limited number of master-
pieces, and that " the man who never made a mistake
never made anything." The collector should use his
own judgment and not buy — or try to like — something
just because it is by Rembrandt or Whistler or Haden
or the latest brilliant star appearing over fashion's horizon.
There are minor men — some of their names are recorded
in these pages — whose work we may well respect and
treasure in our portfolios, if we study not nationality or
school or market prices, but the individual utterance,
the individual gift. Above all, let us remember a phrase
of Professor Saintsbury, that "it is not sin for a potato
not to be a peach." There are potatoes and peaches in
etching, and we need them both.

CONTENTS

FOREWORD

LIST OF ILLUSTRATIONS

INTRODUCTION

PAGE

vii

xiii

PART I

A BRIEF OUTLINE OF THE DEVELOPMENT OF
ETCHING

PART II

THE PRACTICAL SIDE OF ETCHING

Tools ...........

Preparation of the Plate .......

Biting the Plate

Faults

PART III

THE GREAT ETCHERS AND THEIR WORK

Early German School ......

Italian Etchers, Sixteenth and Seventeenth Centuries
Early Dutch School ....

Early Flemish School ....

Early French School ....

Rembrandt : the Master of all Etching .
Dutch School contemporary with Rembrandt
Seventeenth-century Etching in England
Eighteenth-century Etching in Italy, France and Spain
English Etchers of the Nineteenth and Twentieth Centuries
Continental Etchers of the Nineteenth and Twentieth Centuries

15
21

43
44
47
5i
52
55
66
80
85

9i
127

Xll

CONTENTS

PART IV
DRYPOINT, AQUATINT AND SOFT-GROUND ETCHINGS

PAGE

Drypoint .......... 163

Masters of Drypoint

Aquatint ....

Examples of Famous Aquatints

Sand-paper Aquatint

Soft-ground Etching

Examples of Fine Soft-ground Etchings

169

185
197

198
199
200

PART V

PRINTING, MOUNTING, AND THE CARE OF PRINTS

Printing, Paper, etc. ........ 207

Mounting and Care of Prints . . . . . . .213

PART VI

CONCLUSION

217

PART VII

BIBLIOGRAPHY OF WORKS ON ETCHING AND
ETCHERS

General Works on Etching .......

Monographs of Artists and Catalogues of their Work

223
227

INDEX

239

LIST OF ILLUSTRATIONS

TECHNICAL

Etching Tools
Smoking the Ground
Nitric Bath Examples
Dutch Bath Examples
Faults and Corrections

Drypoint Bur

Aquatint : Dust and Sand-paper Grounds

Aquatint : Spirit Grounds

Printing : Faked and Straightforward

ETCHINGS

Albrecht Diirer : The Agony in the Garden

Jan Van de Velde : March

Pieter Molyn I : Landscape with a Tree and Ruined Cottage

Sir Anthony Van Dyck : Pieter Breughel .

Jacques Callot : Beggar ....

Claude Gellee : Le Bouvier

Rembrandt : Young Man in a Velvet Cap .

The Death of the Virgin

View of Amsterdam

The Raising of Lazarus

The Three Crosses (Drypoint)
Anthonie Waterloo : Two Fishermen Starting in a Boat
Adriaen Van Ostade : The Doll

Peasant Paying his Score
Cornelius Bega : La Mere et Son Mari
Carel du Jardin : The Two Pigs

xiii

PAGE

29
35
36

159
187
188
206

45
46

49
50
53
54

59
60

67
63

75
76

XIV

LIST OF ILLUSTRATIONS

Reynier Zooms (Zeeman) : One of the set of Different Ships
of Amsterdam ......

Jacob Ruysdael : The Three Oaks

Ludolf Backhuysen : Distant View of Amsterdam

Adriaen van de Velde : Ox and Sheep

Wenzel Hollar : Winter .....

Shells .....

G. Battista Tiepolo : Punchinello talking to two Magicians

Magician and five other Figures stand-
ing, watching a Serpent

Satyr Family, with the Fir Tree

G. A. Canale (Canaletto) : The Porch with the Lantern

Francisco Goya : A Caza de dientes .

John Crome : Mousehold Heath

J. M. W. Turner : Winchelsea .

Joseph Stannard : A Composition

Samuel Palmer : The Early Ploughman
The Herdsman

Sir Francis Seymour Haden : Kilgaren Castle

J. A. McN. Whistler : The Unsafe Tenement
The Balcony, Venice
The Balcony, Amsterdam

Alphonse Legros : The Dying Vagabond

Sir J. C. Robinson : Corfe Castle : Sunshine after Rain

Sir Frank Short : " The Street," Whitstable

William Strang : Rudyard Kipling, 1898

D. Y. Cameron : Damme

Frank Brangwyn : Hop-pickers

George Clausen : Filling Sacks

A Journey by Night

Augustus John : Benjamin Waugh .

P. F. Gethin : The Terrace, Compiegne

James McBey : Sea and Rain, Macduff
The Torpedoed "Sussex

Ernest S. Lumsden : The Scales

Theodore Rousseau : Chines de Roche

Charles Jacque : L'Enfant Prodigue

Jean F. Millet : Two Men Digging .

PAGE

77
7«
81
82

84
87

90
93
94
95
96

99
100
101
102
105
106
107
108
in
112

113
114
117

118
119
120
123
124

125
126
129
130

LIST OF ILLUSTRATIONS

Jean F. Millet : Woman Feeding her Child

J. B. C. Corot : Souvenir D' Italic

Charles F. Daubigny : Shepherd and Shepherdess

Charles Meryon : Lc Stryge

Le Petit Pont
La Morgue .
Felix Bracquemond : Alphonse Legros
Jules Jacquemart : Ivorie ct Celadons

Frontispiece
Maxime Lalanne : Les Acacias
Auguste Lepere : Le Pommier Rcnverse
J. L. Forain : Le Retour de I'Enfanl Prod

La Fraction da Pain .

Le Prevent* et VEnfant

L'Imploration
Anders Zorn : August Strindberg
Alexandre T. Steinlen : La Serbe
Marius Bauer : A Gate

DRYPOINTS

Albrecht Diirer ; St. Jerome by the Willow

Rembrandt : Arnold Tholinx ....

Sir David Wilkie : The Lost Receipt .

Andrew Geddes : Peckham Rye

Charles Jacque : Troupeau de Moutons

Sir F. Seymour Haden : The Little Boat-house .

J. A. McN. Whistler : Axenfeld

Annie Haden .
Le Mur du Presbytere .

Victor Hugo, 1S86 .

Demolition of St. James's Hall

Ayr Prison ....

The Giudecca, Venice

South Coast, No. 2
D. Y. Cameron : The Chimera of Amiens (etching and

The Esk .....
W. Strang : Emery Walker ....
Sir Frank Short : A Wintry Blast on the Stourbn
James McBey : The Pianist ....

Alphonse Legros
Auguste Rodin :
Muirhead Bone

PAGF,

• 131

132

135

I36

137

138

141

142

143

144

147

I48

149

150

153

154

155

156

160

l6l

. l62

165

. 166

. I67

. l68

• 171

. 172

173

• 174

■ 177

. I 7 S

• 179

drypoint

) l80

. l8l

. 182

dge Canal 183

. 184

xvi LIST OF ILLUSTRATIONS

PAGE

AQUATINTS

Francisco Goya : Por Que Fue Sensible .... 191

Eugene Delacroix : The Blacksmith ..... 192

Sir Frank Short : A Span of Old Battersea Bridge . . 195

Morning Haze, Chichester Harbour . . 196

SOFT-GROUND ETCHINGS

John Crome : Trees on a Bank by the Roadside . . . 201

John Sell Cotman : Parsons Bridge ..... 202

INTRODUCTION

The importance of the Graphic Arts to-day is beyond
question, and the appreciation of drawings and prints
seems to gather strength rather than to diminish.

The discriminating collection of drawings, etchings,
lithographs and wood-engravings was never more eagerly
pursued. The number of print-collectors increases
astonishingly, their zest being stimulated by the
informed work of numerous writers who have success-
fully engaged the sustained and enthusiastic interest of
the lover of fine prints in achievements of the Masters
of the past equally with those of the modern artist.
Especially definite at the moment is the wide appreci-
ation of etchings, not only by wealthy connoisseurs whose
collections embrace the finest and rarest of prints, but
also by collectors with limited means, whose discernment
enables them to acquire, at a moderate price, work that
will stand the test of later judgment.

Much has been written about the qualities that dis-
tinguish a fine etching, but these are best ascertained
by studying closely and sympathetically the finest
examples. Some knowledge of technical qualities and
methods is most necessary to the would-be connoisseur,
for every one of the processes by which prints are made
has a definite character entirely its own, the appreciation
of which should govern the formation of the collection.
It is most instructive to compare fine examples in various
mediums— for example, the hard brilliance of a burin

4 ETCHING CRAFT

line with the more expressive bitten line, whether it be
the free open line so insisted upon by Haden, or the rigid
line of Meryon. Only by this study and comparison can
the collector understand the great gulf between the
beautiful deep tonal qualities of Samuel Palmer's few
prints and the delicate web-like tracery of Whistler's
etchings, or the sonorous strength of Brangwyn's great
plates and the rich bur of an early impression in a dry-
point by Muirhead Bone, to discover the fine qualities
of each. In the same way will be learned the distinc-
tion between the inherent qualities of an aquatint, de-
pending as it should on the correct relation of its bitten
tones, and of a fine mezzotint wrought with subtle
gradations.

To what end the modern etcher's expression is tending
it is difficult to predict ; certainly it has been but little
affected by the recent movements that have so violently
disturbed the traditions of painting.

The value of an etching as decoration is well under-
stood to-day, for though collectors may still place their
best-loved prints in solander box or portfolio, yet their
treasures are much more likely to be hung upon a waU.
A fine etching, in addition to the beauty of its line, will
to a great extent suggest colour. Perhaps this may
account for the great attraction that etching has exer-
cised on so many fine painters who have, with a just
recognition of the limitations of the medium and a correct
selective faculty, frequently obtained through the etched
or drypoint line a perfectly expressed individuality.

In this book I have been actuated by the desire to
bring together information of use to both the collector
and the student. My grateful thanks are due to Sir
Frank Short, Mr. Harold Wright, Mr. Martin Hardie,
Mr. Malcolm Salaman, Mr. Mark Hall, and Mr. Wilfred
Partington — Founder and Editor of The Bookman's
Journal and Print Collector — for giving me invaluable
help.

INTRODUCTION 5

My acknowledgments are due, for the loan of prints
for reproduction, to those whose names appear below
the plates, and to the officials of the British Museum
and the Victoria and Albert Museum for assistance in
many ways.

PART I

A BRIEF OUTLINE OF THE DEVELOPMENT OF ETCHING

A BRIEF OUTLINE OF THE DEVELOPMENT
OF ETCHING

The earliest form of etching was the work of the
armourers who enriched the weapons they fashioned by
ornamentation bitten into the metal with acid, and from
the impressions taken by pressing ink into the sunken
lines and rubbing the paper with a flat tool, the process
of printing etchings was discovered. Etching was at
first only used as an adjunct to line engraving, and
although there are prints before Rembrandt which show
something of the character of the bitten line as distinct
from the engraved line of the burin, it was not until the
seventeenth century that Rembrandt freed the etched
fine from its subservience to engraving, and by the
development due to his constant experiments and varying
treatment of its resources, firmly established etching as
a separate and entirely independent art. From his work
practically the whole of etching since his time has been
derived.

The first etchings were produced in Germany in the
early sixteenth century, and were mostly on iron plates.
The prints of Durer, the first of the great etchers, exer-
cised great influence in Germany, Italy, and the Nether-
lands.

The introduction of etching into Italy from Germany
came at the time of the intense activity of the school of
engravers following Marc Antonio, and the work of the
artists who practised etching presents an entirely
different character from the heavier German work, since

10 ETCHING CRAFT

their line, though thinner, is much more fluent. The
early Italian etchers, however, did not advance the
technical progress of etching to any great extent.

The French etchers of the seventeenth century,
Jacques Callot (1592-1635) and Abraham Bosse (1602-
1676) both strove to imitate by etching the qualities of
engraving. CaUot, a very brilliant draughtsman, covered
a wide range of subject in his prolific output, and his
line, though hard and precise, is much more interesting
than the more mechanical work of Abraham Bosse. It
was Bosse who wrote the earliest treatise on etching.
But the finest etcher of the early French School was the
great draughtsman and painter Claude Gellee (1600-
1682), who, though sometimes uncertain in his handling
of the needle and his control of the acid, produced etch-
ings full of charm and beauty which never suggest the use
of the graver. His influence on many subsequent etchers
has been profound.

During the late sixteenth and early seventeenth
centuries there began the prolific output of etchings by
the Dutch School, these embracing the greatest variety
of subject. Figure, portrait, landscape, marine, and
animal subjects, all were essayed and treated expres-
sively. Though the great genius of Rembrandt
exercised a powerful influence on some of his contem-
poraries, there were many etchers of the time who were
in no wise his imitators, and their works have an entirely
individual outlook and are essentially as Dutch as the
great master's own work.

The Italian painters exercised considerable influence
on the Dutch etchers, as they did on Dutch painting,
but the work of the Dutchmen who retained their national
outlook stands highest in the estimation of modern
criticism. In Flanders the activity of the great school
of engraving under Rubens effectually smothered every
effort to develop etching; and the consequent fate that
overwhelmed the magnificent etchings by Vandyck was

DEVELOPMENT OF ETCHING 11

a disaster that has been lamented by generations of
etchers.

Little etching was produced in the eighteenth century
except in Italy and by Goya in Spain, for the popularity
of line-engraving dominated everything. Of the Italian
school of this period Canaletto and Tiepolo produced
some magnificent etchings, and Piranesi was actively
engaged in the production of his enormous plates.
Fragonard in France, influenced by Tiepolo, produced
some charming prints, but the finest of the eighteenth-
century etchers was Goya, who bridges the great gulf
between the death of Rembrandt and the advent of
Meryon, and was the greatest etcher in the long interval
during which line-engraving held such undisputed sway.
The influence of the etchings of Rembrandt was
entirely unfelt in England until the early nineteenth
century. Wenceslaus Hollar, who began the history of
the English school of etching in 1637, was essentially an
etcher who was governed by the tradition of line-en-
graving and imitated the precise line of the burin by the
more easily handled needle and acid. His inimitable
work, with its wide range of subject represented with
wonderful decision and accuracy, left no lasting influence
in England on the practice of etching as an entirely
separate art. He was never influenced by the etchers
of Holland. It was not until Crome, Geddes, and Wilkie
revived the practice of etching in England that the Dutch
influence revealed itself. Ruysdael was the inspirer of
Crome's etchings as he had inspired that Norwich master's
paintings. To Geddes and Wilkie, Rembrandt's etchings
evidently appealed strongly.

Later in the nineteenth century came the great revival
of etching in France : not since the seventeenth century
had there been such a splendid group of real masters of
etching. Meryon, Bracquemond, Millet, Jacque, Lalanne
and Jacquemart etched many outstanding plates; the
immediate result was the revival of etching in England

12 ETCHING CRAFT

which followed closely after with Haden, Whistler, and
Palmer as its leaders, backed up by Philip Hamerton, a
poor etcher but a fervent writer who helped forward the
movement with the work of his critical pen. Out-
standing was the work of Haden, powerful and straight-
forward in its direct strength, and masterly the etchings
of Whistler, whose complete command of all the resources
of the medium was but slowly attained, yet consummate
in those magical plates of his later period which transcend
the efforts of every etcher save Rembrandt and challenge
even the work of the great Dutch master. Working
at the same time with Haden, Whistler, and Palmer was
Legros, whose lofty style, great personality and inspired
teaching had a great influence on the students whom he
taught at South Kensington and the Slade School.
More recently Anders Zorn, in Sweden, produced
masterly portraits, some of which rank even with the
work of Rembrandt and Vandyck. Of living Masters
we find the fame of Sir Frank Short widespread both
for his brilliant etching and for his teaching, whilst with
D. Y. Cameron and Muirhead Bone — the greatest Master
of drypoint since Rembrandt — the tradition of Meryon
and Rembrandt is carried on. Forain, in France, has
under the inspiration of Rembrandt achieved by his
scriptural subjects and that splendid Lourdes series, a
succession of masterpieces, while in Great Britain the
prints of James McBey stand foremost among the work
of younger etchers both for range of subject and brilliant
expression.

PART II

THE PRACTICAL SIDE OF ETCHING

Tools
The methods and tools of the etcher have changed

*6 V

but slightly, certainly not in essentials, since the time
of the early etchers. Prints by Abraham Bosse of in-
teriors of etching workshops of the seventeenth century
show in actual use the processes which we still employ
to-day. The modern presses, however, with their geared
action are much easier to work than the old wooden
presses, but every lover of the picturesque must regret
the passing of the star press with its beautiful form.

The old presses were made with wooden rollers and

plank, with a four-armed star fitted directly to the top

roller, great strength beine required to

Presses 0*1

work them. Modern presses are all made
with an iron bed on which the plate is laid when print-
ing, and they have top and bottom rollers of steel between
which the bed moves. The pressure is regulated by steel
screws on each side of the press. Presses can be obtained
of various sizes, from the type with fifteen-inch rollers,
which is a very handy size, to the large press with forty-
two inch rollers used for printing very large plates.
Small bench presses are used, but they will only print
small plates.

Porcelain dishes are the best, but almost any dish
that will resist the action of acids can be

Dishes 1

used.

Any sort of steel point can be used, and in shape and

size it ma}- greatly vary ; in fact, anything that will give

a good round point, from a darning-needle

e set in a home-made handle to a delicate

little specially-turned needle. The best way to sharpen

16 ETCHING CRAFT

the needle is to roll it along the surface of an oilstone
between the palms of the hands. (For illustrations of
this and the following tools see page 17.)

This is a smooth steel tool used for reducing over-
bitten lines and slight foul bitings in etching, and for
modifying tones in aquatint. Etched lines

The Burnisher r . , , . , , n

are frequently over-bitten purposely to
obtain the beautiful grey quality that burnished lines
give. If needled and bitten correctly the etched line is
the same strength throughout its length. The burnisher
will reduce the line in places and give the most delicate
gradations (compare Fig. 1 and Fig. 2, page 36). The
tool should be very carefully looked after, for if attacked
by rust it will, instead of reducing scratches, make more.
It should always retain the highest polish possible. If
the burnisher becomes dull and stained it can be polished
with oil and crocus powder in a groove made in a piece
of soft wood. A wide firewood stick is excellent for
the purpose. Burnishers are made to many patterns,
but the most useful shape is Fig. 12, page 17. A closely
fitting leather cover is excellent to keep the burnisher
in condition. Oil must be used with the tool.

The scraper is a three-edged steel tool for removing
bad work, unwanted lines, or foul-biting, and should be
kept very sharp, the point being protected
with a cork. It is also useful for removing
unwanted bur from dry point lines. A good close-grained
oilstone serves to sharpen the scraper, which is con-
tinually rocked from the point upwards so as to keep the
angle.

The burin, or graver, is used for line-engraving. Of
steel, it is usually about four inches long and is a four-
cornered or lozenge-shaped bar of steel
B G?a n ver 0r ground down obliquely to the cutting end.
The burin is held at a sharp angle to the
plate and pushed with the palm of the hand through the
metal, digging up furrows slight or deep according to

18 ETCHING CRAFT

the strength of line needed. The plate rests on a circular
sandbag and is often moved round with the left hand,
the burin meanwhile being held fast with the right. The
shaving of metal from the furrow made by the burin
should come out cleanly, but if bur is left it can be cleared
away with the scraper. The burin is often used to repair
patches of badly bitten or over-burnished lines in an
etching, and also in conjunction with the drypoint, as
will be described later.

The hand-rest is a bridge placed over the grounded

plate to avoid causing damage to the surface of the

m ground by the weight and pressure of the

The Hand-rest ° , , / ,, b , r 5, - ,

hand during the needling. It can be made
easily with a thin smooth board and two thicker sup-
porting pieces screwed on at each end to raise the board
above the surface of the plate. It is indispensable when
a soft ground is used, but a good well-laid hard ground
with a piece of tissue-paper over it for protection should
stand the weight of the hand.

The bright surface of copper is rather dazzling to work
upon and a diffused light is a great advantage. A large

_ o canvas stretcher, covered with strong tissue

flip ^cvppti *~^

or tracing paper, and set in front of a
window, makes an excellent screen. It should be hung
forward at a convenient angle so as to filter the light
and obviate any glare of the metal.

This is a tool which when run along the surface of
the copper produces dots with a bur. The simplest form

is a toothed wheel, but some roulettes are

The Roulette . 1 .

made which produce irregular dots. The
roulette is used with mezzotint and aquatint to repair
bare places and cover slips, and it is sometimes employed
with etching. Jacque used it a good deal in both his
etchings and drypoints, but not always with happy results,
for the character of the tool is not akin to that of the
etched line and it should be used sparingly, if at all.
The oil-rubber is used for polishing the surface of the

TOOLS 19

plate. A piece of printing blanket tightly rolled and
bound round with twine makes an excellent
polisher. It can be made to any dimen-
sions, but a generally useful size is two and a half inches
diameter and five inches long. A piece of compressed
felt is sometimes used. Sperm and olive are good oils for
polishing, and with a little crocus or putty powder will
give a brilliant polish to a plate.

The steel or iron plate on which grounds are laid

and plates are inked during the printing, is usually raised

on legs about six inches high to enable a

The Heater

a gas ring or spirit lamp to be placed
underneath.

Jigger : a wooden box with a smooth, flat top on
which inked plates are wiped during the printing; it is
usually of the same height as the heater, to
lgger facilitate the frequent transference of the
warm plate from the heater. It has either a lid at the top
or a flap at the side, and printing muslin and rags are
kept inside. A handy size for a jigger is eighteen inches
square.

Many varnishes can be purchased ready made. They

should dry quickly and resist the action of the acid

perfectly. Hamerton recommends a solu-

Stopping-out t - Qn Q £ wri i te wax i n ether anc j one-sixteenth

Varnish

of Japan varnish added after the ether
solution has been decanted to clear away the sediment.
Mogul varnish and the various kinds of varnish used in
process work are all good.

Snakestone is invaluable when lines need removing
or lightening in strength. Water is used
and the stone rubbed across the surface
of the plate. The traces of the rubbing will show on the
print and need removing from the plate, first by charcoal,
then by the oil-rubber. Snakestone can be obtained in
various sizes ; broad pieces for wide work and narrow
slips for removing slight errors.

20 ETCHING CRAFT

Willow charcoal is most useful when marks made by
the burnisher or scraper need removing. It will also be
found invaluable for reducing tones in
aquatint; oil and water are used with it.

Copper and zinc are the metals generally used for
etching upon ; the invention of steel-facing has entirely
eliminated steel. Etchers who desire to
print large editions from plates etched on
copper can, by the process of steel-facing, secure an un-
limited number of proofs by renewing the facing directly
it shows the slightest sign of wear. Copper is most
certainly the best of all metals for etching, for it can be
worked upon with ease and certainty and can be pre-
pared with a perfect polish and surface. Most etchers
work upon copper such as is used for process work, and
its surface is quite good, though it is, of course, machine-
rolled and polished. When the plate is purchased it
should be examined closely, for sometimes very undesir-
able faint lines run across the surface, and these, if they
show in the print, entail considerable trouble to remove
satisfactorily. Hammered copper is more expensive but
much preferable, especially for mezzotint or drypoint.
The hardness of the hammered plate is a great advantage,
and the added quality and even density imparted by the
hammering make the plate much more sympathetic to
work upon.

Plates can be re-faced by the old work being planed
off and the new surface repolished, and if old hammered
plates are secured they can be re-faced over and over
again.

Zinc is also largely used, though with zinc the action
of the acid is more rapid and the bitten line is somewhat
coarser than that given by copper. It is also much
softer than copper and will not print so large an edition
if the lines are bitten delicately.

Preparation of the Plate

A bevelled edge to the plate is very essential, for
without it the plate under the pressure of the rollers of
the press will cut through the paper and sometimes cut
and ruin the blankets. This bevel makes the so-called
plate-mark. If the bevelling is not done before the plate
is purchased, a rough file will quickly remove the amount
of copper necessary. Care has to be taken to secure the
plate firmly during the filing, or the file will slip and gash
the surface of the plate. The filings are brushed off the
surface of the plate with a large soft brush, not with a
rag. A smooth bevel is obtained by using a finer file
and finishing with a burnisher. When a rough bevel
is left the edge of the plate will print much darker than
the plain surface of the copper, giving a rather unsightly
effect to the print.

The best method of cleaning the plate, to remove

any traces of grease from the surface before the ground

is laid, is to rub the plate gently but

Cleaning the Plate thoroughly wit h a piece of perfectly clean

rag soaked in a paste made with finely ground whitening
mixed with water and a fair proportion of ammonia.
Ordinary whitening is too gritty and will often produce
scratches. The paste should be washed off under a tap,
and if the water will run freely anywhere on the plate, it
should be safe to lay the ground. The plate should now
be dried and wiped with a clean rag, and, throughout
the cleaning, and while laying the ground, it should be
handled as carefully as a photographic plate, the surface
never being touched by the fingers.

The ground is the thin coating of wax which protects

the plate from the action of the acid and through which

the etcher scratches with his needle the

The Ground lines he intends to bite into the metal.

Very good grounds can be purchased ready-made, but it
is very desirable to know both the constituents and the

22 ETCHING CRAFT

preparation. The necessary qualities of the ground are
a sufficient degree of adhesiveness to ensure that it will
hold firmly to the plate, that it is not too hard, and
therefore will not flake or chip off when the needle is
used, and lastly — and most important — that it will resist
perfectly the various mordants used to bite the lines.
Most grounds are made with varying combinations of
white wax, gum mastic, and asphaltum, and sometimes
pitch is added. Hamerton recommends Abraham Bosse's
ground, which consists of pure white wax 50 grammes,
gum mastic 30 grammes, asphaltum 15 grammes. Sir
Frank Short gives this recipe which makes a perfect
hard ground : pure beeswax %\ oz., Syrian asphaltum
2 oz., Burgundy pitch \ oz., black pitch \ oz. The pitch
gives a greater degree of adhesiveness. A slightly larger
amount of wax will give a little softer ground more suit-
able for a cold atmosphere. To prepare the ground, the
wax is melted first in a perfectly clean china pot, or large
jam-pot, placed in water in a saucepan, and the gum
mastic or pitch, very finely powdered, is then slowly
added to the melted wax. The mixture is continually
stirred with a glass rod, the asphaltum, also finely
ground, being added last. After simmering gently for
from fifteen to twenty minutes, the ground is poured
into lukewarm water and rolled into short sticks or balls.
The hands should be thoroughly wetted before the
rolling is commenced.

The method most commonly used for laying grounds
is by the dabber. The dabber (see page 17) is composed

of a wad of cotton wool placed upon a disc
L G^und e of cai "dboard, with a piece of silk or kid

drawn tightly across the wool, and bound
with cotton at the back of the disc. A handle of some
sort is necessary; a wooden one may be bound on or
the spare silk or kid utilised for the purpose. Great care
needs to be taken to keep the surface of the dabber
clean ; it is impossible to lay a good ground with a dirty

PREPARATION OF PLATE 23

or hard dabber. If the dabber — which will last a long
time if properly used and kept in a box — becomes charged
with too much ground, it can be cleaned by warming it
upon the heater and rubbing the overcharged covering
with some printing muslin. The plate is next placed
upon the heater, which must be kept at an even tem-
perature warm enough to melt the wax when it is rubbed
gently on to the surface of the plate. Care must be taken
not to burn the ground. It will be impossible to etch
upon if burnt, for it will be found defective either when
needling or during the biting. Just sufficient ground is
melted to cover thinly the whole of the plate, and it is
spread over the surface with a small piece of perfectly
clean printing muslin. The plate is now dabbed quickly
all over until it is covered with a thin and perfectly even
coat of the ground. Thin grounds work much better
than thicker ones, and the usual fault with students
laving grounds is to make them much too thick. The
etching ground can be laid with a roller (see page 17),
but the heat soon hardens the roller. The leather-
covered roller is the best for this purpose and it needs to
be cleaned immediately after use.

While the plate is still warm a hand-vice is fastened
on to a selected place, chosen where it will least interfere

with the needling, and the plate held face
Smoking the downwards over a bundle of lighted tapers

or a gas smoker (see page 24). The smoke
changes the brown wax to a jet black, enabling the etcher
to see clearly every mark made by his needle and, if he
wishes to trace his design, giving a perfect surface to
receive the tracing of the drawing from which the etching
is to be made. The plate is passed slowly backwards
and forwards above the flame, care being taken not to
burn the ground, which would then tend to break off in
flakes. Grey patches upon the ground after the plate
has been smoked show that the ground is burnt and needs
to be cleaned off and laid again.

ETCHING CRAFT

SMOKING THE GROUND
(See previous page)

The subject may be drawn direct on the plate from

nature, though the print will then be in reverse. If

made from a drawing the work on the plate

Tracing and w jjj a i so w h en printed, show the drawing

Transferring . r °

in reverse, lo overcome this difficulty a
looking-glass is used and the drawing propped up, and
the etching worked from the reflection in the glass. If it
is desired to get the print as near as possible to the design,
a tracing made with a soft pencil on thin tracing (not
greasy) paper should be transferred on to the ground.
After a tracing is completed and cut to the size of the
plate, the tracing paper is slightly damped and laid
pencil side down to the smoked ground and passed
through the press just as a proof would be taken. The
pencil lines will appear quite plainly on the smoked
ground in grey lines. The pressure does not require to
be as great as for printing a proof or the paper will stick
to the plate and ruin tracing and ground alike. If the
pressure is not altered with the key, one of the blankets
should be taken out. This transfer can be fused into
the ground by gently heating the plate so that it will

PREPARATION OF PLATE 25

not rub off. Without a press the best way to transfer
the drawing to the plate is to use red transfer-paper. A
tracing of the drawing is made, reversed, and pinned
down over the transfer-paper upon the plate and the
lines run over with a pencil or stylus. The outline of the
design can also be sketched on the ground with thin
Chinese white.

The roller, covered with either leather or indiarubber,
lays a very fine ground, thin and very clear; and the

only drawback to its use is that it cannot
R °c ed P d Ste ^ e wor ^ e d upon immediately, for the spike

oil of lavender takes some time to evapor-
ate, and it is as well to allow at least twenty-four hours
to elapse before using the grounded plate. One oz. of
ordinary ground is dissolved into a paste by melting it
with 2 oz. of spike oil of lavender. The ground is broken
up, placed into a wide-mouthed bottle with the oil of
lavender, and the bottle put into a tin or saucepan of
water and gently heated until the ground is melted.
The bottle is kept tightly corked and a little spike oil
is added if the paste becomes too hard. To lay the
ground a little of the paste is taken out of the bottle
with a small palette knife and spread over a piece of
glass ; the roller is then run backwards and forwards
over the paste until the former is evenly covered. The
roller is next rolled across the plate in every direction
until the surface is evenly covered with a thin coating of
the ground. The plate is then gently heated and smoked.
The roller must always be cleaned with printing muslin
and the palm of the hand.

Liquid grounds composed of I oz. ordinary ground
dissolved in 4 oz. of chloroform or ether are largely used,

and though it is perhaps more difficult for
Liquid t^g n0 vice to get a perfect ground by this

Grounds , , ,.,,, . .,, , , , .

method, a little experience will enable him
to coat a plate with a very smooth ground excellent to
work upon. For small or moderate-sized plates the

26 ETCHING CRAFT

solution is poured over the centre of the plate, and the
entire surface is covered by gently tilting the plate. No
more liquid is used than is necessary to cover the whole
surface, and the superfluous amount can be poured back
into the bottle from one of the corners. The chloroform
or ether will evaporate very quickly, and the plate is
warmed upon the heater until the surface shines, then it
is smoked in the ordinary way. Larger plates are coated
in a shallow bath which needs to be slightly tilted. The
plate is covered as rapidly as possible, taken out of the
bath and allowed to dry. Quickness and deftness in
handling the plate are the chief things to aim for when
laying liquid grounds. Dust is the enemy of all grounds,
but especially of liquid grounds, and early morning is
the best time for this work. Liquid grounds are apt
to chip off in cold weather and are often rather too
thick. .

Transparent ground, made without pitch or asphaltum,

is often used when additional work is required to

complete a plate. The previously bitten

£*"?"* lines can be clearly seen, and the only slight

difficulty with the method is that the new

needling is somewhat difficult to follow until the biting

commences. Transparent ground is not so safe as

ordinary ground and foul biting often occurs when it is

used, and all the parts of the plate not being needled are

painted over with stopping-out varnish.

The back and the edges of the plate must always be
coated with the stopping-out varnish to protect them
from the action of the acid. If the plate is put into the
bath before this is done the large expanse of metal being
attacked will often cause such violent biting that the
plate itself will move about in the bath. The edges if
unprotected will be bitten very roughly, and when
the plate is printed will give a very unpleasant
border.

Great care needs to be taken to penetrate the ground,

BITING THE PLATE 27

for if the copper is not fully exposed unequal biting will

occur. It is better to use too much pressure

than too little. The needle is held as

upright as possible and it works freely if the point be

correctly sharpened with a perfectly round point.

Biting the Plate

For the way to perfection is through a series of disgusts. —

Pater.

Nothing is more trying to the temper of the etcher
than the uncertainty of the action of his mordant, i. e.
the acid used to bite into the metal the lines drawn
through the wax ground. Even years of experience will
not eliminate the hazard of the process. The novice by
good luck may bite his first plate with perfect success,
though he may never repeat the performance; and the
etcher of long experience may overbite or underbite.
The acid most commonly used is nitric ; all acids should
always be kept in glass-stoppered bottles.

A safe working proportion is three parts of nitric
acid of a specific gravity of 1/42 to five parts of water,
though frequently a mixture is used as
strong as half acid and half water. If the
bath is diluted the lines will be finer, but the biting
will take much longer. Strong nitric baths will broaden
and roughen the line. For illustrations of various
bitings with the nitric bath see page 28. Bubbles of
gas arise from the action of the acid in the line, and
these are a good guide to the progress of the biting and
need to be watched closely. Any lines that are not
biting will show no bubbles, and the plate is taken out,
washed, and the lines reworked. A feather can be used
to wipe off the bubbles directly they show plainly; if
they are allowed to remain, unequal biting will result,
and they are always brushed away.

A freshly mixed bath is never used. When the bath
is made up it is poured into a dish and some scrap copper

ETCHING CRAFT

put into it, even if it necessitates the illegal act of dis-
solving a copper coin when no scrap copper is available.
The bath when finished with is filtered to eliminate
scraps of stopping-out varnish which may have fallen
from the back of the plate and the various impurities
which get into the liquid from other causes. If these

1
il

m 4-

%©.

— ~-;;™

NITRIC BATH EXAMPLES.

No. i. Lines bitten for 15 minutes in
weak Nitric, 1 of acid to 2 of water,
showing the effect of the acid on the
closely needled work.

No. 2. Lines bitten for 5 minutes in
strong Nitric, 3 of acid to 2 of
water.

No. 3. Lines at top were bitten for
15 minutes in Nitric (3 of acid to 5
of water) and then stopped out.
The lower part of the plate was

bitten for a further 15 minutes, with

the result that the work broke up.
No. 4. Lines bitten for 10 minutes in

Nitric, 3 of acid to 5 of water.
No. 5. Lines bitten for 30 seconds only

in pure Nitric, brushed on with a

feather.
No. 6. Example of cross-hatching

obtained by adding lines as the

biting progressed.
No. 7. Example of pitting.
No. 8. Example of rotten lines.

are allowed to remain they cloud the work and make it
difficult to see what is happening to the plate during the
biting. The nitric bath requires strengthening occasion-

BITING THE PLATE

ally with new acid. The fumes given off from the bath
are not dangerous, but reasonable care is always taken
not to inhale the fumes unnecessarily. Acids are always
handled carefully and the bottles never grasped by the neck.
Another bath frequently used is the Dutch mordant,
which is composed of chlorate of potash 20 grammes,
hydrochloric acid 100 grammes, water 880
Dut^Bath grammes. The chlorate of potash is dis-
solved in hot, not boiling, water, well stirred,
and when the crystals are entirely gone the mixture is
left to cool and the acid added. The Dutch mordant
bites deeper than the nitric bath, but does not enlarge

5M1N. 5 IO 15 ZO 3.5 30 1HOUR

DUTCH BATH EXAMPLES.

the line so much and attacks the metal much more
regularly than the nitric bath. It is kept at a tem-
perature of between 75 and 85 F. when the biting is
proceeding, and a piece of sheet asbestos beneath the
dish on the heater is necessary, with the gas or spirit
stove turned low. The Dutch bath when it is first
poured out into the dish gives off chlorine gas ; it is
therefore advisable to wait a few minutes before leaning
over the dish. When biting very deeply with the
Dutch bath, it is as weU, now and then, to dip the plate
(after well washing it) into the nitric bath ; this will
clear a film which is deposited on the bitten surface.

It is often of great advantage to use both the Dutch
and the nitric baths in biting a plate, so obtaining the con-
trast of the delicate wiry line given by the Dutch bath,
with the rougher wider line obtained with the nitric.

30 ETCHING CRAFT

The work might be commenced in the Dutch bath, and,
after the more delicate lines are bitten, the plate should
be washed very thoroughly under the water-tap to ensure
that the acids are not mixed, and after the plate is dried
any work that is sufficiently bitten should be stopped
out. The plate may then be placed in the nitric bath
and remaining work finished with the rougher quality of
the nitric line.

A third bath which is frequently used is perchloride

of iron, which makes a splendid mordant. It bites a

deep clear line, and the only fault in its use

Perchloride of j s ^e dark colour which makes it rather

Iron Bath . .

difficult to judge how the biting is pro-
gressing. Perchloride of iron can be procured either in
a liquid form or in powder.

When the whole, or almost the whole, of the work
has been needled on the plate before it is placed in the
bath, it is necessary during the process of
j oppmg-out ^ e biting to use stopping-out varnish to
obtain difference in the strength of the lines. After the
plate has been bitten sufficiently for the lightest passages
to tell correctly, it is taken out of the bath, washed well
with water and thoroughly dried with blotting-paper.
The lines which are intended to remain light are then
covered over with the varnish, which dries fairly quickly,
and if painted on correctly the varnish will stop the acid
from attacking these lines again. The varnish should
not be too thin, as otherwise it would have a tendency to
run down and fill the fines adjacent to those stopped out.
It were better to be a little thick to avoid any danger of
spreading. When the varnish is quite dry, the plate is
again immersed in the bath and the second biting com-
pleted, which causes all the lines left exposed to be
strengthened. The remaining work is bitten and portions
are successively stopped out until finally only the darkest
and heaviest lines are left to be bitten.

It will be realised that this process of stopping-out,

BITINCx THE PLATE 31

though simple when the etching consists of a few open
lines with no great amount of detail, becomes extremely
difficult when very complicated needling is used, such as
cross-hatching, or where lighter lines are wanted across
heavier work. This difficulty may be overcome by
altering the entire procedure and by not using the
stopping-out varnish at all. Only the darkest and
strongest lines wanted are needled first and bitten. The
plate is then washed and dried, and the lighter lines
added and bitten ; the process is continued until all
the finer details of the work are needled and bitten.
With this method good judgment is needed to regulate
the difference in the bitings, but with ordinary care it is
not difficult to obtain a good result.

Another method of biting is that in which the work is
needled while the plate is in the bath, and with experi-
ence this method is easily controlled. The action of the
acid is at once apparent and the trouble of lines not
biting because the ground is not exposed by the needle
is avoided. The needle is, of course, bitten away by the
acid, but retains its sharpness. The darkest lines are
needled first, and the whole etching completed by adding
the lighter work, while the plate is still in the acid. The
necessity of stopping-out is thus avoided and a perfect
gradation of strength of line obtained.

Care should be taken in all cases to detect foul
biting (see Fig. 3, page 35). If it is suspected that this
is occurring, a little of the ground is taken off the surface
and the plate examined. This can easily be done with
a thin brush and a little turpentine, any suspicious
places being painted out with stopping- varnish. In a
warm room the action of all the baths is much faster
than in a cold atmosphere. For instance, if the nitric
bath is warmed over the heater it will at once attack
the copper and begin to bubble very hard. Sometimes
this rapid biting is useful. Open work with the lines
well apart bites very much more slowly than closely

32 ETCHING CRAFT

needled work. This can be seen in Fig. i, page 28.
Very great care must be taken with biting very close
work, for the acid attacking the copper underneath the
ground causes the fine work to break away, and the
result in the print is a grey unpleasant tone instead of
a number of close fines. See Fig. 3 on page 28, in which
the lines at the top were bitten for fifteen minutes and
then stopped out. The additional biting for fifteen
minutes caused the rest of the work to break up.

Zinc plates are bitten in a nitric bath with a strength
much less than for copper; the best proportion is 1 of
acid to 7 of water.

Judging the depth of the lines while the biting is
progressing is a great trouble to the student, who at
first will be hopelessly at sea; his most certain method
is to take a fine brush dipped in turpentine and remove
a small portion of the ground. Later, with more experi-
ence, the feel of the lines if the needle is run along them
will tell how deeply they are bitten.

The biting being now completed, the plate is washed
and dried, placed upon the heater and warmed, and the
ground on the front, and the varnish on the back are
cleaned off with turpentine and a rag. Here some
restraint is necessary in the natural anxiety to see the
result of the biting. The varnish on the back of the
plate is cleaned off before the ground on the front, as
the face of the plate has to be protected as much as
possible or it may become scratched.

It is often found when the first proof from the plate
has been taken that portions, or even the whole, of the
etching are underbitten. In this case a
j ng re-biting ground is laid and the same lines
bitten again to the desired depth. The process is a
delicate one and very great care has to be taken to
avoid foul-biting. The plate is very carefully cleaned
and some re-biting ground — ordinary dark ground mixed
into a paste with spike oil of lavender — placed upon a

BITING THE PLATE 33

piece of glass. A leather-covered roller is next passed
backwards and forwards over the plate on the glass until
it is charged with a thin even covering of the paste.
The roller is then run lightly over the plate with very
little pressure until the whole surface of the plate is
covered with the ground. The very greatest care has to
be taken not to press the ground into the lines, for that
will, of course, prevent the acid from biting again. The
plate is now very gently heated to expel the spike oil.
Smoking the ground is unwise, for the delicate shallow
lines are almost sure to fill. If possible the plate is left
for two days and the spike oil allowed to evaporate
naturally. To ensure that the ground is not pressed
by the roller into the lines they are often filled with a
paste of whitening, which is allowed to dry thoroughly
before the ground is laid. Care needs to be taken to
see that the whitening is wiped away from the surface
of the plate and only allowed to remain in the lines.
Re-biting is a hazardous business and requires to be used
sparingly, as the work almost always loses its freshness
and, however carefully the ground is laid, some of the
delicate lines are almost certain to be filled, when uneven
biting results.

If the first proof from the plate shows that additional

work is necessary a re- working ground has to be laid.

The ground is laid either with the dabber

Re-working Qr ^ ^^ ^ it j g imperative that aU

the previously bitten lines be filled. More often than
not the edges of the old lines will re-bite when the plate
is in the bath for the re-working, and the best way to
avoid this trouble is to warm the plate on the heater
and with a piece of clean muslin drive the ground well
into the lines. The surface of the plate is then wiped
as clean as possible with printing muslin and the plate
is allowed to cool. When the plate is quite cold a rolled
paste ground can be laid over both the filled lines and
the surface of the plate. The new lines can then be

34 ETCHING CRAFT

needled and the plate bitten with no anxiety as to the
old work biting again. The plate may be re-grounded and
bitten as many times as are necessary to complete the
etching.

Faults

Pitting is a fault that often occurs, and is caused by
impurities in the ground. The line prints with spots
dotted along its length, rather like the
lttmg fl oa ts on a seine net. I have imitated it
in Fig. 7, page 28. Pitting is easily perceived when
the nitric bath is being used, for the spots on lines show
clearly and are detected at once. With the Dutch
mordant these are much more difficult to detect, owing
to the darkening of the lines during the biting. Directly
the lines show signs of pitting, the plate is taken out and
washed well and, with a very fine brush, the affected places
are stopped out. If perceived in time they will be found
to be very slightly bitten and can be easily removed, the
lines being afterwards repaired with the burin or drypoint.

Rotten lines are caused by unequal biting due to the

ground not having been equally removed by an even

pressure of the needle, for the tendency

Rotten Lines r , , •, . , . , ,

of the beginner is to work as with a
pencil, with increasing pressure here and there to give
variety or emphasis. On those parts of the line where
the needle has only partially gone through the ground,
the action of the acid is delayed through the thin film
of ground left by the needle protecting the copper there,
while the fully exposed parts of the line are biting cor-
rectly. Sometimes there are even gaps in the line which
wiU be found not to have bitten at all. I have endeavoured
to show this in Fig. 8, page 28. These can be re-touched
with the drypoint if the lines are light, or with the burin,
but correct needling with an even pressure will obviate
the necessity of tinkering with the lines in this fashion.

_„•

Fig. i. See

page 37-

Fig. 2. See page 38.

Fig. 3. See page 38.

Fig. 4. See page 38.

FAULTS AND CORRECTIONS.

fa—. > .n r- 3 ***?

Fig. i. See page 38.

Fig. 2. See page 39.

Fig. 3. See page 39.

Fig. 4. See page 39.

FAULTS AND CORRECTIONS.

FAULTS 37

The little plates reproduced on pages 35 and 36 were
etched to show examples of many of the pitfalls that

Further Faults ^^ ^ etcher - Some of these pitfalls are

avoidable if average care be taken; others
will plague the experienced etcher as much as the novice.
Fig. 1, page 35.— The scratches across the plate might
be caused by badly ground ink, or by grit on the printing
muslin, or even through using gritty whitening before the
ground is laid. If the printing muslin happens to drop
on the floor it should be thrown away at once. Scratches
are a great trial and nuisance to etchers, particularly
when they occur on the more delicate parts of the work,
and it needs great care to remove them successfully. A
frequent cause of scratches is that the rag has accidentally
picked up some of the tiny filings or scrapings from the
bench. Sometimes a filing will get on to the face of the
oil-rubber and produce, during the polishing, scores of
scratches, which is heartrending when delicate work
happens to be underneath. The scratches on the plate
here reproduced were removed by first scraping very
lightly along the length of the scratch, then the burnisher
was pressed diagonally across the line left after this
scraping, with an even pressure forcing the sides of the
line together, and closing them up so that when printed
it held no ink ; finally the plate was polished with the oil-
rubber and a little putty powder and oil. The over-
bitten patch on the cheek was first scraped and then
hammered up from the back. This hammering is a
simple and effective way of removing such faults. With
a pair of callipers specially made for the task, the place
corresponding to the fault on the back of the plate was
gently hammered with a punch until the pit or depression
on the face of the plate was brought level with the rest
of the surface. Care had to be taken to find the exact
spot to punch and to ensure that too much force was
not used for fear a bump should be raised on the face
of the plate which would show in the print. After the

38 ETCHING CRAFT

hammering, the spot was lightly burnished and then
polished with the oil-rubber and putty-powder. The
two small patches of slightly over-bitten lines below the
collar were lightly burnished and polished with the finger
and a little oil. Fig. 2, page 35, shows the print after
the removal of the faults.

Fig. 3, page 35. — This little plate is an example of
very bad foul biting. Such extensive fouling might be
caused by a very badly laid ground or by burning during
the smoking. In this case it was due to the plate not
being properly freed from grease. Of course, if the bath
used is nitric acid, fouling of this nature is quickly noticed
because of the bubbles which form very thickly on such
portions. If the Dutch mordant is used, it is more
difficult to detect fouling, and such accidents as happened
to the sky in our little plate might occasionally occur.
The whole surface of the sky and the patch over the
bank of the stream in the left corner were first strongly
scraped. The rick was then lightly scraped and the
heaviest spots remaining hammered up. The marks of
the scraper were removed by rubbing with snakestone
and water. Willow charcoal and oil were then used to
remove the marks of the snakestone, and after that the
plate was rubbed with fine emery paper, and the final
polish given by the oil-rubber and putty-powder. A
second ground was then laid and the plate reworked and
completed (see Fig. 4, page 35).

A vice is very useful in such operations as the above,
for if the plate is clamped to a bench or table, scraping,
snakestoning and polishing can be managed with much
greater ease. A small pad should cover the head of the
vice where it grips the plate, or heavy marks will be
caused such as are seen on the right lower corner of
Fig. 1, page 36. In this plate the sky and distance
were over-bitten and had to be burnished down and
polished with the oil-rubber, no charcoal being used.
A little drypoint was added to the tree and the bur was

FAULTS 39

removed with the scraper, the result of these corrections
being shown in Fig. 2, page 36.

Fig- 3. page 36, shows a print from a plate which was
under-bitten and found to need further work. A new
ground was laid over the old work and additional lines
added, but the plate was forgotten and left in the bath
for an hour, with the result seen in Fig. 4, page 36.

Carelessness in handling and storing will often cause
the surface of plates to tarnish. Students have been
known to wrap their plates in blotting-
paper which has been used for drying
plates after they have been bitten in the acid bath. The
usual result of such treatment is almost certain ruin to
any delicate work, and entails a lot of laborious work
to repair the damage. The best way to carry plates is
to wrap them in tissue-paper, or, better still, in a flannel-
lined case, and grounded plates can be carried without
damage pinned down upon the boards in a slotted box.
Damp is a great cause of stains on copper, and if steel-
faced plates are left exposed they will quickly be ruined,
for the damp eats into them. Plates should always be
kept in a dry place and covered with a protective coating
of beeswax or hard ground. A solution of common salt
and vinegar will remove most slight stains from copper,
and a quick short immersion in a very diluted nitric bath
will often clean a plate. Putty-powder and the oil-
rubber will polish most superficial stains from a bitten
plate, but a drypoint should only be rubbed lightly with
a soft rag soaked with the vinegar and salt solution.
To use the oil-rubber on a drypoint is fatal, for not only
will the bur be damaged, but the plate in all probability
will be badly scratched. If there are stains on a plain
surface of the drypoint plate, use the oil and putty
powder, and polish, with felt round the finger.

Note. — All the technical illustrations to this and other Parts
necessarily suffer in reproduction, but it is hoped that, in conjunction
with the text, they demonstrate the points made.

PART III

THE GREAT ETCHERS AND THETR WORK

THE GREAT ETCHERS AND THEIR WORK

Early German School

In this chapter the development of etching is shown
in outline from the earliest prints of the German school
to the work of the modern Master-etchers. The notes
on the artists and the reproductions of their work have
been designed to give, as far as possible, a concise view
of the successive schools and also to serve as a guide
to the study required for a complete knowledge and
appreciation of the art of etching.

Urs Graf, a Swiss engraver, produced the earliest
known etching in about 1513, and the
abouU485-l529 P rmrs 0I Diirer etched on iron plates were
made about the same time.
Hopfer etched a great number of designs for gold-
smiths' ornaments. He was probably the

Daniel Hopfer, r. . /-< . . -u n. j

about 149W536 ^^ German to etch in the modern sense
of the term. His work was mainly of a
reproductive tendency.

Diirer's plates were bitten with a very even line and
display a fine austerity of style and lofty imagination.
Diirer was essentially an engraver, and he
1471-1528 ' never appears to have realised the possi-
bility of developing the character of the
bitten line, with its greater freedom, in a distinctive
manner. His etchings, although more open in treatment
than his line engravings, have a character much more
akin to his glorious woodcuts. His etching, Angels with
the Emblems of Passion, is a splendid print with a fine
effect of light on the figure of the angel and the breaking
clouds. The Cannon is a wonderfully drawn landscape
with the great expanse of country stretching to the hills,
which are thrown into fine relief by the darker sky

44 ETCHING CRAFT

behind them. The Agony in the Garden (see page 45),
etched with a very powerful line, has all the great qualities
of design and draughtsmanship that make Diirer's
engravings so completely distinctive.

Among the earliest etchers of the German school

was Hans Sebald Beham. This skilful en-

^lsoo-isso"' g raver etched decorative subjects, of which

The Fool and the Lady, and A Soldier,

are examples.

Albrecht Altdorfer, a follower of Diirer's manner, pro-
Altdorfer, duced some etched landscapes and a number
abt. 1480-1538 £ e t cn ings of jewellers' cups.
Hirschvogel was one of the earliest etchers to pro-
duce prints that really differed in character from line
Augustin engravings. They sometimes have a sensi-
ffirschvogei, tive, suggestive line and delicacy of treat-
1503-1553 m ent that is surprising. Houses by a River,
and the small long plate with the Rocks and Castles
exemplify these qualities.

Hans Sebald Lautensack, another etcher of this early

Lautensack, German period, whose work is much more

1524-abt. 1563 involved in treatment than Hirschvogel's.

Burgkmair etched decorative designs. The coat of arms

Hans Burgkmair of Augsburg is an example. The original

the Younger, iron plate of his etching, Mercury and

o30- 5G0 Venus, may be seen in the British Museum.

Other early German etchers were Jost Amman (1539-

1591), who etched decorative works and portraits, and

Virgil Solis (1514-1562), whose portrait of Johannes

Gemel is noteworthy.

Italian Etchers, Sixteenth and Seventeenth
Centuries

The introduction of etching into Italy was of later

Francisco date than in Germany, the discovery being

, M paSiano 1 r 1 taken into Italy and first practised by

1503-1540 ' Parmigiano, who etched about 1525. The

ALBRECHT DURER : The Agony in the Garden. Etching,
ist state (B. 19) ; size of original, 8J" x 6J".

From a print in the British Museum. 45

JAN VAN DE VELDE : March, from the series of Months. Etching; size of

original, b\" X 8f*.

46 From a print in the British Museum.

ITALIAN ETCHERS 47

fluent composition of his drawings is reflected in his
etchings, of which The Resurrection and Judith are good
examples.

Meldolla, a follower of Parmigiano, etched with a free
Andrea Schiavone style. an d also used drypoint. The print
Meldolla, 1522-1582 Minerva and the Muses is a good example
of his work.

Barocci etched with a just perception of the resources

of the medium. The large plate The An-

Baroc«^of Urbmo, nunc iation, is a good example, and the

smaller plate Vision of St. Francis has

interesting qualities.

Guido Reni, a famous painter, etched some very good

CuidoReni, plates. The Virgin and Child and The

1575-1642 Infant Christ and St. John are examples.

The painter Ribera, working in Italy, was the first of

the Spanish school to etch, and his line is

^j^J'gj*' strong and expressive. The St. Jerome

and the Satyr and Silenus are good plates.

There are only two etchings by the painter, Guercino,

Guemno, the St. John the Baptist and St. Anthony of

1591-1666 Padua. The latter is a graceful design

and a well-treated plate.

The Neapolitan artist, Salvator Rosa, etched with a
Saivator Rosa, lively, suggestive line scenes of the military
1615-1673 ' life of his time.

Castiglione was a contemporary of Salvator Rosa
Castigiione, who was strongly influenced by Rembrandt
1616-1670 and Van Dyck.

Delia Bella followed Callot's manner closely. La
Stefano Delia place Dau-phine, du Cote du Pont Neuf is a

Bella, , , .\. ' , J

1610-1664 characteristic example.

Early Dutch School

Among the earliest of the Dutch school of etchers was

Jan Van de Veide, Jan Van de Velde, who produced landscapes

1593-1641 and figure subjects. The set, Seasons, shows

48 ETCHING CRAFT

his precise manner, but he reveals little perception of
the distinctive quality of the etched line. Stimmer is an
example of his formal design, with the great mill towering
over the trees in the foreground and the finely drawn
distance. The plate has a variety of human interest very
expressively drawn. In the print March (page 46) from
the series called The Months, the effect of the wind
sweeping over the country is admirably caught.

Some dehcately bitten costume studies charmingly
placed on the plates were produced by Buytenwegh, whose
William manner somewhat resembles the French-
Buytenwegh, m an Callot. The Dutch Nobleman is a
delightful example in which the head ex-
presses a very whimsical character.

The prints of Seghers are particularly interesting
to the student, for they show the first attempts and
experiments with colour-printing from
erC i590-i645 CrS ' C0 PP er plates. His etchings, though some-
what intricate, show an effort to express
nature faithfully and have often a very poetic quality.
Rembrandt altered one of Seghers' landscapes, the Tobias
and the Angel, and after removing the large figures at
the right of the plate, replaced them with the Holy
Family, and renamed the plate The Flight into Egypt
(H. 266). The Landscape with a River is a treatment
of an immense flat expanse of country such as Phillipe
Koninck painted later ; the planes are perfectly suggested
and the detail is well handled. Seghers' rendering of
wooded scenes, though very elaborately worked, is very
good. The Landscape with a Road through a Wood
represents this side of his etched work admirably.

The work of Molyn (I) is exceedingly interesting, for,

though his line is somewhat hard, yet his conception of

landscape etching is very near to Rem-

P,et l595^i66° (I) ' hrandt's. The print reproduced, Landscape

with Tree and Ruined Cottage (page 49),

has a quiet intimate simplicity, and while perhaps not

PIETER MOLYN I : Landscape with a Tree and Ruined Cottage. Etching; size of

original, 5" X 6 \" .

From a print in the British Museum. 49

^ -

ill

Petrvs Bkevgel

ASTVaFl* PICTOR RVRALIVM AC-TIOMVM. .

__J

SIR ANTHONY VAN DYCK : Pieter Breughel. Etching
(B. 2) ; size of original, gi" x 6J*.

50 From a print in the collection of Mr. Harold J. L. Wright.

EARLY FLEMISH SCHOOL 51

so free in style as the print, Man and Woman in a Land-
scape, yet its qualities of design are unpretentious and
entirely free from the German influence. The Travellers
is another characteristic etching by Molyn.

The Early Flemish School

Van Leyden executed a portrait of the Emperor Maxi-
Lucas Van Leyden, milian I in 1520 which is largely etching,

1494-1533 though the burin governs the treatment of
the line.

While the activity of Rubens was almost entirely
Peter Paul Rubens, directed to the school of engraving which

1577-1640 h e founded, he is reputed to have etched
the print called St. Catherine.

The one great etcher of the Flemish school was Van
Dyck, whose etched portraits form an important land-
Sir Anthony niark in the history of etching. These

Van Dyck, prints were executed in a spirit entirely

1 COO. 1 c 11

at variance with the engraved work of his
time, and though they were quite unappreciated and
were finished with the addition of backgrounds engraved
by other hands with the burin, yet the earlier states
have been an inspiration for succeeding generations of
etchers. The portrait of Pieter Breughel (page 50) well
represents the Flemish master with its massive character-
isation, economy of line, and virile drawing. Lucas
Vorsterman is a strongly bitten plate with a fine sugges-
tion of rich colour, the portrait of the truculent engraver
being a great contrast in treatment to the justly famed
self-portrait of Van Dyck, which is much more delicately
etched, with very simple lighting. The grave head of
Franz Snyders, the still-life painter, is beautifully drawn,
and Adam van Noort, with his more homely features,
wonderfully depicted, is another splendid example of the
famous series. In the etching of Antonie Cornelissen,
the poise of the head on the bulky shoulders is admirable.

52 ETCHING CRAFT

The Early French School

Of the earliest French etchers Callot was the most
prolific. He advanced the technique of etching by re-
working his plates after the first state, and
IaC i592-i635 0t ' produced more than a thousand prints.
Greatly varied in subject, their manner is
akin to engraving. They are very cleanly printed and
well display his vigorous, observant draughtsmanship.
The Seven Deadly Sins are a fine set of plates, especially
the Envy, and the dramatic and forcible set, The Miseries
of War, show Callot's power in its widest range. His
portraits are in line very like engraving, and the series of
his records of contemporary costumes are very interesting.
He etched a number of studies of Beggars which are full
of character, closely studied, and well recorded. Of
these the print reproduced (page 53) is a good example.

Mr. J. Pennell in a recently published book of lectures

given at Chicago, while paying tribute to Claude's power

as a draughtsman, says : "He too was

C1 l60iM6ra e ' forced to etch > and he etched vilely." Le
B ouvier (page 54) is hardly a " vile
etching." Granted that it does not conform to the
limitations within which Mr. Pennell would circumscribe
etching, yet Le Bouvier is a print of poetic power that
will always compel the admiration of the discerning
connoisseur and student. Claude's prints have had
great influence on modern landscape etching. He was
the first lyrical etcher, and all his work is full of light.
The Cattle Going Home in Stormy Weather is a lovely
print with a delicately suggested sky and play of shadow
across the spacious hilly country, the light just catching
the large tower on the wooded hill in the middle distance,
the tall Corinthian columns, the trailing line of cattle
with the herdsman hurrying the laggards, all beauti-
fully related. The Dance by the Waterside is indeed a
lyrical etching with a beautiful distance ; a kindred

JACQUES CALLOT : Beggar. Etching (M. 703) ; size
of original, 5 J' X 3|".

From a print in the British Museum. 53

CLAUDE GELLEE : Le Bouvier. Etching, 3rd state (D. 8) ; size of original,
54 From a print in the British Museum.

REMBRANDT 55

plate even greater in its lovable grace is the Dance Under
the Trees. Then there is the Sunset, full of glowing light,
wonderfully rendered and perfectly complete, the vessels
in the distance and the figures in the foreground busy
with their unloading.

The direct imitation of line engraving seems to have
been the aim of Bosse's etching, and much burin work

is mixed with his bitten line. The sets of
T602^i676 SSe ' Th e Seasons and Elements show his hard

clear line and precise drawing, and the series
of prints depicting the etching and printing workshops
of his time are also interesting and provide invaluable
records of the methods of the early craftsmen.

The Master of all Etching

The greatest master of all etching, Rembrandt,
supreme after three hundred years, for though the modern
R , masters have widened the scope of expres-

van Ryn,' sion and explored more fully fields of work
1606-1669 \ha± h e could nly open to them, yet he
remains unsurpassed and unrivalled in his power, range
of vision, and technical skill. The whole of the best of
modern etching reflects, in some shape or other, the .
influence of Rembrandt. Though the tradition of his
manner and outlook was submerged during the eighteenth
century beneath the popularity of line engraving, yet it
was never wholly lost. Andrew Geddes and David
Wilkie in the early nineteenth century, modelling their
work upon his style, produced prints that were entirely
antagonistic to the skilful mechanical reproductive en-
graving of the time. Their prints, few though they be,
are rightly esteemed to-day, while many a lumber attic
holds the work they failed to supplant. In Rembrandt's
work can be read an intense introspection, as frank as
any autobiography ever penned. The revelation of
himself is poignant or gay as the varying fortune of his

56 ETCHING CRAFT

life compelled. The comparison of his work and Whistler's
is not only unnecessary, but inimical to the modern
master. Whistler may, in some respects, be the more
accomplished etcher, but he could never depict the
gamut of human experience as Rembrandt so triumphantly
did. From Rembrandt's first known print, the lovely
Portrait of his Mother, to the last, The Woman with the
Arrow, there flows a tremendous outpouring of every
shade of human emotion; every phase of experience is
delineated from the purity of the child to the frankly
gross.

From his first etching, the Portrait of his Mother,
1628 (H. 1),* remarkable for its freedom of line as much
as for its sure grasp of character, Rembrandt began to
gather a constant increase in command of the bitten
line. We see it in the numerous studies from himself;
in the many etchings of beggars of all types, of which
The Beggar Man and the Woman behind, a Bank (H. 13) is
a fine example; in the early scriptural subjects, notably
The Circumcision (H. 19), a gem of beautiful delicate
biting; in the series of studies of old men, of which the
head at the top of the plate of Three Studies (H. 25) is
brilliantly direct ; and in that extraordinary feat of
craftsmanship, Diana at the Bath (H. 42) — through
all these is a progress strongly marked, culminating in
the Rembrandt's Mother (H. 52), 1631, a print that has
remained one of the most universally admired of all his
etchings.

The elaborately etched Rembrandt wearing a Soft
Hat (H. 54), The Rat Killer (H. 97), Rembrandt with
Plumed Hat (H. no), The Great Jewish Bride (H. 127),
are four plates rich in colour and fine technical achieve-
ment that were produced in the following four years.
The studies of his beloved Saskia (H. 145), the Abraham
casting out Hagar and Ishmael (H. 149), the Young Man in

* The reference in brackets is to the number of the print in Professor
A. M. Hind's Rembrandt' s Etchings.

REMBRANDT 57

a Velvet Cap (H. 151 — page 59), follow. The last-named
is one of the finest of the master's pure etchings. The
simplicity of its execution is as remarkable as the char-
acterisation is profound. The placing and the marvellous
technique single the plate out among the best of all
etched portraiture.

In the great plate The Death of the Virgin (H. 161 —
see page 60), Rembrandt's genius soars to a height of
inspired power sublime in its sympathy with the inevit-
able tragedy of suffering and death that he was later to
know so intimately in the early loss of his wife,
Saskia.

Malcolm C. Salaman, in a beautifully expressed
tribute to the genius of Rembrandt, writes of this print :
" The piety, the solemnity, and withal the beauty of
death are here, and the scene is realised with wonderful
touches of natural truth. Physical finality is graphically
suggested in the sinking figure of the Virgin, the power-
less, propped-up head, the wasted, pulseless hands ;
yet, while the sorrowing people around, waiting for the
inevitable end, just watch as the bed seems changing to
a tomb, there is in the grave atmosphere of the chamber
a mysterious uplifting sense of supernatural loveliness,
such as one feels with the first far-off, lofty-sounding
notes of Croft's music at a Westminster Abbey funeral,
and it carries one's eye naturally to the angelic vision —
but a few magic strokes of the master's needle."

. The splendid portrait of Rembrandt leaning on a
Stone Sill (H. 168) is of the same year, and its perfect
accomplishment is the fruit of the eleven years' ceaseless
study that preceded it. His constant search for more
expressive utterance led him at times to add to or deface
plates that were perfect in themselves. The Three
Heads of Women, one lightly etched (H. 153), is much
finer in its first state with the single head so full of brood-
ing, haunting intensity that it seems to have a kinship
to the Demeter of Cnidos. How thankful one is that the

58 ETCHING CRAFT

charming old woman and baby on the print Studies
from the Nude (H. 222) remain, for this little sketch has
a human interest that appeals as strongly as that lovely
drawing of Millet's, The First Steps.

With the year 1640 began the landscape etchings,
and, simple in motive as they often are, they have a
weight of truth that has carried an imperishable influence
down through all the best landscape etching since his
death. " The best of Claude or Ruysdael," says Pro-
fessor A. M. Hind, " is mannered and trivial beside the
sound draughtsmanship and convincing reality of Rem-
brandt's rendering of nature." The View of Amsterdam
(page 63) is a fine example of Rembrandt's landscape
etching. Its quiet literal truth has been a source of
inspiration for much modern landscape etching. It is
very simply and directly treated, and ranks high among
the twenty-seven landscape etchings by Rembrandt, for
it expresses all that is typical of the simple homely
Dutch country. The Landscape with a Cottage and Hay-
barn (H. 177), which is perhaps one of the finest he
etched, being exquisite in its arrangement of light and
balance of composition; The Windmill (H. 179), with
its wonderful rendering of distance behind the old mill
and its adjacent picturesque house — these are master-
pieces. The closely-worked Cottage with a White Paling
(H. 203) follows, and how luminous it is ! Then comes
the great Three Trees (H. 205), the best known and most
completely worked in tone of all Rembrandt's landscape
etchings. The Omval (H. 210), of about the same period,
1645, has a beauty and charm that distinguish it even
among the best of the Master's landscapes. The
beautiful quality of line and the certainty of the biting
make the plate one deserving of the closest study. The
contrast between the intricate foreground with the
luminous shadows in which the lovers sit, and the simply
drawn distance that recedes in perfect perspective, is
wonderfully expressed. Cottage and Farm-buildings with

■

■ - >0 X

REMBRANDT: Young Man in a Velvet Cap. Etching (H. 151);
size of original, 3!" x 3J".

From a print in the Victoria & Albert Museum 59

REMBRANDT : The Death of the Virgin. Etching and Dry-
point (H. 161) ; size of original, 16J" X I2-|".

60 From a print in the Victoria & Albert Museum.

REMBRANDT 61

a Man Sketching (H. 213) closes the first group of the
landscape etchings.

During these five years appeared the two vigorous
Lion Hunt plates (H. 180 and 181) and The Raising
of Lazarus (H. 198 — see page 64). I have chosen to
reproduce this etching because of its extraordinary
economy of line. There are only two states of the
etching, and the variation is trifling. Compressed within
this small plate is an expression of wonder and fear in
the presence of the miracle that is without parallel in
etching. Of the same period are the Descent from the
Cross — A Sketch (H. 199) and the Christ carried to the
Tomb (H. 215). The last is etched with an amazingly
free and open hne, yet is entirely complete. It reflects
Rembrandt's deep understanding of the immeasurable
tragedy.

The Rembrandt drawing at a Window (H. 229), 1648,
is surely one of the most faithful self-portraits ever
achieved. It bears the imprint of an absolute searching
for self-expression, and is worked in a web of closely-
bitten line with additions of drypoint to enrich the tone.
So, too, is the famous Portrait of Jan Six (H. 228). The
amazing masterpiece, Christ healing the Sick (H. 236),
called "The Hundred Guilder Print"* contains an
almost overwhelming amount of interest, diversity of
type and action in the swarm of sufferers and their
attendants. Every one of the crowded figures is fully
and completely expressed, and one can but linger over
the immortal print and marvel at the stupendous genius
that could wield such power so unaffectedly. All the
long study of Rembrandt seems to be infused into this,
the most elaborately worked etching he produced, and
with its glorious accomplishment of balanced composition
and technical skill is united the keen grasp of character

* So called because Rembrandt is reputed to have sold the print
for 100 guilders — a high price in those days. The highest listed price
of this print is £2,700, paid at the Hubert sale in Paris, May 1909.

62 ETCHING CRAFT

and deep sympathy he had gathered for suffering and
broken humanity.

The second group of landscapes began about 1650,
and they were mostly worked with etching and dry-
point mixed. They differ in some instances from the
earlier landscapes by the introduction of mountainous
distances which are not quite convincingly drawn, the
Canal with the Angler (H. 238) being an example. The
Landscape with Trees, Farm Buildings, and a Tower
(H. 244) is the summit of Rembrandt's achievement
in landscape. The brilliant sunlight on the foreground
and the trees is emphasised by the dark group of trees
in shadow and the threatening storm cloud dragging its
length across the sky. The Gold-weigher' s Field (H. 249)
is another great print, and conveys a perfect suggestion
of space and distance with the long lines of the fore-
ground sweeping round through the village and the belt
of trees to the distance. The great expanse of flat
country is expressed with unfaltering selection.

Clement de Jonghe (H. 251) is a portrait of the shrewd
print-seUer whose activity among the Dutch etchers was
widespread. It is beyond doubt one of the finest por-
traits Rembrandt executed, and the acute personality
of the dealer peering out of the picture is wonderfully
revealed. It is etched in an open style much simpler
than the Portrait of himself, drawing. Professor A. M.
Hind compares this print with the etchings of Van Dyck,
and comments : " With his realisation of the com-
plexity of human nature and in the astounding subtlety
of his expression of character in his later portraits he
shows a spiritual penetration that Van Dyck never
possessed." Rembrandt followed this great print with
the Night Pieces, of which The Flight into Egypt (H. 253)
is a brilliant rendering of artificial fighting. It reminds
one of the drawing of The Good Samaritan in the British
Museum, which is so infinitely finer than the elaborate
etching of the same subject (H. 101). Christ Preaching

: v-r..-^-'.

REMBRANDT : View of Amsterdam. Etching, 2nd state (H. 176) ; size of original,

4tV X 6 T V".

From a print in the Victoria & Albert Museum

REMBRANDT : TheJRaising of Lazarus. Etching (H.
198) ; size of original, 5 J" X t,\" .

6 From a print in the Victoria & Albert Museum.

REMBRANDT 65

(H. 256) is a fine example of the later scriptural subjects,
the figure of Christ with His uplifted hands being very
dignified and the rapt attention of the listening people
intensely suggested.

Christ Crucified between the Two Thieves — the Three
Crosses* (H. 270 — page 67). In this great print
Rembrandt reaches a height of emotional intensity
which places it in a plane above all the other prints of
scriptural subjects he etched. Its stupendous strength
is tribute to its passionate conception. Professor Hind
suggests that the fourth state is inspired by the last
agony of Christ. The idea is entirely in keeping with
the character of Rembrandt's work, his unwearying effort
striving to attain to the highest expression of his subject.

Christ Presented to the People* (H. 271). This mag-
nificent plate also underwent great changes, and that
the last state is the finest conception cannot well be
denied, for its greater concentration adds much to
the power of the composition. Among the scriptural
subjects of the last eight years of Rembrandt's etching,
the Presentation in the Temple (H. 277) is remarkable
for the glitter of light on the rich vestments.

The portrait of Jan Lutma, the goldsmith (H. 290),
is one of the finest of the later portraits, remarkable for
its grasp of character and beautiful arrangement of light
on the head and dark dress, from which the sensitively
drawn hands of the old craftsman gleam out. Con-
trary to the consensus of critical opinion, I consider the
first state the finer, for the more elaborate second state
loses, by the addition of the window and the lowering
of the dark tones on the wall and the dress, much of the
brilliant light that pervades the earlier state.

In a study of Rembrandt's etching it is pre-eminently
necessary to consider the evolution of his technique,

* These two plates are drypoints. I have included them in this
chapter to complete, as far as possible, this appreciation of Rembrandt's
work.

66 ETCHING CRAFT

which was to set the standard for the long series of
etchers succeeding him even down to the living crafts-
men. The earlier work is distinguished by its care,
thoroughness, and purity of line.

With the middle period begins the mixture of bitten
line and drypoint, and tonal effects engaged Rembrandt's
attention. The third and last period shows a great increase
in power, and drypoint is used with tremendous effect.

Dutch School contemporary with Rembrandt

Of the Dutch school of etchers contemporary with
and immediately following Rembrandt, only three, Bol,
Lievens and Van Vliet, were strongly influenced by him.
Ostade, entirely individual, influenced Bega and Dusart,
but the landscape etchers were either, like Ruysdael,
entirely Dutch in outlook, or influenced by Italian
study, as shown by the prints of Jan Both and Nicholas
Berchem. The work of the animal painters, Paul
Potter, Carel du Jardin, Dirk Stoop, and Adrian Van de
Velde, presents an entirely new field of subject in etching,
and the sea-pieces of Zeeman and Backhuysen give a
further width of scope to the practice of the art in Holland.
Bol was a pupil of Rembrandt and followed his style
in an imitative manner. Plates such as The Sacrifice of
Gideon, A Philosopher in Meditation, and
Fer , d i n ^i? 01, The Family show how closely Bol, with a fine

1616— lboU . y

technique, absorbed the manner of his master.

Lievens, fellow-student of Rembrandt, was strongly

influenced by him, as the two plates, the Raising of

Lazarus and the St. ferome, a very heavily
J ^07-1674 S ' bitten plate with very dramatic lighting,

clearly show. The Portrait of a Girl with
Loose Hair is sensitively etched but lacks the power of
Rembrandt's fewish Bride. Notable among his other
prints are the dignified portrait of Heinsius and the very
elaborately worked Jacob Gouter.

REMBRANDT : The Three Crosses. Drypoint, 4th state (H. 270) ; size of
original, 15J" X 18".

From a print in the Victoria & Albert Museum. 67

ANTHONIE WATERLOO : Two Fishermen Starting in a Boat. Etching (B. 25) ;
size of original, 3§" X Sf".

68 From a print in the collection of the author.

REMBRANDT'S CONTEMPORARIES 69

De Vlieger etched some plates, principally of sea-
coast scenes, of which Les Pecheurs and

Sim i60i-i653 8er ' Le Trapper* du Bled are good examples,

in which the figures are well studied.

Waterloo's plates are of great interest. His Tobias

and the Angel is a very elaborate print full of detail.

Two Fishermen Starting in a Boat (B. 25 —

Antho i6iMff76 rlo ° P a & e 68 ) is much more °P en in st y le and

is an admirable little print, showing his
treatment of Dutch landscape ; Twilight is another very
interesting plate.

Influenced by a visit to Italy, Jan Both's work is

distinguished by a keen appreciation of

1610-1652 sunlight. The Ferry is a good example of

his manner. Ponte Molle is an excellent

etching of an ancient bridge near Rome.

Berchem was also strongly influenced by the

Italian school. He drew animals with great skill, but

his work lacks the sturdy native Dutch

NlC °i620-i683 hem c l ua lifi es - Three Cows resting and Crossing

the Brook are good examples of his manner,

and The Bagpipes and The Flute-player are other prints

that show the delicate charm of his etchings.

Etcher of some good plates of wild Norwegian land-
scapes, the novelty of these subjects being so entirely
Allan van different to the etchings of the flat Dutch
Everdingen, country by the native artists, Everdingen
1621-1675 achieved great success in Holland. Les
deux nacelles qui s'approchent, Les deux pins pres des
chaumieres, Les deux hommes sur la terrasse elevee, and
La nacelle retiree au bord are good examples.

Ostade interpreted the homely scenes of the Dutch

life with unfailing sympathy and power. He was akin

to Burns in his portrayal of rustic pleasures

Adria i6ioT685 Stade ' and the more intimate interiors with the

variety of human interest that he etched

so well. He commanded a perfect technique and ex-

70 ETCHING CRAFT

pressed it with entire success. Malcolm Salaman, an
enthusiastic admirer of Ostade's etchings, in a note
on the Dutch master in his book The Great Painter
Etchers from Rembrandt to Whistler, admirably expresses
Ostade's qualities : " After the supreme master, the
greatest Dutch painter etcher was Adrian Van Ostade,
of Haarlem, Franz Hal's pupil, and he was absolutely
original. In range of subject, pictorial vision and artistic
and technical manner he was entirely himself, and a
master. His etched line, rich in the expressive quality
of the medium, is positively autographic."

The Child asking for a Doll (B. 16 * — page 71) is
a charming example of homely humour; the teasing
mother and the eager child, admirably drawn, and the
figure of the father leaning on the rail resting with entire
contentment, completes a beautiful little group. The
Saying Grace (B. 34) is a little plate full of simple, pious
feeling, and the boy's attitude is wonderfully expressive.
His etchings of village fairs are full of animation, as the
Fite under the Vine Arbour (B. 47) and the Fete under a
Large Tree (B. 48) show by the keen expression of the
rustics enjoying their riotous amusements. The Anglers
(B. 26) is a fine example of his treatment of landscape,
and, while it has none of the grandeur and breadth of
Rembrandt's finest plates, it is nevertheless distinctive
and entirely true to the character of the Dutch land-
scape. The figures of the anglers hanging over the
bridge are admirable. The Peasant Paying his Score
(B. 42 — page 72) is one of the best of Ostade's etch-
ings, showing well his command of technique. The
effect of light is full and strong and the figures are charm-
ingly intimate, especially the group round the fire. The
La Chanteuse (B. 30) illustrates Ostade's sense of humour,
the three revellers being exuberantly drawn.

A pupil of Ostade, Bega etched with a powerful,

* Adam Bartsch's Le Peintre Graveur.

ADRIAEN VAN OSTADE : The Doll. Etching, 3rd state (B. 16) ;
size of original, 4J" x 3$".

From a print in the British Museum.

ADRIAEN VAN OSTADE : Peasant Paying his Score. Etching, 3rd
state (B. 42) ; size of original, 4 \" X 3!".

72 From a print in the British Museum.

REMBRANDT'S CONTEMPORARIES 73

vital line, and all his work is boldly drawn. Though he
did not cover so wide a field as Ostade,

O1 i620-i664 Sa ' y e ^ m hi s more limited way he achieved
fine results. La Mere et son Mart (B. 35 —
page 75) is a characteristic plate, well designed, with
strong contrasts of light and shadow and magnificently
drawn. His Scene de Taverne, Les Trois Buveurs (B. 29),
La Jenne Aubergiste (B. 33), and La Jenne Cabaretiere
(B. 34), should also be seen to appreciate his work.

A follower of Ostade, Dusart used mezzotint and

produced some prints which show very strongly the

influence of his master. Of these La Fete

^Im-xwT' dn Villa S e ( B - l6 ) is strongly drawn and
well observed, and conveys the commotion
of a village fair in convincing fashion, the group of
acrobats at the right of the plate being admirably drawn.
La Ventouse (B. 12) and Le Chirurgien de Village (B. 13)
are strongly drawn prints of subjects dealing amusingly
with the rough-and-ready medical methods of the time.
Le Cordonnier (B. 14) is a fine interior.

The Italian influence in style is strongly apparent
in de Laar's work. The Woman Spin-

Pie i600-i65o ar ' nin % ( B - 5) and Huntey with Hounds (B. 6)
are good examples.
The landscapes of Roghman are interesting for their
study of the treatment of light and shadow. The View
near Haarlem (B. 10) is remarkable for its
Roeland Roghman, lighting, and a plate which well exemplifies
his style is the Ryswick (B. 8). In the
Forest of Seunig (B. 14) is an etching of trees very compli-
cated in treatment, and the Landscape with High Rocks
and River, a plate much simpler in style.

Jardin produced some splendid etchings drawn with
a firm, clear line, and his treatment of

Car i622-i678 dm ' catt l e IS > m some ways, finer than any of

the Dutch etchers. The Two Horses (B. 4)

is an admirable plate, the foreshortened drawing of the

74 ETCHING CRAFT

horse stretched out on the ground being wonderfully-
true. The Group of Cattle (B. 34) with the beast sil-
houetted against the sky to the left of the plate, is a
print that should be studied; while Dogs (B. 5), with
the sleeping animals basking in the sun, is another good
plate. The print The Two Pigs (B. 15 — page 76)
well represents Jardin; the drawing of the animals is
superb. But the best known of Jardin's etchings is
the Horseman on the Battlefield (B. 28), etched with vivid
power; the drawing of the corpse of the man in the
foreground is especially fine.

Free from the Italian manner, Zeeman's etchings

Re nier Nooms °^ Amsterdam and Paris strongly influenced

(Zeeman), Meryon, the former's Porte St. Bernard call-

1623-1663 - n g ^ m i n( j a f- once -(-he wor k of the French

master. Apart from the interest that Zeeman's etch-
ings of Paris must always arouse to the student from
the fact that they were the inspiration of the great
French master, the sea-pieces which he etched so con-
vincingly are distinguished for their spirited action, as
the series of Sea Fights with the picturesque warships
of his time show. He etched splendidly the simple
Dutch fishing craft, which are but little changed in type
to-day. One of the set, Amsterdam Ships (B. 68), is
reproduced (page 77).

Naiwynx was a follower of Ruysdael, and his etch-
ings have great qualities. The Landscape with a lofty

Rock (B. 2) is a delightful plate with a
He 76 a 2M657 nX ' beautiful effect of sunny light on the side

of the great rock, and the clouds are
charmingly drawn. He etched trees with much of the
greater master's success.

A famous cattle painter, Potter etched with great

effect ; the Horse of Friesland, with the dark
1625-1654*' S ^y throwing the grey horse into sharp

relief, is one of the best known of his
prints; and The Neighing Horse is another characteristic

CORNELIUS BEGA : La Mere et son Mari. Etching, (B. 30) ;
size of original, 5^" X 4§*.

From a print in the possession of Messrs. Colnaghi. 75

CAREL DU JARDIN : The Two Pigs. Etching (B. 15); size of original,

4-J" X 5f».
76 From a print in the collection of the author.

ZEEMAN : One of the set of Different Ships of Amsterdam. Etching (B. 68);
size of original, 5J" x 9§".

From a print in the possession of the Cotswold Gallery.

JACOB RUYSDAEL : The Three Oaks. Etching, 2nd state (B. 6) ; size of

original, 5$" X 6'.

78 From a print in the British Museum.

DUTCH SCHOOL 79

example of his treatment of cattle subjects; the draw-
ing of the horse is fine and the long, low horizon well
suggests the character of the flat Dutch landscape.
The Bull and Two Cows are other notable plates by
Potter.

The great painter, Ruysdael, was one of the best
etchers of the 17th century, and his influence was after-
wards deeply felt by the English school,

JaC i628-i68 d 2 ae1 ' es P eciall Y b y Crome. The Three Oaks (B. 6
— page 78) is a very notable etching, the
drawing of the trees admirably expressed with a truth
that pervades all his best etchings. The Cornfield (B. 5)
is a little plate with a quiet effect of sunlight. The more
complicated plates, The Travellers (B. 4), with the great
trees in the swamp wonderfuUy drawn, and The Little
Bridge (B. 1), a subject very similar to some of Con-
stable's work (for the English master had a fervent
admiration for Ruysdael), are other fine prints by this
great but unfortunate master. The etchings of Ruysdael
were quite unappreciated, and he was entirely unsuccess-
ful in interesting the coUectors of his time. His tragic
life ended in abject poverty.

Ludolf Backhuysen, a fine painter of seascapes, only

began etching in the last years of his long life. He

Ludolf studied his subjects with splendid enthusi-

Backhuysen, asm, and etched some plates distinguished

by their truthful rendering and atmospheric

feeling. The Distant View of Amsterdam (B. 5 — page

81), Seascape : Windy Day (B. 6), and View of a

Harbour (B. 9) are good examples.

De Velde etched some well-related landscapes and

cattle subjects. In the plate Herdsman and Cattle

Adrian van de Rating the animals are finely drawn, and

Veide, the woman and dog below the bare tree

1635-1672 that crosses the corner of the plate, and

the huddled figure of the sleeping man, complete a fine

subject. Ox and Sheep (page 82) is another good

80 ETCHING CRAFT

print ; the foreshortened drawing of the ox cropping the
pasture is excellent.

Seventeenth-century Etching in England

With the advent of Hollar in the household of the

Earl of Arundel in 1637, began the history of the British

School of Etching. This astounding crafts-

W ^ 1 ^! lar ' man is reputed to have executed 2,700

loU7— lb/7 x _ . . n .

plates covering an extraordinarily wide and
varied field. All subjects came alike to him ; he attacked
them with zest and achieved remarkable results, even
though his work is devoid of the finest qualities of the
greatest etchers. In his tribute to Hollar, Malcolm
Salaman finely states: "A Thames etching by Hollar,
is to one by Whistler, as, say, Macaulay's description of
London, in the famous third chapter of the History,
compared with Wordsworth's sonnet on Westminster
Bridge. Picturesque fact is the motive of one, as sug-
gestive beauty is of the other." Despite the lack of
imagination there is an honesty and engaging truth in
all his etchings. Whether he was depicting the topo-
graphical landscapes — the delightful figure subjects of
which the Winter (page 83) from the set called The
Small Seasons is a most intriguing example — or the
miraculously etched sets of still-life subjects, such as the
Muffs and Shells (a good example of the latter is
reproduced on page 84), the certainty of his needling
and biting is amazing. The magnificent etching of
Antwerp Cathedral and the Views of London, so interesting
to-day to students of the City's history before the Great
Fire, illustrate the value of his work. Wedmore, writing
of the fine print, London from the top of Arundel House,
says : "It has everything that art can give to record
of bare fact — except emotion." Drawn from a high
elevation it depicts with exquisite gradation the reach
of the river to old London Bridge ; old St. Paul's, and the

3pm '^ ¥ /^t*v -

gss^.r---:

■

; *§*e,

LUDOLF BACKHUYSEN : Distant View of Amsterdam. Etching (B. 4) ; size
of original, 7" x 9§".

From a print in thj British Museum. 81

ADRIAEN VAN DE VELDE : Ox and Sheep. Etching (B. 12) ; size of
original, 5§" x 6|".

From a print in the collection of the author.

WENZEL HOLLAR : Winter, from the set of Small Seasons.
Etching (P. 617) ; size of original, 7" X 5".

From a print in the British Museum. 83

WENZEL HOLLAR : Shells, from the set of Shells. Etching (P. 2224) ; size

of original, 3!" x 5I".

From a print in the British Museum.

CONTINENTAL ETCHERS: 18TH CENTURY 85

numerous towers of the city churches, loom up above
the crowded buildings, and the whole scene is beautifully
lit, from the dark buildings in the foreground to the
faintly bitten lines of the hills in the distance. The sky,
though mechanically drawn, is very luminous. Arundel
House is an etching most certain in its biting and very
interesting in its delineation of domestic architecture of
the period. Albury and the View from Greenwich are
other prints that should be studied.

Eighteenth-century Etching in Italy, France and

Spain

The interest in the remarkable etchings of Tiepolo
has of late years become keener, and this master of
Giovanni Battista the eighteenth-century Italian school should

Tiepolo, have an assured position in the esteem of

1696-mo students and collectors. His etchings are
distinguished by their brilliance obtained with a very
pure technique and their perfectly balanced design.
They are often very delicately bitten with an extremely
sensitive line. His subjects are of a strange fantastic
nature. Magicians, satyrs, and fauns figure frequently,
this imagery being sustained at a very high level through
all his etched work. The three plates Punchinello talking
to Two Magicians (page 87), the Magician and five
other figures standing, watching a Serpent (page 88),
and the Satyr Family, with the Fir Tree (page 89), are
fine examples. Goya and Fragonard were influenced
by Tiepolo's etchings; Goya by their bizarre strength
and Fragonard by the more delicate idyllic influence.

Canaletto etched with a simple technique entirely

individual. His plates express the clear Venetian atmo-

Giovanni Antonio sphere and sunlight perfectly. In The

(Canaletto) Tower, Malghera, the suggestive quality of

1697-1768* the line is superb. It is one of the best

known and universally admired of all his etchings, and

86 ETCHING CRAFT

shows Canaletto's work at its best. The brilliant light on
the white tower and the perfect gradation of tone is con-
veyed by the simplest means. The Lock at Dolo with its
charmingly placed figures, of which the little group in the
centre is especially fine, has a beautiful effect of diffused
sunlight and luminous shadow ; the arrangement of the
lighting is masterly and a warm glow of colour suffuses
the scene. Mestre is a print in which the perspective of
the canal is expressed with the greatest skill. The Porch
with the Lantern (page 90) is one of Canaletto's best prints ;
the effect of light is simply but surely obtained.

Many of the huge plates of Piranesi consist of
architectural subjects of ancient buildings. The Temple
of the Sibyl at Tivoli, The Coliseum Rome,
Gi ° va mo P i778 neSi ' and P° nte Molle are characteristic examples.
The series called Carceri are the best of
Piranesi's etchings, for in these plates he depended entirely
on pure etching and discarded the mechanical ruler. They
are most elaborately built up and are replete with harrow-
ing incidentals of torture chambers and dungeons, but
they have little of the terrible impulse of Goya's etchings.
The famous painter, Jean Honore Fragonard, etched
Fragonard, plates called The Bacchanales with a delight-
1732-I8O6 ful lyrical charm and fantastic daintiness.
Goya is one of the most romantic figures in the
history of art ; his work as an etcher is marked by a
strong individuality, expressing a mordant
Fra i7^-W28 ya ' sa -ti re on the political and social condition
of Spain in his time. Hamerton in Etchers
and Etchings concludes his chapter on the Spanish master
with these words : " His etchings have little artistic
value, and owe their great fame to the fascination of
their incomparable horror and a kind of philosophical
reflection whose bitterness suits our taste." Yet these
etchings have great dramatic power, and among them
are many examples of magnificent draughtsmanship of a
direct strength that is amazing. A Caza de dientes, No. 12

G. B. TIEPOLO : Punchinello talking to Two Magicians. Etching
(de V. 21) ; size of original, g\" x 7\" .

From a print in the British Museum.

G. B. TIEPOLO : Magician and five oilier figures sti
watching a Serpent. Etching (de V. 24) ; size of original, 8|" X 6 J".

88 From a print in the British Museum.

m/Mffr.f

m/^^td

G. B. TIEPOLO : Satyr Family, with the Fir Tree. Etching (de
V. 22); size of original, 8|" x 7".

From a print in the British Museum, 89

CANALETTO: The Porch with the Lantern. Etching, ist state (de V. 10) ; size of

original, n-J" x 17".

9° From a print in the possession of the Cotswold Gallery,

ENGLISH ETCHING 91

of Los Caprichos (page 93), is a print which is pregnant
with the morbid passion of Goya's work. The drawing
of the hanged man is extraordinarily powerful and the
line is less coarse than in many of the plates. The
simple tone of aquatint in the sky is of great help to the
design. Se aprovechan and Enterrar y callar are two
plates in the series called The Disasters of War that are
terrible in their sheer horror. The drawing of the stripped
bodies and their despoilers is masterly. The series The
Bull Fighters convincingly conveys the varying phases
of the national spectacle of Spain, its daring and its
tragedy. La Mime Ceballos monte sur itn tanreau, a
very vigorous plate, and Mort Malheiireuse de Pepe Illo
are good examples. The later editions of Goya's plates
give little idea of the brilliance of the early proofs, the
aquatint tones are worn away and the line too has
suffered badly, and to appreciate the mordant genius
of the Spanish master to its full and proper extent the
finest early editions must be studied ; they are most
easily found in the Print Room at either the British
Museum or South Kensington Museum.

English Etchers of the Nineteenth and Twentieth

Centuries

While Crome and Turner produced bitten plates,
the best of the work of Wilkie, Geddes, Daniel and Read
was done with the drypoint, and their prints will be dealt
with in the following chapter on Drypoints. The prin-
cipal plates of Cotman were soft ground, and these are
also dealt with elsewhere.

The Norwich Master, Crome, was the first great painter
of the British School to produce etchings completely ex-
pressed with a clean line. Mousehold Heath

] °\i£\m' (P a & e 94) is g enerall Y held t0 be the finest

of his plates. The sky is one of the best

ever etched and the character of the landscape is extra-

92 ETCHING CRAFT

ordinarily faithfully drawn. The Hall Moor Road near
Hingham is another very fine example of Crome's etching,
in which the oaks are splendidly drawn ; the plate loses
a great deal in the last state by the coarsely bitten lines
across the sky. The Composition, the large Sandy Road
through Woodland, Footbridge at Cringleford, Back of the
New Mills, Gravel Pit, Marling ford and At Bawburgh
should all be closely studied, for they are unrivalled for
keen characterisation of tree growth and magnificent
drawing.

The etchings of Turner were bitten as a foundation
for the mezzotint engraver to work upon, and though

Joseph Maiiord tne Y were for tnis reason simply drawn and
William Turner, strongly bitten, they are marvellously
1775-1851 suggestive with the utmost economy of line.
His superb draughtsmanship and power of design are
displayed in the etchings for the three Liber Studiorum
plates, the function of the Severn and the Wye, the Stork
and Aqueduct, and Winchelsea, Sussex (page 95).

Of the lesser known etchers of the Norwich school,
the work of Stannard deserves much more attention
than it has received. His luminous print,
'""SSlST* A Composition (page 96), is a good
example of his exceUent use of clear well-
bitten hne.

The etchings of Palmer have evoked much con-
troversy, and many critics have hotly contested their
merit as etchings, but their spiritual and
1805-18M roma -ntic power cannot be denied. They
have an individuality that impresses them
indelibly upon the minds of all who can perceive their
great qualities. Elaborate in detail as no other etchings
ever were before them, they are yet perfectly knit together
in effect.

The serene charm of The Early Ploughman (page 99)
is the outcome of great poetical feeling and magnificent
technique. Hamerton, writing of The Early Ploughman,

FRANCISCO GOYA : A Caza de dientes. Etching and
Aquatint (H. 12) ; size of original, &\" X 6".

From a print in the Victoria & Albert Museum. 93

«■■£

■$gm

JOHN CROME : Mousehold Heath. Etching (T. 3) ; size of original, 8 J" X 11".
94 From a print in the collection of Mr. Harold J. L. Wright.

?-&k

ffiaBs.«R|^

JOSEPH MALLORD WILLIAM TURNER: fcitfaa. Etching (R. 42); size of

original, 8 \" X nj".

From a print in the British Museum. 05

»*£*■■ —

fef-^i!

JOSEPH STANNARD : A Composition. Etching; size of original, 5J* x 8J*.
9 6 From a print in the collection of Mr. Martin Harclie, R.E.

ENGLISH ETCHING 97

in his eloquent tribute to Palmer, says : " Many a night
has the etcher of this plate wandered in a land of beauty
from sunset to sunrise, from twilight to twilight, from
the splendour of the west to the splendour of the east,
watching through the gradual changes of the hours,
and gathering for us that rare learning of which his works
are full." The extraordinary depth of luminous shadow,
the light which suffuses the whole scene, and the perfect
relation of the beautiful sky to the misty distance are
all achieved with consummate skill. Intricate as his
style was, Palmer depended entirely upon his line, which
was never obscured with ink in the printing, but always
stands clearly revealed. The whole of Palmer's etchings,
thirteen in all, are worthy of the closest examination.
Among them The Herdsman (page ioo) is a magnificent
treatment of moonrise. The moon rising over the dark
hills is indeed Shelley's " bright orbed maiden with white
fire laden," for its light gleams through all the lovely
landscape, over the dark valley on to the trees and the
oxen with the herdsman in the foreground. The Rising
Moon is another poetical print of a similar character,
while The Morning of Life shows how finely Palmer could
envisage the glowing glamour of sunlight. Martin
Hardie has finely stated the chief glory of Palmer's
etchings : " No one has rendered more impressively
than he the sentiment of spiritual and ideal beauty
immanent in landscape."

The work of the famous etcher Seymour Haden, the

surgeon, is one of the most remarkable features in the

Sir Francis history of etching. That a man busy

Seymour Haden, and successful in an exacting profession

1818-1910 should turn to an equally exacting art

and achieve such masterpieces with consummate ease

is simply astounding. Further, not only by his work

did he provide a new stimulating influence on etching,

but by his writing he impressed his theories and outlook

firmly and indelibly on the mind of succeeding generations.

98 ETCHING CRAFT

He etched with a quick, simple suggestion and free,
vigorous line that sometimes leave his prints almost
incomplete. His was the successful faculty of selection,
possible only to a mind acute and alert in instant trans-
mission of impulse, which he recorded rapidly and
unhesitatingly.

Many of his plates were etched out of doors, and are to
all intents and purposes beautiful drawings, some of them
showing a completeness of design that is wonderful. The
Kilgaren Castle (page 101) is a very fine example of this.
The Water Meadow is a beautiful plate with a tenderly
etched sky most perfectly suggesting the summer shower.
In the large plate the Breaking up of the Agamemnon,
the sky is extraordinarily fine with a most beautiful
suggestion of colour and light. Erith Marshes is an etch-
ing of great breadth and power.

The etchings of the Punch artist, Keene, display

his wonderful draughtsmanship to great advantage.

The Lady with a Book and The French

Ch i823-l89i° e ' P easani are examples of his command

of the bitten line.

Whistler began the long series of his etchings

with the famous sketches on the Government coastal

James McNeill surve Y plates, which were the cause of

Whistler, Whistler's retiring from the United States

1834-1903 service. In France he worked among the

masters who were active in reviving the general practice

of etching after its long neglect. He was well equipped

to rival any of his fellow-artists, and the first French

set shows that he was already a master-etcher, sure of

his utterance with the line and with a keen appreciation

of the possibilities of the medium — possibilities he was

later to explore and exemplify with such wonderful

results.

The French plates reveal a close observation and
were etched with elaborate detail, and in all of them there
is a sincere search for personal expression. La Vieille

SAMUEL PALMER : The Early Ploughman. Etching, touched proof (H. 9) ; size

of original, 5£" x 7$".

From a print in the collection of Mr. Martin Hardie, R.E. 99

SAMUEL PALMER ; The Herdsman. Etching, early state (H. 8) ; size of original,

5i" x 7l".

loo From a print in the collection of Mr. Martin Hardie, R.E.

fc ^ vVv '• a - : ii" AH*-*

SIR F. SEYMOUR HADEN : Kilgaren Castle. Etching (H. 65) ; size of original,

4l" X 5l"-
From a print in the collection of Mr. Martin Hardie, R.E. ' 0I

J. A. McN. WHISTLER : The Unsafe Tenement. Etching, 4 th state (K. 17) ; size

of original, 6J" x 8J".

102 From a prmt~in the collection" of Mr. Harold J. L. Wright.

ENGLISH ETCHING 103

aux Loques : how wonderfully drawn is the old woman
sitting among the medley of her chattels; the sensitive
delicacy of the head and hands is superb and the arrange-
ment of the plate is perfect. The Unsafe Tenement
(page 102) displays Whistler's skill with the needle in
the wonderful drawing and variety of texture suggested
and the treatment of light and shadow. It is peculiarly
a plate for the student to study, for Whistler's advance
from this downright plate to the magical suggestion of
his Venice sets was along the path of hard work and rigid
training, and in no way the result of caprice.

The Thames set brought forth fresh qualities, for
with these etchings — by some still held to be his finest
work — he developed a technique as marvellous as Rem-
brandt's. These Thames-side subjects are wrought with
an intricate variety of line and contrast of light and shade,
and some of them are bitten with miraculous certainty.
The Limeburner, Eagle Wharf, Black Lion Wharf, Long-
shoremen, Rotherhithe are masterpieces in their keen
observation and accuracy. Hollar's manner is rightly
coupled with them in speaking of their topographical
truth, but how they transcend the early master's work in
their exquisite poetry ; among the portraits of Whistler's
early period the Becquet is a splendid example.

The Venice sets reveal the master definitely developing (
from the manner of his previous etchings and forming
a style peculiarly his own. They are unapproachable |
in the elimination of all but the very essentials needed
to form the beautiful pattern of line and tone.

The Palaces (second state), with the beautiful facades
of the stately old buildings, poetically conceived and
drawn with consummate skill, and the graceful gondolas
woven into a lovely pattern as they are strung along the
edge of the canal. The Doorway : the arrangement of
this plate is most beautiful and the interior is enchant-
ingly luminous. The Beggars : Whistler here takes as
his subject a covered alley- way, and by magical skill

104 ETCHING CRAFT

in contrasting sunlight and shadow creates a print of
exquisite beauty. The Two Doorways : this exquisite
rendering of the doorways on the bend of the canal is
extraordinarily fine. The print shows all the best
qualities of Whistler's manner. Note the perfect design,
the luminous shadows, the admirable suggestion of texture
and the subtle drawing of the receding houses by the
canal. The Traghetto (No. 2) : this famous plate is gener-
ally considered one of Whistler's masterpieces. The
placing and drawing of all the various figures and the
glamour of the lighting are alike incomparable.

The Second Venice Set : the Quiet Canal, with the
tall houses overhanging the limpid water ; the haunting,
mysterious Furnace Nocturne ; the delicately bitten
Bead Stringers, and The Balcony (page 105) are fine
examples. In the later plates Whistler somewhat
returned to his earlier manner, but there is a greater
amount of detail and a fuller tone, though all the grace
and beauty of the Venetian plates is retained.

The Balcony, Amsterdam (page 106), shows to the full
his later manner, being marvellously rich in tone and
colour, and perfect in design. With The Embroidered
Curtain, The Steps, and the Long House Dyers, Amsterdam,
of the Amsterdam set, Whistler reached the summit
of his achievement as etcher.

Tireless in his search for perfection, he altered plates
time and again, and ruthlessly destroyed them if they
failed to satisfy his exacting demands. In the sustained
quality of his etchings Whistler is unsurpassed ; in beauty
of arrangement, treatment of the witchery of light,
and suggestion of colour, he is incomparable. His
influence has been potent; in no way has it benefited
the imitative followers who could gather nothing from
their adoration of his prints but a facility for creating
pretty patterns and feeble echoes of his manner; on
the other hand, the discerning student may be inspired
by an appreciation of the master's great endeavour and

""■;' |

P| !

J. A. McN. WHISTLER : The Balcony, Venice. Etching

(K. 207); size of original, n|" X 7 J".
From a print in the British Museum. I0 5

J. A. McN. WHISTLER: The Balcony, Amsterdam.
Etching (K. 405) ; size of original, io|" x 6|".

106 From a print in the Victoria & Albert Museum.

ALPHONSE LEGROS : The Dying Vagabond. Etching

and sand-ground Aquatint (M.-T. 89) ; size of original,

Zltf X I5»".

From a print in the Victoria & Albert Museum. 107

SIR J. C. ROBINSON : Corfe Castle : Sunshine after Rain. Etching (H. i6) ;
size of original, 6{" x n".

From a print in the possession of Messrs. Colnaghi.

ENGLISH ETCHING 109

signal success in creating, from the solid foundation of
sound craftsmanship, the most beautiful expression in
etching since Rembrandt.

A great painter and one of the greatest etchers of

the 19th century, Legros' prints bear the mark of a

profound mind, lofty outlook and austere

A1P l837-i9iT r ° S ' st y le - The y are " tterl y divorced from all
but the highest ideals, and though they recall
the work of many of the old masters, they have a great
individuality and dignity that lifts them above all the
etchings of the modern school. They are in number
over seven hundred.

Legros began etching in Paris at the period when
Bracquemond, Haden, and Whistler were publishing
their work, and his early prints included some illustra-
tions to Edgar Allan Poe's works, of a grim and weird
nature thoroughly in keeping with the tales themselves.
Among the finest prints of his early period are The Com-
munion in the Church of St. Medard, The Spanish Singers,
and The Procession through the Vaults of St. Medard, all
of which are of a deep imaginative character, dramatic
and intensely felt. The Dying Vagabond (page 107), a
great plate, is a masterpiece that awes by the terrible
power with which the pitiable tragedy is portrayed.
Wedmore finely said that this plate " is type, or final
expression, of Legros' leaning towards the theme of the
human derelict." The sombre, tragic print Death and
the Woodman reflects the deep melancholy of Legros'
outlook. His portraits of Cardinal Manning, G. F. Watts,
Victor Hugo, and Auguste Rodin are marked with a deep
and expressive dignity that no modern etcher but he could
achieve.

The landscape etchings of this master have a wide
range of expression, from the tender plates A Sunny
Meadow and The Sheep-fold, to the power of The Storm,
with its fine rain-swept sky, and The Abbey Farm, with
its dark trees and buildings against a dramatic sky. The

110 ETCHING CRAFT

Plain is a wide, open stretch of country beautifully drawn.
The Canal {Morning) is a fine treatment of trees by the
riverside, a theme that Legros constantly returned to
with very poetic results. The dark gloom of the forest
is convincingly recorded in the print In the Forest of
Conteville.

Legros by his teaching at South Kensington and the
Slade School exercised a very great and lasting influence.
Among his pupils were William Strang and Sir Charles
Holroyd.

In treatment of atmospheric effects, the work of

Sir J. C. Robinson holds a unique position among modern

Sir John Charles etching. That some of the thirty plates

Robinson, which form the total of his prints are

1824-1913 overworked, should not prevent a keen
appreciation of such fine prints as Corfe Castle : Sunshine
after Rain (page 108), Swanage Down, and Space and
Light, which are entirely successful.

Finely designed and vigorously executed with a clear

expressive line, the best of the prints of Holroyd are

Sir Charles sure °^ a P ermanen t place in the history

Holroyd, of modern etching. The beneficent in-

1861-1917 fluence of Legros over Holroyd is strongly
apparent in many of his etchings. The Monte Oliveto
series contains some fine plates, notably the Ladies'
Guest House, and the Cypress Trees near Siena ; Lang-
strath, the Nymphs of the Sea, and the fine Flight into
Egypt are thoroughly representative works.

Of all the living etchers there is not one more versatile

than Sir Frank Short. It would be difficult adequately

Sir Frank Short, *° estimate the influence of this master

R.A., P.R.E., craftsman and teacher on the etchers of

1857 ~ to-day. His work in the school of etching

and engraving at the Royal College of Art has been
universally recognised in generous measure, and by none
more heartily than his pupils. In every branch of
etching and engraving he has achieved a complete know-

SIR FRANK SHORT : " The Street," Whitstable. Etching (S. 290, supplement) ;
size of original, 13-J-" x 9«".

From a print in the possession of^the author m

WILLIAM STRANG : Rudyard Kipling, 1898. Etching (S.
345); size of original, 14" x 10".

112 From a print in the collection of Mr. Harold J, L. Wright.

D. Y. CAMERON : Damme. Etching and Drypoint (R. 391) ;
size of original, 10 1" X 7 J".

From a print in the private collection of Mr. T. Connell. 113

F. BRANGWYN: Hop-pickers. Etching (No. 207); size of original, 24 | tf x n\" .
JI 4 From a print in the possession of the Fine Art Society.

ENGLISH ETCHING 115

ledge and magnificent mastery, and has given that hard-
won knowledge and experience in munificent generosity
to all who have been wise enough to profit by it. Always
he has practised a pure, honest technique, and a survey
of his bitten etchings will surely convince the student
that no etcher ever excelled Sir Frank Short in the use
of inspired and expressive line.

His etchings are distinguished by their poetic reticence
— a quality that is all too rare in the clamorous restless-
ness of much of the work of to-day. Low Tide and the
Evening Star and Rye's Long Pier Deserted is the plate
that is usually considered Sir Frank's masterpiece ;
it is undoubtedly an etching of the highest rank full of
quiet, poetic power. " The Street," Whitstable (page in)
is a most original etching and an excellent example
of the purity of the master's line. It is a fine treatment
of a subject that few etchers would be tempted to portray.
Windy Day in Kent, Unloading Peat Dort, Angler's Bridge
on the Wandle are three other fine plates.

I think it is the deep spiritual understanding derived
from communing with all the aspects of nature that has
made the brooding beauty of many of Sir Frank Short's
prints so profound. The master told me one day in
Ramsgate that he used to meet the Abbot of the Priory
there on the cliffs and they would together watch the
dawn rise. Once the abbot turned to him and, with a
wave of his hand to the sleeping town, said : " They
who sleep there do not know what they miss."

Among the great number of Strang's etchings are

many prints of great strength and power, for though

he was influenced by Rembrandt, Holbein,

^S-ira" 8 Millet an d> more strongly,, by his master,
Legros, his own personality is nevertheless
powerful, and he produced prints that will live. The
illustrations to Pilgrim's Progress are splendidly attuned
to the famous allegory. The Muckrake and Christian
and Hopeful in the Dungeon are fine examples. Socialists

116 ETCHING CRAFT

shows Strang's qualities at their fullest, his sardonic
humour and keen appreciation of the character of the
speaker and his motley audience. The Cause of the Poor
is a plate of similar character, powerful in drawing and
characterisation. His portraits are among the finest
work in modern etching. /. B. Clark, Cosmo Monkhouse,
Robert Louis Stevenson, Cunninghame Graham, and the
magnificent Kipling (page 112) are among the best.
His etched illustrations to the Kipling tales are very
notable, and few etchings since Goya have such morbid
power.

David Young Cameron has produced many notable
etchings and not a few masterpieces. The fine plate
David Youn called The Border Tower well represents
Cameron, his early manner, and the Loches is a mag-
1865- nificent example of his later manner in

which drypoint is added to the etched work, and a great
power of strong contrasts and rich colour is achieved.
Roberts Lee's Workshop is an interior full of delicate light
and luminous shadow, and the intricate detail with which
it is filled is fused together with great skill. The Meuse
is the finest landscape of Cameron's later manner, with
a deep romantic feeling and splendid atmospheric effect.
The wide sweep of the river below the hills crowned with
the citadel and castle is magnificently drawn. Evening
on the Findhorn has the same deep spiritual feeling ;
the sky with its wonderful suggestion of the sinking sun
is extraordinarily luminous. Interior, Notre Dame, Dinant
is a fine architectural plate with the altar blazing with
light in the dark chancel. The Five Sisters is Cameron's
masterpiece; the tremendous effect of height and sug-
gestion of the glorious colour of the stained glass place
the print among the finest modern etchings. The Canon-
gate Tolbooth, Edinburgh is another fine architectural
subject, while the well-balanced Dinant, with the long
quayside and old houses, Damme (page 113), the lovely

GEORGE CLAUSEN : Filling Sacks. Etching (G. 29) ; size of
original, nj" X 9|".

Fro.Tl a print in the collection of Mr. Harold J. L, Wright. 117

GEORGE CLAUSEN : A Journey by Night. Etching and Mezzotint (G. 19) ; size

of original, 4!" x 6|".

118 From a print in the possession of Messrs. Colnaghi.

AUGUSTUS JOHN : Benjamin Waugh. Etching (D. 23) ; size of original,

6A" x si*.

From a print in the collection of Mr. T. F. Clarke. 119

PERCY FRANCIS GETHIN : The Terrace, Compiigne. Etcning; size of original

7l" x Ilf.
120 From a print in the collection of Mr. Harold J. L. Wright.

ENGLISH ETCHING 121

proportioned tower looming up against the dark sky,
and the St. Laumcr-Blois are other fine plates by the
Scottish master.

Whatever may be the feelings of the lover of the
orthodox etched line when contemplating the huge
etchings of Brangwyn, an honest admira-
Fra, i867- angWyn ' ti° n must be given to his tremendous power
and range. His subjects cover a very
wide field, and the great plates he etches are designed
with a massive sense of construction and balance. The
series of the Earthquake Ruins at Messina are powerful
plates, of which L ' Immaculata is a characteristic example.
The early Assist, Old Hammersmith and Road in Picardy
are much more dependent on their line than his late
work, in which the clever printing is used to give force to
the strongly contrasted light and tone. Windmill Bruges,
Canon Street, Bridge at Albi, Hop-pickers (page 114) and
the great Breaking up of the Caledonia are thoroughly
representative works.

Though the paintings and water-colours of the great

poet-painter, George Clausen, are justly acclaimed,

the power of his work as an etcher is not

G T852- ClaUSen ' y et full y recognised. Filling Sacks (page
117), Cleaning Wheat, and The Bam
Door are etchings of interiors of the old barns that he
has painted so finely, and all three are distinguished by
sure design, superb character of drawing, and beauty in
arrangement of light and shadow. Among his landscape
etchings, Clavering Fields and September Morning are
drawn with convincing truth of atmospheric effect ; the
September Morning is especially beautiful. The night
effects, A Journey by Night (page 118) — an etching
strengthened with mezzotint — and the lovely aquatint,
A Starry Night, are prints deeply poetical in conception
and treatment.

Technically derived from Rembrandt, as the early

122 ETCHING CRAFT

self-portraits clearly show, the etched work of Augustus

John contains some prints of the greatest

*"«£* Ioh °' interest. The portraits of Charles McEvoy,

William Rothenstein and Benjamin Waugh

(page 119) are especially fine, and other prints that

display his vivid, powerful drawing are the Maggie : A

Village Child, The Pheasant, Head of a Gypsy, The Jewess,

Lady with a Necklace and The Old Haberdasher.

The few etchings of that fine draughtsman, Gethin, are

esteemed for their beautiful qualities of design and

treatment ; his untimely death- in France

1874-l916 n ' wnue serving in the British Army cut short

a career full of promise. The Coliseum,

Auxerre, Gerona, and The Terrace, Compiegne (page 120)

are all fine etchings.

No living etcher is more various in subject and treat-
ment than James McBey, who, from his first plates
etched in Aberdeen in 1902, has pursued
1883- C 6y ' a course °f sustained advance in achieve-
ment that has made his etchings justly
apprised. Among the 200 prints that form the output
of McBey to the latest of his plates, there are undoubted
masterpieces which by their power of suggestion and sure
grasp of essentials take rank among the finest etchings
produced by any modern master. Subjects so utterly
different as the interior Night in Ely Cathedral and the
extraordinarily original Dawn of the first Palestine set
show how wide is the range of McBey's work. In the
long sequence of fine plates that he has produced may be
singled out the Sea and Rain, Macduff (page 123), with
its effect of storm rendered vividly, with a vibrant sugges-
tion of the great seas washing over the harbour break-
water, The Moray Firth, a beautifully designed and bitten
plate, the Penzance, with its finely etched sky, and The
Lion Brewery, a beautiful arrangement, most skilfully
etched, and generally held to be the best of his London
etchings, though The Pool is in every way as fine. The

p x \^>wweBBMMBBHMfflW

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JAMES McBEY : Sea and Rain, Macduff. Etching; size of original, 6|* X 8|".
From a print in the collection of Mr. Martin Hardie. 123

„-^. ---.- ■■■ . ,-

iU*#&

JAMES McBEY : The Torpedoed "Sussex." Etching; size of original, 8 \" x 15 \".
124 From a print in the collection of Mr. Martin Hardie, R.E.

ERNEST S. LUMSDEN : The Scales. Etching ; size of original,

14" X 9|".
From a print in the possession of Messrs. P. and D. Colnaghi. 123

THEODORE ROUSSEAU : Chines de Roche. Etching (L. D. 4) ; size of original,

' 5i" X 8{".
126 From a print in the possession of Messrs. Colnaghi.

CONTINENTAL ETCHING 127

Torpedoed " Sussex " (page 124) is undoubtedly the best of
the French plates ; it has all the finest qualities of McBey's
art, perfectly balanced design, great atmospheric sugges-
tion, masterly technique and amazingly direct statement.
Few etchers have succeeded as Lumsden has in render-
Ernest S m § successfully the spell of India. Benares
Lumsden, No. 2, Jodhpitr from the Desert, The Bazaar :
1883- Jodhpitr, The Umbrella and the two magnifi-

cent interiors, The Lamas and The Scales (page 125), are
among the finest prints he has yet produced.

Among other British etchers, notable work is being
done by E. Blampied, G. Brockhurst, F. Burridge,
F. L. Griggs, Lee Hankey, Martin Hardie, Malcolm
Osborne, H. Rushbury, George Soper, R. Spence, and
W. Walcot.

Continental Etchers of the Nineteenth and
Twentieth Centuries

The Barbizon painter, Rousseau, was one of the earliest
Theodore etchers of the revival in France. His
Rousseau, prints show strongly the influence of
1812-1867 Ruysdael. Chines de Roche (page 126) is

a good illustration of his fine draughtsmanship of trees.
Charles Jacque was indefatigable, and among his

immense output are many plates of splendid quality.
Influenced by the great Dutch masters,

l*T* IT

M e 3-i894 Ue ' ^ e stuc iied their work very closely, and many
copies of Rembrandt, Ostade and Du Jardin
show the source of much of the splendid technique he
acquired. His influence on modern etching was great
and beneficent, for he was one of the pioneers of the
revival of etching in the nineteenth century in France,
and his work, with its fine, honest, searching technique,
should be closely studied. Though he lacked the power
and lofty dignity of his friend Millet, yet his work is
distinguished with an intimate poetry that compels an

128 ETCHING CRAFT

ungrudging admiration. Especially beautiful are his
plates Le Bergerie Beamaise, an etching of sheep that is
a miracle of technique, and Troupeau de Pores, which
is generally considered his masterpiece. Among his
earlier work his Tueurs de Cochons is a little gem.
Jacque's etchings deserve far more attention, both from
collectors and students, than they have hitherto received.
Most of the more famous plates by Jacque contain
animals, which he drew with superb skill ; he understood
them intimately as few artists ever did. La Bergerie
is an interior as remarkable for its beautiful lighting as
for the skilfully drawn sheep. Of his landscape prints
the following should be studied : Troupeau de Pores
sortant d'un Bois, Le Repos Paysage, Dans le Bois — a
plate of great interest, the bare trees finely drawn. La
Rentree, with the sheep crowded into the narrow entrance
to the barn, the charming Laveuse, and L' Enfant Prodigue
(page 129) are other fine prints.

Jacque had a most extraordinary, varied career.
He was in turn clerk, topographical engraver, soldier —
he served for five years — and an illustrator; and while
at Barbizon he owned a poultry farm and wrote a
standard work, illustrated by himself, on the subject of
chicken rearing.

The great painter, Millet, with his instinctive power

of expressing the finest qualities of the various media

jean Francois ^ e use d, was eminently successful as an

Millet, etcher. The work of Jacque was well

1814-1875 k nown to Millet, and he probably derived
a good working knowledge of the technique of etching
from his friend. There are, however, several prints
which show how Millet experimented with the various
methods and tools. Though only thirteen etchings form
the total finished work of Millet on the copper, yet he
was assuredly a master-etcher. Every one of these
etchings is conceived in the true spirit of the art, with a
firm, expressive line full of vitality and truth, and though

CHARLES JACQUE : L'Enfanta Prodigue. Etching (G, 137); size of original,

41" x 7i".

From a print in the collection of Mr. Frank L. Emanuel.
K

129

J. F. MILLET : Two Men Digging. Etching, 4th state (L. D. 13) ; size of original,

9l" x I3i".
130 From a print in the collection of Mr. Harold J. L. Wright.

"J.T.AA.\noh 1 fcS? •

J. F. MILLET : Woman Feeding her Child. Etching (D. 17) ; size of
original, y\" X 6J".

From a print in the collection of the author. 131

J. B. C. COROT : Souvenir D'ltalie. Etching (D. 5) ; size of
original, n§" x 8|".

T 32 From a print in the British Museum.

CONTINENTAL ETCHING 138

his subjects are those he painted, yet there is not a hint
of reproduction in one of them. There is a note in
Sensier's fine biography of Millet which is interesting
to the student : " Meryon, who has had such success
since with his etchings, had a great opinion of Millet's,
and took the trouble to print some proofs in his own
press, in order to study their qualities."

Millet etched subjects of the life and labour of the
peasant with a reticent power derived from the know-
ledge he had acquired in his youth, while working on his
father's farm in the little hamlet of Gruchy near Cher-
bourg. It was all in his very bones. He knew inti-
mately all the varying tasks that come to the peasants
with the changing seasons, the digging, sowing and the
harvest, and the simple home-life of the women busy with
their manifold household duties or tending the sheep in
the fields. The Two Men Digging (page 130) is a noble
print, the action of the peasants working at the stubborn
soil, with the rhythmical swing of their spades, caught
and expressed with a conviction of truth that only a
man who had shared in their arduous toil could attain.
In the Man with a Wheelbarrow, his arms rigid with the
weight of the load, the poise of the figure is superb ; the
very sway of the head is suggested, and there is a beautiful
glow of light in this, one of the finest of Millet's prints.
The little plate, Man leaning on his Spade, has the same
intimate quality ; weariness is woven through the lines
on the plate. The three single-figure subjects, the
Woman Sewing, the Woman Churning, and the Wool-
carder, are drawn with a grave impressive fidelity. Of
the three the Woman Churning is the finest etching,
its line is finely expressive and the lighting of the figure
masterly. The Woman Feeding her Child (page 131) is
a superb etching in its simplicity of execution and sober,
unaffected dignity, and the small plate, The Vigil, with
the intent women working by candlelight, is a poetical
treatment of artificial light. There is a beautiful glow

134 ETCHING CRAFT

of morning light in the largest plate that Millet etched,
the Peasants starting for Work ; the lovely Shepherdess
Knitting, too, is full of light, and the Gleaners, though
it so closely follows in composition the famous painting,
is as complete and independent in its linear expression
as the famous lithograph, The Sower, is independent of
the same subject in painting. The Shepherd Girl Spin-
ning is the lightest in biting of all Millet's etchings.

A few charmingly expressive plates bear the name

of Corot, though he can hardly be ranked among the great

jean Baptiste etchers, for he only drew his subjects upon

Camiiie Corot, the copper.while the biting — the actual etch-

1796-1875 ^ n g — was { j one by ki s friend. Bracquemond.

But, as may be seen in the prints, called Dans les Dunes,
L'Etang de Ville d'Avary, Environs de Rome, a very
beautiful design, and Souvenir d' Italic (page 132), he
drew with the selective instinct of the etcher.

Daubigny etched a large number of plates. The

earliest are full of delicate detail and subtle effect, and

Charles Francis their technical quality is very high. His

Daubigny, later work is broader and freer, and he

1817-1878 depicted pastoral themes with poetic sug-
gestion. The influence of Claude is strongly apparent
in many of the plates, especially in a beautiful print
called Cows in a Pool. The Satyr is a very finely etched
plate, full of wonderful, glowing light. The Ford, The
Sheepfold, Shepherd and Shepherdess (page 135), Morn-
ing, Temps d'Orange, and the winter landscape, Crows
perching in a Tree, are other fine examples.

In the history of art there is no tragedy so poignantly

complete as the life of Charles Meryon— that inspired,

k , ». haunted visionary, whose morbid, brooding

Charles Meryon, 1 • , , , , , . °

1821-1868 soul 1S tremendously revealed in the etch-
ings known as the Paris set. He is among
the few supreme etchers, a master unapproached in his
own field, his technique and treatment being firm,
searching, and eminently fitted to his subjects. Born

CHARLES F. DAUBIGNY : Shepherd and Shepherdess. Etching
(D. 122); size of original, 10" X 7J".

From a print in the British Museum. 135

CHARLES MERYON: Le Stryge. Etching, ist state
(L. D. 23); size of original, 6|" x 5 J".

J j6 From a print in the collection of Mr. T. Simpson.

CHARLES MERYON : Le Petit Pont. Etching, 3rd state
(L. D. 24) ; size of original, 9J" x 7\" .

From a print in the collection of Mr. Hugh Stokes. 137

CHARLES MERYON : La Morgue. Etching (L.D. 36) ; size of
original, 9/X8J".

138

From a print in the British Museum.

CONTINENTAL ETCHING 139

under the cloud of illegitimacy which darkened his
outlook all his life, and caused him to relinquish his
service in the French Navy after cruises to the South
Seas and the Mediterranean, Meryon, during these
voyages, made sketches which he afterwards used for
etchings, but with no great results. After leaving the
Navy he began to study painting, but, finding that he
was afflicted with colour-blindness, he turned to etching,
and, working under Blery, he etched the copies from
Zeeman that were the foundation of the style of the
Paris set. His sensitive, brooding imagination found in
the old buildings of Paris themes attuned to his strange,
morbid soul. Le Stryge (page 136), the etching of
the monstrous gargoyle, is the finest expression of the
tormented spirit of Meryon. Le Petit Pont (page 137),
one of his first great plates, with its uncanny vivid light
and the dark towers of Notre Dame looming up against
the sky, La Galerie de Notre Dame, La Rue des Mauvais
Garpons, sinister in its suggestive terror, all have the
expression of his haunted, lonely spirit. How could the
lively free line, spontaneously suggestive, express the por-
tentous, tragic power of such a print as La Morgue
(page 138) ? To belittle Meryon's achievements be-
cause the rigid quality of his etched line seems, at first
sight, to be akin to engraving is neither just nor sound
criticism. His line is never mechanical, but pure and
true to the character of the themes he chose to depict,
and the style he evolved is entirely personal. Through
all the great plates he produced, from Le Petit Pont, the
first of the Paris set, to the L'Abside de Notre Dame,
a plate which is suffused with radiant sunlight, there is
a definite character of genius, sombre indeed, but never-
theless lifting them to the rank of the greatest products
of human imagination.

His life was one long record of tragic mental suffering
and often dire poverty; he was unable to obtain from
his prints — prints for which only the wealthiest collectors

140 ETCHING CRAFT

can now compete — the bare necessities of life. He died
insane in 1868.

Bracquemond stands, together with Meryon, among
the leaders of the modern revival of etching. A crafts-
man of the highest rank, etching both
Bracquemond, reproductive and original work, he set a
1833-1919 standard of thorough and searching tech-
nique that has exercised considerable influence. Among
his reproductive work the Erasmus, after Holbein, is a
classic. His bird pieces are marvellously etched, the
Le Haut d'un Battant de Porte is a splendid example, and
the later Le Vieux Coq is a superb print. Among his
portraits that of Legros (page 141) is well known.

The still-life pieces of Jacquemart are amazing in
their extraordinary character and representation of
surface and texture. Hamerton, in his
Iule8 l837-i88T rt ' appreciation of Jacquemart's work, says :
" And as his hand, better than any other
human hand, has rendered the hardness of porphyry and
the inflexible fragility of porcelain, so also it has most
truly interpreted the tender shades and complex delicate
lines on which depends the untidiness of the poppy and
the beauty of the rose." The series of plates called
Histoire de la Porcelaine contain some of his finest work,
and his reproductive etchings after Vermeer are justly
admired both for their extraordinary technical skill and
their faithful rendering of all the subtleties of lighting
and surface that distinguish the great Dutch Master's
paintings. Ivorie et Celadons (page 142), Vase Antique
de Porphyre, and the Frontispiece (page 143) are fine
examples.

For reliance on a pure clear line, the etchings of
Lalanne are rightly admired, and while he had neither
the scope nor temperament of his greater
ax ^ L j8 1 8 a 6 nne ' contemporaries, his work is always interest-
ing, and shows a complete technical com-
mand of the medium. The Thames at Richmond and Les

FELIX BRACQUEMOND: Portrait of Alphonse Legros.
Etching; size of original, 6|" X t,\" .

From a print in the collection of Mr. Frank L. Emanuel. 141

JULES JACQUEMART: Ivoyie et Ciladons. Etching; size of original, 5" x 9".
14 2 From a print in the collection of Mr. Frank L. Emanuel.

JULES JACQUEMART : Frontispiece. Etching (G. 331) ; size
of original, 12 J" X 9 J".

From a print in the British Museum. 143

MAXIME LALANNE : Les Acacias. Etching (B. no) ; size of original, 6" x 8£".
J 44 From a print in the collection of Mr. Martin Hardie.

CONTINENTAL ETCHING 145

Acacias (page 144) are both excellent examples of his
graceful etching of trees and the delicate gradation of
his line. Beuzeval and Plage des Vaches Noires, Villers
are admirable etchings ; the long stretches of shore
receding in subtly suggested perspective are splendidly
drawn.

The delightful etching Aux Environs de Monaco

is an excellent example of the charming

°1819-I898 ,an ' ar ^ °^ Appian; it is well composed and

freely drawn with a lively, expressive line.

Manet, the famous painter, etched plates of great

interest, and though they are hardly etchings of the

highest rank, they have qualities that

lffla-wra"' man y technically finer plates conspicuously

lack. The Boy with the Sword is a good

example of his work.

Famous first as a wood engraver, Lepere later etched
plates of great vitality. Amiens : I'lnventaire is remark-
able for the magnificent treatment of the
AuS i8 S 49-l9i8 ere ' f a 5 a de of the cathedral and for the vigorous
drawing of the riotous crowd in the fore-
ground. Among his landscape etchings which should be
studied are La Petite Mare, Belle Matinee d'Automne,
Le Ballon Qui Tombe, Le Pommier renverse (page 147),
and the fine Ruines du Donjon de Montagne-sur-Sevres ,
all good examples. A Amsterdam, a subject of a canal
and tall buildings, is vigorously treated; and of the
Paris subjects La Seine a V Embouchure du Canal St.
Martin is remarkable for its variety of interest.

The great draughtsman, Forain, whose splendid

lithographs have been keenly collected for many years,

has now by his work as an etcher taken

Jean ^- F ° rain ' rank with the § reat modern Masters. No
living etcher has his power of selecting the
deepest essentials of his subject and stating them with
such intensity, and his scriptural subjects have an amazing
ardour of utterance unexcelled except by Rembrandt's

146 ETCHING CRAFT

finest work. Le Retour de V Enfant Prodigue (page 148) is a
noble print of unforced pathos; there is a great dignity
in the simple figure of the father as he grasps the shoulders
of his repentant son. The two figures are set in a simple
open landscape which intensifies the powerful design.
La Fraction du Pain (page 149) is a masterpiece which
owes its power to a conception at once simple and awe-
inspiring. The series of plates of Law-Court subjects
are full of close observation, and the various types
are unerringly depicted — the keen inscrutable lawyers,
the hapless prisoners and all the unfortunate victims of
the law's clutch. La Sortie de I' Audience and Le Prevenu
et VEnfant (page 150) are both fine examples. The series
of Lourdes subjects are charged with an intense pity for
the suffering. L'Imploration (page 153) is a masterpiece,
with a surging sense of impassioned appeal; its economy
of line is literally amazing.

For sheer original technique and intuitive power, no
modern etcher has excelled Zorn. His prints have a

unique character like nothing produced in
Ka \m-\m' etchin g before them. Roughly bitten, with

a forceful, rugged and vibrating line, to the
lover of the delicate etching they may at first sight
appear repellent. To contrast the wonderful Renan with
Rembrandt's Clement de Jonghe is an education, and
Zorn does not fail in the tremendous test.

He received his first lessons in etching from his friend,
Axel Haig. Was there ever a greater contrast in the
work of master and pupil ? The work of Haig, built up
with meticulous care full of the most intricate detail,
with elaboration carried almost to excess, and Zorn's
trenchant treatment pulsating with vigorous power.
Zorn's portraits show a studied avoidance of the con-
ventional posed effects, and the famous portrait of
Renan represents the finest qualities of his work. Strind-
berg (page 154), Anatole France, and King Oscar, are
equally fine; and among his portraits of women, the

AUGUSTE LEPERE : Le Pommier renversi. Etching; size of original,

5l"X 7\".

From a print in the possession of Mr. Martin Hardie. 147

J. L. FORAIN : Le Retour de VEnfant Prodigue. Etching (G. 47) ; size of original

1 1 1" X i7i".

148 From a print in the collection of Mr. Campbell Dodgson, C.B.E.

J. L. FORAIN : La Fraction du Pain. Etching (G. 93) ; size of
original, 11 \" x 10 J".

From a print in the collection of Mr. Campbell Dodgson. 149

■"" %Jm

J. L. FORAIN: Le Prevenu et V Enfant. Etching (G. 52);
size of original, 15I" X n J".

I5 o From a print in the collection of Mr. Harold J. L. Wright.

CONTINENTAL ETCHING 151

beautiful Mona, the Queen Dowager of Sweden, and the
Mile. Etna Rassmussou are thoroughly characteristic.
The Ida is a remarkable plate with a curiously original
effect of lighting from the candle on the ground between
the girl's feet as she sits at her work. His treatment of
the nude in many prints of bathers he has etched has a
healthy, open-air feeling. They are instinct with the
vigour of youthful, radiant life. Storm, The Waltz, The
Omnibus are subject etchings splendid in their verve.

Deeply steeped in sympathetic knowledge of the life

of the humbler workers of Paris, Steinlen has produced

many fine prints drawn with wonderful

Alexandre 1

Theophiie fidelity. While his line is somewhat

Steinlen, coarse and often deeply bitten, and hardly
the line of an instinctive etcher as is
Forain's, yet the power of his tense, graphic utterance is
undeniably masterly.

Such prints as Le Concert dans La Rue, La Serbe
(page 155) — a plate inspired by the awful tragedy of the
great Serbian retreat — and La Ville Lointaine, Vagabond
sous la Neige, Le Coup de Vent, all attest the power of
Steinlen' s etching. Among the number of his prints are
many printed in colour. The etchings of cats are
remarkable for their originality in treatment and keen
observation of feline character.

The foremost of the modern Dutchmen who recall

the glories of the great seventeenth-century Dutch

School is Marius Bauer, whose etchings of

Ma wCT- BaUer ' the East are i ustl y admire <A f or their
imaginative power. With a free, virile line
he suggests the pageantry of Oriental pomp with aU its
wealth of colour and picturesque costume, and the
architectural setting of many of the plates is convincingly
drawn. His etchings of Palestine, Egypt, India, and
Turkey have all the atmosphere and glamour of the
Orient. Among the finest are A Festival Day at Cairo,
a finely balanced design, The Holy Ganges and Benares,

152 ETCHING CRAFT

among the Indian subjects, the long plate Jerusalem,
and A Gate (page 156).

The etchings of the Belgian artist Rops are brilliant

in technique and powerful draughtsman-

6 1833-98° PS ' s hhp> but their erotic nature precludes the

general admiration that would otherwise

be their due. He used soft ground with fine effect, and

his command over drypoint was masterly.

I Vj

>fk

I Hi t °

J.L. FORAIN : L'Imploration. Etching ; size of original, io^"xj$".
Froca a print in the collection of Mr. Campbell Dodgson. 153

■ Si. I!B

ANDERS ZORN : August Strindberg, 1910. Etching (A.
231); size of original, 11J" x 7$".

154 From a print in the collection of Mr. Harold J. L. Wright.

gsspri

A. T. STEINLEN : La Serbe. Etching; size of original, uj" X 19-}".
From a print in the collection of the author. 155

MARIUS BAUER : A Gate. Etching and Drypoint ; size of original, 3J" x 4|".
156 From a print in the collection of Mr. Martin Hardie.

PART IV

DRYPOINT, AQUATINT AND SOFT-GROUND ETCHINGS

Fig. i.— Reproduction of Drypoint print from a plate showing the bur,
which gives the distinctive character to this medium.

■. y-. ■- ■

^\^F-;>'|. ■ ' '

Fig. 2. — Reproduction of a print from the same plate, from which the bur
has been in parts removed.

ALBRECHT DURER : St. Jerome by the Willow. Drypoint (B. 59) ;
size of original, 8-fo" x j\".

160 From the print in the British Museum.

REMBRANDT : Arnold Tholinx. Drypoint, ist state (H. 28
size of original, y\l" x 5H".

From a print in the British Museum.

SIR DAVID WILKIE : The Lost Receipt. Drypoint, early state (L. 7) ; size
of original, s>\" X 6\".

162 From a print in the collection of Mr. Harold J. L. Wright.

DRYPOINT, AQUATINT, AND SOFT-GROUND
ETCHINGS

Drypoint

This method should really be called engraving,
though it is generally classified with etching. In a pure
drypoint the lines are scratched direct upon the plate,
either with a sharp steel needle or a diamond mounted in
a handle (Fig. 7, page 17), and no acid whatever is
necessary. A balanced steel point (Fig. 9, page 17) works
perfectly, but any hard piece of steel can be used pro-
vided the point is correctly sharpened, either perfectly
round or chisel-shaped for strongest work. A good test
is to try the point on the thumb-nail; it should scratch
with the slightest pressure. A badly-sharpened point
will throw up a notched line. The beautiful rich quality
in a print from a drypoint is given by the bur, which is a
ridge thrown up on one or both sides of the line by the
pressure of the point as it cuts into the plate ; the greater
the pressure the heavier the bur. If the point is held
upright the bur will be thrown up on both sides ; if held
aslant, more will appear on one side. The student will
find the diamond point answer splendidly, especially for
delicate work; strong bur can also be obtained with it
as long as the lines are not crossed. If cross-hatching
is resorted to, the diamond is apt to break off in flakes,
and it is much safer to use the steel point for very strong
work. The burin is often used in conjunction with the dry-
point needle, and the contrast given by the clear graved
line, with the rich quality of the bur, is often very valuable.
The plate may be prepared with a very thin ground,
laid and smoked as for etching, and a tracing transferred
for guidance, as it is easier to work upon the smoked

163

164 ETCHING CRAFT

ground than the shining surface of the copper. If this
method is adopted in preference to working direct upon
the clean metal surface, it must always be remembered
that the copper itself must be cut into and not merely
the ground removed, as in etching. When the work is
sufficiently advanced, the ground can be cleaned off and
the plate inked up and wiped, and a mixture of tallow and
lamp-black is often used for this purpose. The strength
of the line and bur can then be gauged and corrections and
additions made if necessary. It is inadvisable to wipe
the plate too often, as the bur wears all too quickly during
the actual printing. If the bur is removed with a scraper,
the line will print much the same as a bitten or engraved
line (see Fig. 2, page 159). Best copper plates should
always be used, and the harder the copper the better. A
zinc plate will only yield a very few proofs, as it is so
soft a metal. A lightly bitten line is sometimes used as
a foundation for a drypoint, and bitten plates are often
finished with drypoint, the bur being either removed or
left as occasion requires. The contrast of the strong,
rich tone held by the bur is often effective against the
silvery quality of the fine line left after the bur is removed.
Rembrandt frequently mixed etching and drypoint, and
the student wiU find this well exemplified in the Rembrandt
drawing at a Window (H. 229).

Drypoints require great skill and care in the printing ;
the bur wears away very rapidly, especially if the plate
is wiped entirely with the printing muslin and not with
the palm of the hand. Often after about twenty-five
prints have been taken the strength of the impression
becomes weaker and lacking in depth. The little drypoint
(Fig. I, page 159) was mainly drawn with a steel point;
a diamond was used for the delicate lines on the rick,
and also for the distance. The second print from the
same plate (Fig. 2, page 159) was taken after some of
the bur was scraped away, and shows clearly how the
print suffers with the removal of the bur.

ip*.

3fc

>-.,* - * ■

s^Ss*.^

ANDREW GEDDES : Peckham Rye. Drypoint (D. 32) ; size of original, 4 J" X y\\
From a print in the Victoria & Albert Museum. 165

CHARLES JACQUE : Troupeaude Moutons. Drypoint (G. 270) ; size of original,

4" X 61".

166 From a print in the possession of Messrs. Colnaghi.

SIR F. SEYMOUR HADEN : The Little Boat-house. Drypoint (H. 177); size

of original, 5 J" x- 8|".

From a print in the collection of Mr. Martin Hardie. 167

J. A. McN. WHISTLER : Axenfeld. Drypoint (K. 64) ;
size of original, 8}|" x 5}§".

168 From a print in the Victoria & Albert Museum

Masters of Drypoint

The earliest pure drypoints were the plates produced
by the Master of the Amsterdam Cabinet, the unknown
artist of about 1480, the largest collection of whose work
is that in the Print Cabinet at Amsterdam. It is certain,
however, that the engravers of the sixteenth century used
the drypoint in conjunction with the burin. The follow-
ing are brief notes, with illustrations, on the work of the
masters who have used the medium.

Diirer was the first of the masters to make full use

.„ , _ of the possibilities of the bur in a drv-

Albrecht Durer r J

point, the St. Jerome by the Willow
(page 160) being a magnificent example.

There is no finer pure drypoint portrait than Rem-
brandt's Arnold Tholinx (H. 289 — page 161), in which
profoundly realised character and structure
em ran arg expressed with a power that is beyond
any master before Rembrandt or since. It is a supreme
achievement. Note the directness of the superb drawing,
the marvellously rendered light, especially on the face
beneath the broad-brimmed hat and the variety of texture
suggested; technically it is flawless. The print is ex-
tremely rare and can only be seen in museums. Of
Rembrandt's pure drypoint landscapes the Landscape
with a Road beside a Canal (H. 264) is a beautiful example.
The values of the sunlight and shadow playing across the
road and on the trees and farm-buildings are stated with
absolute truth; and the sense of weight and texture
throughout is admirable.

Sir David Wilkie's The Lost Receipt (page 162),
or, as Hamerton describes it, A Gentleman at his Desk,
is a drypoint the student should study.
Sir 1785^1841 Apart from the extremely fine characterisa-
tion of the three figures and the scratching
dog, the technical quality of the print is of the highest
order.

169

170 ETCHING CRAFT

Geddes used drypoint with consummate skill,

and the second state of his little plate, now called

View of Peckham Rye (see page 165),

Andrew Geddes, . ~ , , , ,

1783-1844 1S a nne example and carries on the
tradition of Rembrandt's drypoint land-
scapes. The Portrait of his Mother is another fine plate.
Geddes has been justly described by Wedmore as the
link between Rembrandt and the modern masters of
drypoint.

Several beautiful drypoints were produced by Charles

Jacque, of which La Vachere, and Troupeau de Moutons

c (page 166) are both prints of great power,

showing his perfect command of the medium.

The animals are superbly drawn and in design the prints

are admirable.

A devout follower of Rembrandt, Haden has exercised

very great influence on modern work with the drypoint.

His best prints are distinguished for their

"j,^ 1 "" direct simplicity and freedom of line. The

lovely Sunset in Ireland is a beautiful plate.

In an early impression it has a wonderful glowing richness.

Windmill Hill No. 1 is a print full of sensitive quality,

while The Little Boathouse (page 167) shows Seymour

Haden's method at its best — beautifully balanced design,

luminous light and shadow, and direct draughtsmanship

making this simple little subject a poem. No student of

drypoint should neglect to study closely all the prints of

Haden.

Though it is on the beauty of his bitten plates that

Whistler's fame chiefly rests, he used the drypoint

with wonderful effect. Axenfeld (page 168)

bumdwuSL is an arrestin g drypoint, displaying
perhaps more power of characterisation
than the master shows in his later work. Fumette is
another example that shows Whistler's complete com-
mand of this medium, whilst Weary is one of the most
tender and poetical of all his drypoint portraits; the

J. A. McN. WHISTLER : Annie Haden. Drypoint
(K. 62); size of original, 13J" X 8|".

From a print in the Victoria & Albert Museum. 171

ALPHONSE LEGROS : Le Mur du Presbythe. Drypoint (No. 335) ; size of

original, 5§" x 7 -J".

172 From a print in the collection of Mr. Harold J. L. Wright.

AUGUSTE RODIN : Victor Hugo, 1886. Drypoint, 2nd state
(D. 7) ; size of original, 8J" X 6J-".

From a print in the British Museum. 173

MUIRHEAD BONE : Demolition of St. James's Hall

{Interior), 1906. Drypoint (D. 196) ; size of original,

15 J" X II \".

174 From a print in the collection of Mr. Campbell Dodgson.

MASTERS OF DRYPOINT 175

beautiful Annie Hadcu (page 171) was Whistler's own
choice as his finest print.

The wide range of Legros' work covers every form of

etching, and among his drypoints are many prints of pro-

... , found and simple grandeur. Prof. Hind, in

Alphonse Legros r

the conclusion of his book on Rembrandt s
etchings, says :

Among modern etchers Legros comes, in my
estimation, nearer than Whistler to Rembrandt's
genius, on account of the sturdy human sentiment
with which his work is inspired.

Prof. Hind's estimate is amply justified by La
Promenade d'un Convalescent ; for this beautiful print
depicts with a quiet reticence the pathetic weakness of
the invalid and the solicitude of his companion. Its
sentiment is akin to Rembrandt's Christ healing the Sick.
Of the landscape drypoints Le Mur du Presbytere
(page 172) is splendidly direct, and is informed with the
deep seriousness and austerity which so distinguished all
his etched landscapes.

There are but five known drypoints by the great

sculptor, Rodin — all distinguished by their sculptural

construction. The Antonin Prouste, a pro-

AU i840-m t ? in me that is like a lovel Y medallion, and the

portrait of Victor Hugo 1886, (page 173)

are characteristic examples of his powerful drawing. The

graceful Printemps is a print of poetical spirit and charm.

Almost the whole of Bone's work on the copper has

been done with the drypoint, though he etched a few

bitten plates very early in his career. He

Mm i876 ad B ° ne is the master of ever Y P hase o f drypoint
work, and among a prolific output of
sustained power he has already produced many plates
that justly rank as masterpieces. Such wonderful prints
as The Shot Tower, Rainy Night at Rome, Stirling Castle,
Liberty's Clock, Culross Roofs, and Walberswick Ferry
are but a few of the prints that have established the fame

176 ETCHING CRAFT

of Muirhead Bone. The Demolition of St. James's Hall,
Interior, 1906 (page 174), is powerful in design, inspired
in draughtsmanship, and with intricate detail firmly
knit to the beautifully balanced design, is wrought with
amazing skill. Ayr Prison (page 177), a somewhat earlier
plate, accepted by many as his masterpiece, has a tremen-
dous tragic intensity entirely in keeping with the character
of the grim old gaol. The student should contrast these
two massive works with the dainty little Venetian plate,
The Giudecca (page 178), or the Rye from Camber,
and the beautiful little plate South Coast No. 2 (page 179),
and note the range of Bone's achievement. Hamer-
ton, in his hand-book, says : "A man of genius who
loved drypoint and did nothing else would get very fine
effects indeed." Surely Bone has fulfilled this prophecy ?
The more recent work of D. Y. Cameron has almost
entirely consisted of pure drypoint, or etching reinforced
by drypoint. Distinguished by their deep
spiritual poetry and finely conceived
pattern, his prints take a very important place in modern
work. Among the greatest of his achievements is the
Chimera of Amiens (page 180), though the later Scottish
plates are quite as fine. Strathearn is a characteristic
plate full of the knowledge and love of his native land-
scape, powerful alike in draughtsmanship and expression.
The Esk (page 181), is another drypoint print that is a
memorable work, pure in technique and magnificently
drawn.

Strang's portraits of Emery Walker (page 182), and
of Frederick Goulding, the famous printer of etchings,
reach the highest standard of drypoint,
and are fully worthy to be placed among
the world's finest portrait drypoints. Strang used, with
amazing power and precision, a hook burin which he
invented. The portraits of /. Craig Annan and Thomas
Hardy, facing left, are characteristic works engraved with
this tool.

MUIRHEAD BONE: Ayr Prison. Drypoint (D. 179); size of original, 5" X 7."
From a print in the collection of Mr. Campbell Dodgson. X77

MUIRHEAD BONE ; The Giudecca, Venice. Drypoint ; size of original, 4 \" x 7°.
178 From a print in the collection of Mr. Campbell Dodgson.

. :■*, :\ a«

MUIRHEAD BONE: South Coast, No. 2. Drypoint; size of original, 4^ X 8£\
From a print in the possession of Mr. Campbell Doclgson.

179

BW"

D. Y. CAMERON : The Chimera of Amiens. Etching and Dry-
point (R. 415) ; size of original, q|" x J\" ■

180 From a print in tbe collection of Mr. T. Simpson.

D. Y. CAMERON: The Esk. Drypoint; size of original, 3 f$» x 9f "
From a print in the collection of Mr. Martin Hardie.

181

a? :

W. STRANG : Portrait of Emery Walker (No. 473). Drypoint;
size of original, 14J" X 9rV-

182 From a print in the possession of the Fine Art Society.

SIR FRANK SHORT : A Wintry Blast on the Stourbridge Canal. Drypoint
(S. 114); size of original, 7" X 10".

From a print in the collection of Mr. Harold J. L. Wright.

iSi

JAMES McBEY : The Pianist. Drypoint; size of original, 7" x 13".

l8 4 From a print in the collection of Mr. T. Simpson.

AQUATINT 185

The Wintry Blast on the Stourbridge Canal (page 183)
is one of the finest drypoints produced during the
S'r F k Sh n ^ as * ^^ years. The dreariness of the drab,
wind-swept and rain-sodden scene is felt and
expressed with poetic power and stated with authoritative
technique. Sion House is another excellent example of
Sir Frank Short's skill with the drypoint.

Among the portraits executed by Francis Dodd
are many prints of outstanding quality. The Door-
keeper, the Bone at the Press, the Garden
T \m- ° ' Door, and the splendid Epstein are fine
examples of his command over the treat-
ment and resources of drypoint.

The Pianist (page 184) is perhaps the finest dry-
point yet produced by McBey; it has superb qualities
lames M Be °^ design an d expressive draughtsmanship.
France at her Furnaces is another splendid
drypoint by McBey.

Aquatint

This much-neglected medium is not sufficiently
appreciated either by collectors or students. In capable
hands it gives beautiful and expressive results obtained
with a simple and easily understood technique. The
two principal methods of producing prints in tones are
aquatint and mezzotint, and if an example of each is
studied side by side the difference in execution will
quickly be distinguished. The aquatint, as the name
implies, is obtained entirely by the action of the acid
biting into the metal through a porous ground, and is
composed of simply bitten tones drawn with a brush and
varnish on the grounded plate. These may range from
a delicate silvery tone to a luminous dark tone according
to the length of the immersion in the acid bath. The pure
mezzotint is worked without any biting with the acid at
all, and its tones are obtained by the working down with

186 ETCHING CRAFT

the scraper from the deep dark of the rocked plate
through half-tones to the highest lights. In aquatint
the work is from light to dark, in mezzotint from dark to
light, and so the two methods are entirely distinct, but
while the aquatint cannot command the strong dark tones
or the subtle gradations of a mezzotint, the qualities
obtained by fine draughtsmanship and correct relation of
the bitten juxtaposed tones are sufficient in themselves
without any striving to emulate the inherent qualities
of the mezzotint.

The credit for the discovery of aquatint has generally
been given to Jean-Baptiste Le Prince. Prof. A. M.
Hind, in The Print Collector's Quarterly for December
1 92 1, conclusively proves that though Le Prince perfected
the use of the dust ground, he was certainly not the
first engraver to work with the medium. An examination
of the prints by Van de Velde, William Sherwin, Gerhard
Janssen, and Paul Burdett, which Professor Hind cites,
will quickly convince any etcher with a good working
knowledge of the character of aquatint grounds that the
hitherto accepted history of the origin of the process is
entirely wrong. Malcolm Salaman, in his book Old
English Mezzotints, published in 1910, also points out
the use of aquatint in Sherwins print of Catherine, Queen
of Charles II., and in Jan Van de Velde's curious print
of Oliver Cromwell. The same great authority also wrote
on this question in the introductory chapter, pages 25 and
26, of French Colour Prints, 1913, and in the chapter on
aquatint in the Print Collector's Handbook, 1912.

Paul Sandby in 1775 invented what is known as the
spirit ground in aquatint, which almost entirely super-
seded the dust-ground method; its greater luminosity
and quality of tone quickly appealed to the aquatinters
of the period. The work of William Daniel, F. C. Lewis,
and Harraden, who aquatinted some of Girtin's soft-
ground etchings, are good examples of the use of the
medium.

Dust Grounds and Sand-Paper Ground

No. I. — Example of bitten tones, each successive stopping out being plainly
shown. Compare with No. 5.

No. 2. — Example of the ground breaking up through overbiting; the top
portion was stopped out and the lower overbitten.

No. 3. — A very coarse ground was first laid by shaking resin through a piece
of fine muslin, and after the plate was bitten and a proof taken, a fine ground
was laid over the coarse ground and the top portion bitten again.

No. 4. — An example of sand paper ground.

No. 5. — An example of a graduated tone attained by lowering the plate very
slowly into the acid. The fine ground is resin dust and was laid in a fan box;
the plate was placed in the box for one and a half minutes and then taken out
and the fan revolved again. It was twice replaced in the box for a minute each
time, making a total of three and a half minutes,

187

No. I. — An example of a fine spirit-ground. The solution
was much more diluted than for No. 2.

No. 2. — An example of a coarse spirit-ground laid with
a strong solution of resin in spirits of wine.

188

AQUATINT 189

The invention of lithography caused the process to
become almost entirely neglected until Sir Frank Short
revived its practice with a conception of its possibilities
as an original art entirely beyond the scope of the earlier
aquatinters.

The two methods of laying aquatint grounds are :
(i) the Dust ground, (2) the Spirit ground.

Very finely powdered resin or asphaltum form the

dust ground ; resin gives a very good ground, but

, asphaltum is the best dust for very fine

Dust Grounds

grounds. A large box, not less than from
two to three feet high is used, having near the bottom a
door just high enough to allow the plate to be comfortably
slipped in and out of the box, and this door is hinged to
the bottom, fits very tightly, and extends the whole
width of the box. The resin or asphaltum is placed in
the bottom of the box and the air inside violently dis-
turbed until the interior is filled with a dense cloud of
dust.

This cloud can be raised in several ways. The most
usual pattern of box contains at the bottom a revolving
fan which is whirled round by a handle outside the box.
In another pattern the whole box rotates. A more
primitive method, though quite an effective one, is to
use a large pair of bellows, the nozzle of which is fitted
into a hole in the side of the box. When the box is at
rest the dust should be allowed to settle for a few seconds ;
the plate may then be slipped inside and left resting on
a rack-tray, the door being gently closed. This rack-
tray is used to allow the dust to pass through the rails
to the bottom of the box, for if the tray were solid it
would coUect all the dust. The plate is always put on a
piece of stiff paper or cardboard at least one inch larger
all round than the plate. If this is not done the density
of the ground, near the edges of the plate, will be thinner
than the centre. Myriads of minute specks of the dust
will settle on the plate, and the density of the ground can

190 ETCHING CRAFT

be regulated by the time the plate is left in the box. If
a very coarse ground is wanted (Fig. 3, page 187) the
plate should be placed inside the box directly the fan
ceases revolving, as the heaviest specks of dust settle
first. Fig. 1, page 187, shows a print from a plate
which was placed in the box three times for a minute
each time. When the plate is finally taken out of the
box it is covered with a thick layer of the dust and is
ready for fixing.

The grounded plate is placed on the heater or clasped
with a hand-vice and held over a Bunsen burner, and the
change of colour that occurs when the dust melts must be
closely observed. It will run across the surface of the
plate very quickly, the resin changing from a creamy
white to a faint amber spread over the copper colour,
and the brown asphaltum will change to a bluish tint.
The plate must be removed directly the change occurs,
the back coated with varnish and the plate allowed to
cool. Great care needs to be taken to avoid burning the
ground, for when this mistake is made the biting will
be very irregular. Greater heat is required to melt
asphaltum than resin, and it should be held over the
Bunsen burner.

The plate, at any rate on one side, should be at least
half an inch larger than the actual size of the drawing,
for if a little ground is removed from this spare slip with
turpentine and a warm rag after each biting, the strength
of the tones can be gauged with fair accuracy. The key
of tones given by the unwanted slip is most useful, and
the unwanted portion can be quickly removed by the
guillotine when the plate is completed.

The success of an aquatint, apart from the biting,
depends entirely on the drawing of the tones with the
brush charged with stopping-out varnish. The varnish
works better if used in different consistencies, for if it is
too fluid, it will run between the specks of the ground
and spread beyond the border of the desired tone ; it is

FRANCISCO GOYA : Por Que Fne Sensible. Aquatint
(H. 32) ; size of original, 8|" X 6".

From a print in the collection of Mr. Con. H. Lomax. 191

EUGENE DELACROIX : The Blacksmith. Aquatint
(D. 19); size of original, 6|" x 3s".

192 From a print in the collection of Mr. Harold J. L. Wright.

AQUATINT 193

as well to pour a little of the varnish into a saucer and
allow it to thicken slightly — a small palette is very
useful. Crisp touches can be obtained with thicker
varnish. If very fine lines are needed the work can be
drawn with a fine brush, using a solution of sugar dis-
solved in spirit and coloured black. The plate is then
varnished over, and when the varnish is " tacky " if the
plate is placed in water the sugar will dissolve and come
away, leaving the lines open to the action of the acid
when the plate is bitten in the usual way.

Both the nitric, weaker than for biting line, and the
Dutch bath can be used, though it is difficult to give
exact times for biting. The tones are
studied carefully before the biting is
started, and the student needs to have a fixed idea of
how many stoppings out he will require. Any pure
whites required are painted out first, and then the
problem is to bite the darker tones correctly one after
another, stopping out as the work progresses, until
finally only the very darkest tones remain unpainted with
the varnish. After this last and darkest tone is bitten
the ground should be removed and a proof taken (Fig. i,
page 187). The student will note that aquatint bites
very rapidly as compared with etching.

The key slip should be frequently examined during
the process of the biting, and care must be taken not to
over-bite. In contrast with the too heavy black lines
which occur when an etching is over-bitten, in an over-
bitten aquatint the ground will break away entirely
owing to the acid eating under the copper covered by the
tiny specks of resin. If this happens the last tones will
print a dismal grey, as is seen in Fig. 2, page 187.
New grounds can be laid for corrections and additions,
but a very much worked plate soon shows signs of
fumbling, and it is much better to use as few grounds as
possible. The scraper and the burnisher can be used to
merge the edges of the bitten tones, but the less inter-

194 ETCHING CRAFT

ference with the tones the better; for an aquatint
should stand by the inherent quality and beauty of the
process, and not be pushed into the method of mezzo-
tint and become what Mr. Malcolm Salaman fittingly
describes as a " mongrel mezzotint." If the biting is
correctly related, the value of the tones will be so just
that burnishing or scraping should hardly be needed.

The spirit ground is composed of resin or asphal-

tum dissolved in spirits of wine or pure alcohol, and

o . . ^ , when the solution is poured over the

Spirit Ground . . ...

plate the evaporation of the spirit leaves
the resin in innumerable minute grains covering the
surface of the plate. These resist the action of the
acid which attacks the tiny channels of unprotected
metal, so forming the bitten tones. To prepare the
solution, five ounces of finely-ground resin is dissolved in
a pint of spirit of wine. The bottle is shaken several
times during the day and then left for another twenty-
four hours to allow the impurities to settle. The solution
prepared will be much too strong, and a fresh bottle is
used, and a mixture of one-third of the solution to two-
thirds of spirit of wine mixed together. If a very fine
ground is wanted (Fig. i, page 188) the second
solution is again diluted, for the stronger the solution of
resin the larger will be the granulation and the coarser
the ground (Fig. 2, page 188).

To lay the ground, the plate is cleaned with whitening
and ammonia, and dried ; the solution is then poured over
the plate, which is held slightly inclined over a trough or
dish, the lower edge being wiped from time to time to
remove the liquid that gathers there. The plate must
not be held at too steep an angle or the granulation will
not be round but elongated. If, however, this longer
grain is wanted, as it might be, the plate is tilted. It is
of advantage to gently sway the plate with a circular
motion while the ground is drying. The great enemy to
successful spirit ground is dust, and, as soon as the grains

SIR FRANK SHORT :

A Span of Old Battersea Bridge.
of original, 7 J" X nf".

From a print in the possession of Messrs. Colnaghi.

Aquatint (S. 226) ; size

'95

SIR FRANK SHORT: Morning Haze, Chichester Harbour. Aquatint; size of

original, 13I" X 92"-
jnQ From a print in the collection of the author.

FAMOUS AQUATINTS 197

begin to settle, the plate is laid flat and covered by a
board raised well above it. The solution that runs
off into the trough or dish is not poured back into
the unused solution before it has been filtered through a
funnel with a fine-meshed rag or silk, for it is certain to
collect dust.

Laying a spirit ground is very much a gamble, for
weather conditions affect the process greatly. If the
ground is attempted in very hot weather, or in a cold
room during frost, it refuses to granulate. The best
time to try is early morning on a dry day with a moderate
temperature. The biting of the tones can be proceeded
with in exactly the same way as described with the dust
ground. The experienced etcher will find by practice
that he can use a feather or brush charged with the acid
and bite portions of the plate to obtain gradations. The
student must remember that aquatint-grounded plates
bite much quicker than hard ground plates, and fifteen
to twenty minutes in the bath suffices to complete the
biting. If it be found after the first print has been taken
that further darker tones are required, another ground
can be laid over the old work, when it is advisable to use
a coarser ground.

Examples of Famous Aquatints

The Spanish master used the dust-ground aquatint
with miraculous skill in the print called Por Que Fue
Sensible (page 191) from Los Caprichos.
Not a single hard or soft ground etched line
is used ! Contrary to Goya's practice of reinforcing his
bitten-line etchings with strong contrasts of light and
shadow obtained with aquatint, this print is drawn
entirely with brush and varnish. Examine closely the
drawing in the folds of the dress, the head and the feet.
The simplicity and directness of the bitten tones convey
all the suggestion of space and plane, and the whole

198 ETCHING CRAFT

print is charged with a tragic intensity that makes it
unique among pure aquatints. Mr. Walter Sickert,
writing of this print in an interesting and provocative
article in the Burlington Magazine, September 1915,
says : " This plate is a meeting-place of supreme passion,
supreme skill, and supreme luck, the sort of conjuncture
that happens perhaps once in a century." The plate
seems little touched after biting, and technically is a pure
triumph.

In the Blacksmith (page 192) Delacroix worked

with a spirit ground and produced one of the marvels

Eugene °^ aquatint. The complicated tones of

Delacroix, the glowing metal and the dark blacksmith

1 7QR— 1 fifil

and his assistant at the beUows are marvel-
lously rendered. The drawing with the brush is superbly
managed. There is a working proof in the British
Museum with a border which shows how carefully
Delacroix watched the biting of his plate.

Batter sea Bridge (page 195), by Sir Frank Short, was

worked with two grounds, a dust ground being used for

Sir Frank short ^ e timbers of the old wooden bridge and

the foreground, and a spirit ground for
the distance seen through the span of the bridge. The
biting is beautifully managed and the different grains of
the two grounds admirably used for contrast in textures.
This plate is justly esteemed as one of the finest aquatints
ever produced. Sunrise over Whitby Scaur and Dawn are
other fine aquatints which reach heights unexplored by
his predecessors. His latest aquatint, Morning Haze in
Chichester Harbour (page 196), is a beautiful, delicately
bitten plate, most poetical in conception and masterly
in treatment.

Sand-paper Aquatint

This method of producing bitten tones is made by
placing a sheet of fine sand or glass paper face downwards
over an ordinary wax-grounded plate, and passing the

SOFT-GROUND ETCHING 199

plate with the blankets over it two or three times through
the press, using a fresh piece of sand-paper each time.
The pressure causes the grains of sand to perforate the
wax in innumerable small holes, forming a ground
somewhat similar to a resin ground. Sand-paper of
varying degrees of coarseness can be used to get a variety
of texture. The method of working is precisely the same
as when using a dust or spirit ground, the tones being
gained by stopping out with the brush and varnish and
biting with the acid (Fig. 4, page 187). This method
will not produce quite the depth of tone that can be
obtained by the dust or spirit ground, and lacks the
silvery quality that distinguishes pure aquatint. Legros
used this method in his great print called The Dying
Vagabond (page 107).

Soft-ground Etching

By the use of soft-ground, prints are produced giving a
quality closely akin to a pencil or chalk drawing, and the
method of biting followed is exactly similar to ordinary
etching, but the line resulting from the process is much
wider. Soft-ground was very largely used for repro-
ducing drawings before the advent of lithography, which
by its greater certainty quickly drove the more laborious
process into disfavour.

Soft-ground is composed of equal quantities of ordi-
nary etching ground and tallow melted together. It
requires to be kept in a small silk bag and laid on the
plate with a dabber exactly as for an ordinary ground
but with less heat, and then smoked; a little less tallow
is needed in the summer. A separate dabber is always
used; the hard-ground dabber will often spoil the
ground. Care has to be taken not to touch the ground
with the fingers, and it is advisable to use a hand-rest
during the working. A sheet of grained paper (smooth
paper will give no result whatever, but strong tissue-

200 ETCHING CRAFT

paper is excellent) is damped, stretched over the surface
of the ground, gummed or glued on to the back of the
plate and allowed to dry.

This is the safest method to use, but tracing paper
can be used for the drawing, which is pinned down over
the plate, and papers of various grains and textures
placed under the tracing paper next to the ground ; thus
a variety of quality of line can be obtained. The design
is drawn upon the paper with a pencil and the pressure
varied according to the strength of line desired. The
ground will be lifted from the plate, as it clings to the back
of the paper, exposing the copper where the lines have
been drawn. When the drawing is completed the paper
is carefully removed and the plate bitten. While in the
acid bath the plate must be closely watched for foul-
biting, often a great trouble with soft-ground, and for
this reason nitric acid is always used, and it is always
advisable to paint over with stopping-out varnish all
large plain surfaces. The bubbles that form during the
biting must be gently " tickled " off and the feather
never allowed to brush the ground.

Examples of Fine Soft-ground Etchings

Soft-ground was largely used, both alone and with
aquatint tones, in the eighteenth and nineteenth centuries.
There are some beautiful plates by Gainsborough, of
which The Watering-Place is a typical example, and
Rowlandson also used the medium with great success.
The beautiful series of Views of Paris by Thomas Girtin
are among the finest prints ever made with soft-ground,
and the set in the Print Room of the British Museum
should be studied to appreciate how, in the hands of a
master, this neglected process may convey the subtlest
sense of distance. The plate called Water Works at Marli
is a fine example. Turner also used soft-ground in a few
of the Liber SUidiorum plates, notably in the beautiful

P I LA\ SI '*-(*/..

JOHN CROME : Trees on a Bank by the Roadside. Soft-ground Etching (T. 34) ;
size of original, 6|* X 9J".

From a print in the British Museum. 201

JOHN SELL COTMAN : Parsons Bridge. Soft-ground
Etching (P. 306) ; size of original, 6|" X 4J".

202 From a print in the collection of the author.

SOFT-GROUND ETCHING 203

Calm, the first state of which is pure soft-ground and is
exquisite.

The soft-ground etchings of Crome are excellent
examples of the use of the medium. The Trees on a
Bank by the Roadside (page 201) is especially fine; it is
strongly bitten, very happy in composition and has a
luminous atmospheric effect, lite Sketch of a Tree
Trunk and Hovctou St. Peter are other good examples.

John Sell Cotman (1782-1842) produced very beautiful
soft-ground etchings, and in his Liber Studiorum will be
found some of the finest examples of the process, which
have much of the quality of his incomparable drawings.

A Study, Liber Studiorum No. 17, and Parsons
Bridge (page 202), are good examples of his fine design,
superb draughtsmanship and command of the medium.
Carnarvon Castle, Postwick Grove, Twickenham and
Bambro Castle are other famous prints of his in this
medium. Gathering the Flock on Maxwell Bank, by
Sir Frank Short, is another example of masterly treat-
ment of soft-ground.

PART V

PRINTING, MOUNTING, AND THE CARE OF PRINTS

Fig. i. — Example of vilely faked printing.

Fig. 2. — Example of straightforward printing.

PRINTING, MOUNTING, AND THE CARE OF

PRINTS

Printing, Paper, etc.

After surmounting all the difficulties of etching the
plate, there is the final task of printing or proving, a
process at once most fascinating and tantalising. The
beginner needs to obtain the help of a competent printer
to pull the first proofs, for, however well the mere
description of printing may be studied and absorbed, to
print at all satisfactorily, long practice, experience and
constant experiment are necessary.

I have always advised students to print their own
plates : their ideal should be to etch a good plate and
then print it to the utmost advantage themselves —
printing cleanly and truly, the quality of the line being
considered before everything. The line will never be
improved if it is smothered with ink left on the surface
of the plate, as is the fashion with many etchers to-day.
Reproductions are shown (Figs, i and 2, page 206) of
proofs from the same etching : Fig. 1 shows as many
sins of commission as I was able to compass on
the plate ; the sky is faked, the trees are over-printed,
and a spurious light is wiped out on the water;
Fig. 2 is a straightforward print, and that is the
best type of printing. The student will find this pay
best in the long run. Sympathetic printing is one
thing, to over-print the plate with dragged muslin or
" retroussage " is another.

A too clean proof may be dry and dull as a visiting
card, but an inky proof is the devil's own visiting
card.

The preparation of ink is very important. So much

207

208 ETCHING CRAFT

can be done with variations of colour, strength and
ink consistency that there is unending interest

in experimenting. All plates will not print
well with the same kind of ink, and it is necessary for
the printer to mix his ink according to the strength of
the bitten line or bur of the drypoint.

Burnt linseed oil is used and is made in three con-
sistencies — thick, medium, and thin. The oil is prepared
. by first boiling the linseed oil in a cauldron

and then setting fire to it. It is continu-
ously stirred, and the longer it is allowed to burn, the
thicker and more like varnish it becomes.

Good Frankfurt Black is the foundation of most inks,
and the best should always be used, for the cheaper

kinds are gritty and a plentiful crop of

scratches may result from using them.
Heavy and Light French Blacks are very good, and
especially a black called Bougou, which is prepared
from the dregs of wine-presses. Burnt Umber of the
drop variety is the best brown, though Japanese Brown
and Red are very useful. Frankfurt Black, Heavy
French and a little burnt Umber will give an ink with
good body. Forcing Black is useful, especially for an
under-bitten plate, though it is as well to avoid excessive
use of it. Earth colours only are used. Roman Ochre
is useful and also Burnt Sienna, though it is rather hot
in colour. Brown ink sets very quickly, but black ink
will keep a few days if it is put in a tin.

The ink is well ground with a muller on a slab (an
old lithographic stone is excellent for the purpose), and
a little extra work when grinding will always ward off
those insidious scratches. Ready-made inks can be
obtained in tubes, but the self-prepared inks are advisable.
If a slight surface tone is wanted, the ink should be
sloppy and mixed with thin oil. Thick ink mixed with
thin oil will give a brilliant proof, and if the plate is
heavily bitten a stiff ink is best.

PRINTING 209

The dabber on which the ink is spread and applied
to the plate is made of cloth covered with a stocking ;
great care should be taken to scrape off the ink after
the printing is finished, for if this is not done the dabber
will get hard and useless and must be re-covered.

The paper is damped before it is used, sponged
lightly, and then carefully laid out between two sheets
of zinc or glass. It is pressed out quite
flat, and all crinkles and rucks smoothed
out. If possible, the paper is given twenty-four hours,
or at least a night's damping down, before it is used for
printing. Good hand-made paper gives the best results,
and many different qualities can be obtained ; indeed
there is a great fascination in choosing paper, and old
pure linen paper is eagerly sought after. Hunts in out-
of-the-way shops and places may often yield a prize in
the shape of an old book with fly-leaves unprinted on
with type, or, better still, old albums. Japanese paper
is also largely used and gives beautiful impressions.
The only objection to it is that its surface is easily rubbed
up if badly handled. A piece of damped plate paper
should always be used as backing to the Japanese paper.

Heavily sized paper should be avoided, as it hardens
the blankets. China paper and India paper are both
good, especially the first, which, with a good rich black
ink, gives a very fine print. It is necessary to use backing
with these papers. Specks, which often mar the surface
of paper, should be carefully removed with tweezers.

The ink being ready, just enough to cover well the

surface of the plate is spread over the surface of the

„,. „ , dabber with a broad palette knife. The

Taking Proofs .

plate is then placed on the heater, which
is made just warm enough for the plate to receive the
ink easily. The dabber is then rocked backwards and
forwards across the plate with a steady downward
pressure, driving the ink weU into the lines. Only
sufficient ink is needed ; too much will spoil the printing

210 ETCHING CRAFT

muslin. The inked plate is then removed to the jigger
and the ink wiped off the surface with the printing
muslin.

The ink is removed gradually, and usually two pads
of muslin are used, the first taking most of the ink off
with fairly strong sweeps up and across the plate, while
the second is used to finish the wiping, with a more or
less circular motion, and, of course, is kept much the
cleaner pad of the two.

The muslin is folded into a flat pad with no seams
on the bottom, and the wiping is done with a perfectly
flat motion, pressing down the whole time, the aim of
the printer being to drive the ink into the lines and at
the same time to remove it from the plain surface of
the plate. If the muslin pad is used with a scooping
action the ink will be taken out of the lines, and a
weak impression will be the result when the plate is
printed.

Plates are often hand-wiped with the palm of the
hand — covered with a film of ink and whitening — and
this often gives the best result, if the method is properly
used, the print being clean yet sympathetic. After
wiping, the plate is warmed again and a piece of very
soft muslin lightly run across the plate, bringing the ink
up over the edges of the sunken lines and imparting a
softness to the print. It is very easy to overdo this
" retroussage," and it needs to be used very sparingly.

The bevelled edges of the plate are now weU cleaned
with a rag and the plate is ready for printing, and before
it gets quite cold it should be laid on the zinc bed of
the press. The back of the plate must be perfectly clean,
for if spots of dry ink or hard varnish are allowed to
remain, the pressure of the rollers will cause nasty raised
spots on the surface of the plate.

The blankets are always placed in the press before
the printing is commenced, and a little care in getting
them square to the sides of the press, and also with

PRINTING 211

the ends slightly overlapping, is necessary. Five thick-
nesses of blanket are used, two next to the print of a
close texture called fronting, such as is used for billiard-
tables, and three of a much thicker quality called swan-
skin above the fronting. These blankets require to be
carefully looked after and never left in the press after
the printing is finished, for they harden and do not
work so well after such bad treatment. The paper,
which is lightly brushed to remove any dust or pieces
that may spoil the print, is then laid over the plate and
the blankets placed evenly down over the paper. The
plate is then passed through the rollers of the press
and the print removed by carefully lifting the two corners
and peeling the paper from the plate. If the paper
sticks to the plate and this trouble is perceived in time
before the proof is ruined, both the plate and the paper
are carefully lifted on to the heater and the warmth
will usually release the paper. When the printing is
finished the plate is carefully cleaned with turpentine
and rag, and, if it is not to be used again for some time,
it should be warmed and covered with a coating of
beeswax. The zinc bed-plate of the press is kept scrupu-
lously clean and wiped frequently with turpentine and
a rag.

The pressure of the press has to be perfectly regu-
lated, and experience will quickly teach this; in a good
print the hnes of ink stand up in relief and there is a
gloss over the surface of the print. Too much pressure
must be avoided as well as too little. In the first case
the great difficulty when turning the press will tell the
student he has over-tightened his press, while with
the second fault the weak impression with grey and
faint lines will quickly show the need of more pressure.
Unequal pressure is usually a trouble until the press is
thoroughly understood. This is due to one side of the
press not being keyed as tightly as the other. Over-
pressure will often cut the paper and sometimes damage

212 ETCHING CRAFT

the blankets, and the thickness of the plate should always
be allowed for.

When the print is taken from the press, it is either
stretched out on a board by pasting the edges, or, better
still, allowed to dry, and some days afterwards damped
again, and flattened out under pressure. The old
printers used to peg the proofs up on lines like clothes,
and old prints of printing shops show hundreds of them
thus drying. Of course the latter process preserves the
deckle edge of the paper, and a screw linen-press is
excellent for flattening prints out. The prints are
damped and placed between sheets of plate-paper or
paste-board, and the plate-papers are changed every
twenty-four hours until the prints are perfectly dry and
flat. The plate-paper and paste-board should be dried
in the air before being used again.

Some further hints on printing may be found useful
to the student. The hands become very grimed with
ink, and the best way to remove the ink is to pour some
sperm oil into the palms and rub the hands well together,
afterwards washing the oil away with warm water and
soap. When the student is printing without help, a
small doubled tab of paper will be found useful to handle
the paper with, so avoiding finger and thumb prints
around the border. The blankets, after the printing is
finished, are always hung up to dry, and if they become
hard with constant use, they should be washed and well
rinsed to get rid of any soap that may tend to harden
the surface. The stone, on which the ink is mixed, and
the muller are cleaned with a rag and turpentine, and
the surfaces of the heater, jigger and bed of the press
are always kept scrupulously clean with a rag and
turpentine.

A counterproof of any etching can be taken by
placing a fresh clean sheet of damped paper over the
impression with the ink still wet and pulling the two
face together through the press. This counterproof will

MOUNTING AND CARE OF PRINTS 213

enable the etcher to work without the looking-glass, but
it will, of course, be weaker than the first print and is
only useful as a guide to drawing.

Mounting and Care of Prints

To mount prints properly and to ensure that they
show to the best advantage is a comparatively simple
matter, though the appearance of many prints is spoilt
by disproportionate mounts and frames of bad design.
After the prints have been pressed or stretched carefully
(and it should be remembered that a wrinkled print is
very unsightly), they are hinged on to the back mount.
Under no circumstances should they be pasted down, for
many a print restorer has anathematised the foolish
practice, which sometimes entirely ruins prints. The
card at the back of the mount should be of the best
quality white cardboard, and never straw-board, which
will stain the print horribly if damp reaches it. The
front mount requires to be of such size as to give a
border of sufficient width to ensure a good proportion to
the print, and a little more space is always given to the
bottom border. A print placed plumb in the centre of
the mount has a curious effect of slipping down out of the
mount. The border should not be too small, for that
fault will give the effect of dwarfing and cramping the
print, and it certainly should not be of too great a width,
for the print then assumes the look of a postage stamp.
It is advisable to keep prints in mounts of standard
size, both for keeping them in solander boxes, which
are invaluable to the collector, and also for framing. If
the frames are made with movable backs the prints
can be readily changed from time to time.

Frames should be of a simple character; oak and
walnut are the best woods to use, and if made with
good workmanship they need not be at all heavy.
Solander boxes are better than portfolios for keeping

214 ETCHING CRAFT

prints free from dust, and the greatest care should be
taken to ensure that they are placed in perfectly dry
surroundings, for damp is the arch-enemy of the good
condition of prints. The frequent airing of the prints
comes automatically with good connoisseurship, and if
the glass of a frame be accidentally cracked, the accident
should be attended to at once, and not left till the dust
penetrates through the cracks in the glass and causes
lines to appear on the print.

Cleaning should never be attempted. It is the
province of the expert, and many fine prints have been
hopelessly ruined by amateur efforts at restoration.

PART VI

CONCLUSION

" Few have been taught to any purpose who have not been
their own teachers." — Sir Joshua Reynolds, Dis-
courses on Painting.

I have described, as well as I am able, the various
processes through which the etcher endeavours to express
the degree of talent and inspiration with which he is
endowed. Etching is not an art that can be lightly
engaged in, the many and varying technicalities requiring
much study and labour. With the statement, " The test
of mastery is the ability to canalise sustained enthusiasm,"
Walter Sickert has succinctly stated the greatest need of
the budding etcher. No student who attempts to evade
the difficulties of the craft by trick will go far, and the
collector, too, should learn to differentiate between an
honest technique which is the basis of all great work in
any art, and a tricky evasion of its difficulties.

From the very first experimental plate the young
etcher should begin to equip himself with a technique
gathered with patience, and therefore with surety, and
a clear knowledge of the province and limitations of the
medium. Draughtsmanship deeply felt and finely ex-
pressed is the greatest essential in the equipment of the
etcher. The aim should be not for mere accurate repre-
sentation, which can be acquired by industry and care,
but for finely felt and sincere drawing expressing an
individual outlook, a gift that is not often bestowed.
All the masters, " the strong men," as Millet loved to
call them, were great draughtsmen, and there is no greater
test of draughtsmanship than etching. Whether the
theme be stated simply with an extreme economy of

217

218 ETCHING CRAFT

line, as in Forain's L'Imploration, or with great detail
as in Muirhead Bone's Great Gantry, the suggestive
quality and selection of line rules all the merit of etched
work, for either its power succeeds and convinces, or it
clouds and confuses the intention. Fussy, overworked
detail in a print is like the distressing verbiage of the bore
who spoils a good story with his own unnecessary inter-
polations.

Many cleverly drawn, perfectly bitten and printed
plates are to be found everywhere, but the few that
enchain the abiding interest are the work of more than
the mere technician, virtuoso though he be. I know no
better way to convey this last point than to give a
quotation from George Clausen's Lectures on Painting :

It seems as if in the artist's mind the desire to
express his subject and the desire to display his skill
are conflicting tendencies. When these are in
perfect balance we get the finest work. When the
desire for expression is the stronger we get sincere
and beautiful, but imperfect and immature work,
as in the case of the early Primitives. But when the
desire for the display of skill is the stronger, we get
cleverness, affectation, and decadence.

Collections such as those in the British Museum
Print-room and in the Victoria and Albert Museum are
for the use of students and collectors, but are all too little
used by them, I am afraid; and, for those who cannot
avail themselves of national collections, fine repro-
ductions of many of the greatest masterpieces of etching
can be obtained at a comparatively modest cost. That
close and intelligent study of the great work of the masters
is of undoubted use to the student can hardly be gainsaid ;
but the delicate flower of self-expression, so hard to rear
and often so easily smothered by well-meaning teachers,
should be carefully nurtured. To the real teacher, even
a rebellious student, trying to express his own ideas

CONCLUSION 219

should be a more precious possession than a hundred
sycophantic followers, apishly repeating every little
mannerism of their master. Millet wrote to Sensier these
words :

Men of genius are gifted with a sort of divining-
rod. Some discover in Nature this, others that,
according to their kind of scent. Their productions
assure you that he who finds is formed to find ;
but it is funny to see how, when the treasure is
unearthed, people come for ages to scratch at the
same hole.

PART VII

A BIBLIOGRAPHY OF WORKS ON ETCHING AND ETCHERS

A BIBLIOGRAPHY OF
WORKS ON ETCHING AND ETCHERS

General Works on Etching

Aiken, Henry.
Ashley, Alfred.
Barnard, Osbert H.
Binyon, Laurence.
Bosse, Abraham.
Bourcard, Gustave.

> » > >

Bradley, W. A.

Carrington, Fitzroy.

Chattock, R. S.

Courboin, F.

Delaborde, Henri.

Dossie, R.

Fagan, Louis.
Faithorne, W.

Fielding, T. H.

Art and Practice of Etching. London,

1849.
The Art of Etching on Copper. London,

1849 and 1851.
The Clichcs-Verre of the Barbizon School.

Print Coll. Quarterly, Vol. IX., 1922.
Dutch Etchers of the Seventeenth Century.

The Portfolio, London, 1895.
Traicte des manieres de graver. Paris,

1645, 1701.
Les Estampes du Dix-huitieme Steele.

Paris, 1885.
Graveurs et Gravures. Paris, 1910.
Some French Etchers and Sonneteers.

Print Coll. Quarterly, Vol. IV., 1914.
The Etching of Figures. Chicago Soc.

of Etchers, 1915.
Dutch Landscape Etchers of the Seven-
teenth Century. New Haven, U.S.A.,

1918.
Prints and their Makers. London, 1913.
Engravers and Etchers (Scannon Lec-
tures). Chicago, 1917.
Practical Notes on Etching. London,

1883.
Graveurs et Marchands d'Estampes au

XVIII. Siecle. Paris, 1914.
Engraving, its Origin, Processes and

History. London, 1886.
The Handmaid to the Arts. 2 vols.

London, 1758.
Collector's Marks. London, 1883.
The Art of Graving and Etching, wherein

is expressed the true way of graving in

copper, 1662. 2nd ed. London, 1702.
A rt of Engraving. London, 1844.
223

224

BIBLIOGRAPHY

Green, J. H.
Haden, Arthur.

Haden, Sir Francis Sey-
mour.

Hamerton, P. G.

Hardie, Martin.

Hassell, John.

Herkomer, Sir Hubert.
Hind, A. M.

Hitchcock, J. R. W.
Holme, Charles.

>> >)

Huband, W.

The Complete Aquatinter. London, 1801.
Chats on Old Prints. London, 1906;

2nd ed., 1909.
About Etching. London, 1878.

The Art of the Painter-etcher. London,

1890.
The Relative Claims of Etching and

Engraving to Rank as Fine Arts.

Soc. of Arts. London, 1883.
Etching and Etchers. London, 2nd ed.,

1868; 3rded., 1880.
The Graphic Arts. London, 1882.
The Etcher's Hand-book. London, 1st

ed., 1871; 2nd ed., 1875.
Landscape. London, 1885.
British School of Etching. (Print Col-
lectors' Club : Inaugural Lecture.)

London, 1922.
Graphic Delineation : a Practical

Treatise on the Art of Etching.

London, 1826.
Etching and Mezzotint Engraving.

London, 1892.
Short History of Engraving and Etching,

with full bibliography, London, 1908.

2nd ed., 1911.
Notes on History of Soft-Ground Etching

and Aquatint. Print Coll. Quarterly,

Vol. VIII., 1921.
Guide to the Processes and Schools of

Engraving. British Museum. Lon-
don, 1914.
A History of Engraving and Etching

from the Fifteenth Century to the year

1914. Being 3rd ed. of Short Hist.

of Engraving, etc. London, 1922.
Etching in America. New York, 1886.
Modern Etching and Engraving. The

Studio, London. 1902.
Modem Etching and Mezzotint. The

Studio, London, 1913.
Critical and Familiar Notices on the

Art of Etching. Dublin, 1810; 2nd

ed., 1813.

GENERAL WORKS ON ETCHING

225

Hubbard, E. Hesketh.

Jaques, B. C.
Kepple, Frederick.

Koehler, S. R.

Kristeller, Paul.
Lalanne, Maxime.

Lippmann, F.

Lugt, Frits.
Martial, Adolphe P.
Paton, Hugh.

Pennell, J.

Plowman, G. T.

Prideaux, S. T.
Profit, G.

Reed, Earl H.

Rensselaer, S. van.
Rhead, G. W.

Robert, Karl.

Salaman, Malcolm C.

On Making and Collecting Etchings.

London, 1920.
Concerning Etchings. Chicago, 1913.
The Golden Age of Engraving. New

York, 1910.
Etching : an Outline of its Technical

Processes and its History . New York.

1885.
American Etchers. Amer. Art Review,

1880-1881.
Knpferstich and Holzschnill. 3rd ed.

Berlin, 1921.
Traite de la Gravure a I'Eau-Forle,

1866. Paris, 1878. American trans-
lation : Boston, 1880.
History of Engraving and Etching, 1906.

Translated from the German by

Martin Hardie.
Les Marques de Collections de Dessins

el d'Estampes. Amsterdam, 1921.
Nouveau Traite de la Graveur a t'Eau

Forte. Paris, 1873.
Etching, Drypoint, and Mezzotint.

London, 1909.
Colour Etching. London, 1909.
Etchers and Etching. London, 1920.
The Graphic Arts. Chicago, 1921.
Etching and other Graphic Arts. London,

Aquatint Engraving. London, 1909.

Procedes elementaires de la gravure d 'art
Eau-forte. Paris, 1913.

Etching : a Practical Treatise. New
York, 1914.

American Etchers. New York, 18S6.

Etching (Darton's Manuals). London,
1890.

Traite practique de la gravure a I'eau-
forte. Paris, 1891.

Modern Etchings, Mezzotints, and Dry-
points. Studio, Ltd. London, 1912.

The Great Painter-Etchers from Rem-
brandt to Whistler. Studio, Ltd.
London, 1914.

226

Salaman, Malcolm C.

Salaman, Malcolm, C. and

Whitman A.
Short, Sir Frank.

Short, Sir Frank, and
C. M. Pott.

Shrubsole, W. G.
Sickert, Walter.

Simpson, T.
Singer, H. W.

Slater, J. H.

Smith, Sydney Ure.
Stevens, Thomas Wood.

Strang, W., and

Singer, H. W.
V. and A. Museum.

Wedmore, Sir Frederick

BIBLIOGRAPHY

Graphic Arts of Great Britain. Studio,

Ltd. London, 1917.
The Charm of the Etcher's Art. 3 folios.

Studio, Ltd. London, 1920.
The Modem Adventure in Print Col-
lecting. The Bookman's Journal,

Vol IV. 1921.
Print Collectors' Handbook. London,

1912.
On the Making of Etchings. London,

1888.
Etchings and Engravings. London, 1911.
A Descriptive Catalogue of a collection

of Tools and Materials used in Etching,

exhibited in Victoria and Albert

Museum. London, 1910.
Etching. London [1889].
Future of Engraving. Burlington

Magaznie, 1915, Vol. XXIII. , p. 224.
The Old Ladies of Etching-Needle Street.

English Review, Jan. 1912.
Modern Etchings and their Collectors.

London, 1919.
Representative Art of our Time. Etching

and Drypoint. The Studio. London.

1904.
Die Moderne Graphik. Leipzig, 1914.
Engravings and their Value. London,

1921.
Art in Australia. Sydney, 1921.
The Etching of Cities. Chicago Soc. of

Etchers, 1913.
Etching and Engraving. London, 1897.

Catalogue of Modern Etchings of the

Foreign Schools. 1903.
Catalogue of Etchings and Aquatints of

British and American Schools. 1906.
Four Masters of Etching : Haden,

Jacquemart, Whistler, Legros. London,

1883.
Etching in England. London, 1895.
Fine Prints : a Study and Catalogue.

London, 1910.

GENERAL WORKS ON ETCHING 227

Wedmore, Sir Frederick. Etchings. London, ist ed., 191 1; 2nd

ed., 1912.
Weitenkampf, F. The Etchings of Contemporary Life.

Chicago, 1916.
Whitman, A. Print-Collectors' Handbook. London,

1901.
Whitman, A., and Sala- Print-Collectors' Handbook. London,

man, M. C. 1912.

Willshire, W. H. Introduction to the Study and Collection

of Ancient Prints. 2 vols. London,

1874.
Window, H. The Etching of Landscapes. Chicago

Soc. of Etchers, 1914.
Wray, Henry R. A Review of Etching in the United States.

Philadelphia, 1893.

Monographs on Artists
and Catalogues of Their Work

AUSTEN, WINIFRED.

Stokes, Hugh. Art and Animals : The Etchings of Winifred
Austen, R.E. The Bookman's Journal and Print Collector,
Vol. VI., No. 8, 1922.

BARYE, ANTOINE LOUIS.

Delteil, Loys. Barye. Le Peintre Graveur Illustre, Vol. VI.
Paris, 1910.
BEHAM, HANS SEBALD.

Noseda, Mrs. Catalogue of Prints and Etchings of H. S. Beham.

London, 1877.
Pauli, G. Hans Sebald Beham. 2 vols. Strassburg, 1901.
BENSON, FRANK W.

Paff, Adam E. M. Etchings and Dry Points by Frank W.
Benson. 2 vols. Boston and New York, 1917 and 1919.
BESNARD, ALBERT.

Coppier, A. C. Les Eaux-Fortes de Besnard. Paris, 1920.
Janin, Clement. Albert Besnard. Print Coll. Quarterly, Vol.
VIII., 1921.
BLAMPIED, E.

Salaman, M. C. Edmund Blamfield's Etchings. The Book-
man's Journal and Print Collector. Vol. VI., No. 11,
1922.

228 BIBLIOGRAPHY

BONE, MUIRHEAD.

Dodgson, Campbell. Etching and Dry points by Muirhead

Bone. London, 1909.
Dodgson, Campbell. The Late Dry-Points of Muirhead Bone.
Print Coll. Quarterly, Vol. IX., 1922.
BRACQUEMOND, FELIX.

Weitenkampf, Frank. Felix Bracquemond : An Etcher of
Birds. Print Coll. Quarterly, Vol. II., 1912.
BRANGWYN, FRANK.

Newbolt, Frank. Frank Brangwyn : with catalogue of his

etchings. London, 1908. 2nd ed., 1912.
Sparrow, Walter Shaw. Frank Brangwyn. London, 1910.
BUHOT, FELIX.

Bourcard, Gustave. Felix Buhot. Paris, 1899.

CALLOT, JACQUES.

Green, J. H. Callot. Catalogue and description of his Works.

London, 1804.
Hellman, George S. Jacques Callot. Print Coll. Quarterly,

Vol. IV., 1914.
Meaume, Edouard. Recherches sur la Vie et les Ouvrages de

Jacques Callot. Paris, i860.
Nasse, H. Jacques Callot. Leipzig [1909].
Plan, P. P. Jacques Callot, mailre gravure. Bruxelles, 1911.
CAMERON, D. Y.

Wedmore, Sir F. Cameron's Etchings : a Study and Catalogue.

London, 1903.
Rinder, Frank. Catalogue of the Etched Works of D. Y. Cameron.
Glasgow, 1912.
CANALE, ANTONIO.

Metcalfe, Louis R. Antonio Canale called Canaletto. Print
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CARPEAUX, J.~B.

Delteil, Loys. Carpeaux. Le Peintre Graveur Illustre, Vol.
VI. Paris, 1910.
CASSATT, MARY.

Weitenkamph, Frank. The Dry Points of Mary Cassatt. Print
Coll. Quarterly, Vol. VI., 1916.
CLAUSEN, GEORGE.

Gibson, Frank. The Etchings of George Clausen, R.A. Print
Coll. Quarterly, Vol. VIII., 1921.
CONDER, CHARLES.

Gibson, Frank. Charles Conder. His Life and Work with
Catalogue of Lithographs and Etchings, by Campbell Dodg-
son. London, 1914.

MONOGRAPHS AND CATALOGUES 229

COROT, J. B. C.

Delteil, Loys. Corot. Le Peintrc Graveur Illustre, Vol. V.

Paris, 1910.
Wickenden, R. J. " Le Pcre Corot." Print Coll. Quarterly,

Vol. II., 1912.
Wickenden, Robert J. Le Pfre Corot. Boston, 1914.
COTMAN, J. S.

Popham, A. E. The Etchings of John Sell Cotman. Print
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CROME, JOHN.~

Theobald, H. S. Crome's Etchings. London, 1906.
CRUICKSHANK, GEORGE.

Reid, G. W. Catalogue of Works of George Cruickshank.
London, 1871.

DAUBIGNY, C. F.

Delteil, Loys. Daubigny. Le Peintre Graveur Illustre, Vol.

XIII., 1921.
Wickenden, R. J. C. F. Daubigny. Print Coll. Quarterly,

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Wickenden, Robert J. Charles Franfois Daubigny : Painter
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DEGAS, H. G. E.

Delteil, Loys. Degas. Le Peintre Graveur Illustre, Vol. IX.
Paris, 1919.
DELACROIX, E.

Delteil, Loys. Delacroix. Le Peintre Graveur Illustre, Vol.

III. Paris, 1908.
Moreau, Adolphe. E. Delacroix et son ceuvre. Paris, 1873.
Robaut, Alfred. L'CEuvre Complet de Eugene Delacroix.
Paris, 1885.
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Delteil, Loys. Dupre. Le Peintre Graveur Illustre, Vol. I.
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Hind, A. M. Albert Dilrer. The Great Engravers. London,

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EVERDINGEN, A. VAN.

Drugulin, W. Allart van Everdingen : Catalogue Raisonne.
Leipzig. 1873.

FITTON, HEDLEY.

Dunthorne, Robert. Catalogue of Etchings of Hedley Fitton,
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230 BIBLIOGRAPHY

FORAIN, J. L.

Dodgson, Campbell. The Etchings of Jean Louis Forain.

Print Coll. Quarterly, Vol. VIII., 1921.
Guerin, Marcel. /. L. Forain. Catalogue de I'GLuvre Grave de
L' Artiste. 2 vols. Paris, 1912.
FORBES, E. A.

Sabin, A. K. The Dry-Points of Elizabeth Adela Forbes. Print
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GEDDES, A.

Dodgson, Campbell. Etchings of Andrew Geddes : Catalogue

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GILLRAY, J.

Grego, Joseph. James Gillray. London, n.d.
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Hardie, Martin. Frederick Goidding. London, 1910.
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London and New York, 1908.
Hind, A. M. Goya. The Great Engravers. London, 1911.
Hofmann, J. Catalogue of Goya's Etched Work. Vienna, 1907.
Loga, Valerian von. Francisco de Goya. Berlin, 1903.
Mather, F. J. jun. Goya and " Los Desastres de La Guerra."
Print Coll. Quarterly, Vol. V., 1915.
GRIGGS, F. L.

Malcolm C. Salaman. The Etchings of F. L. Griggs, A.R.A.,
R.E. (with Catalogue). The Bookman's Journal and Print
Collector, Vol. VII., No. 14, 1922.

HADEN, SIR F. SEYMOUR.

Drake, Sir W. R. Catalogue of Etched Work of Francis Sey-
mour Haden. London, 1880.

Harrington, H. Nazeby. A Supplement to Sir William Drake's
Catalogue of the Etchings of Francis Seymour Haden.
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Harrington, H. Nazeby. Engraved Work of Sir Francis Sey-
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Keppel, F. Personal Characteristics of Sir Seymour Haden,
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MONOGRAPHS AND CATALOGUES 231

HANKEY, W. LEE.

Hardie, Martin. The Etched Work of W. Lee-Hankey, R.E.
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Hind, A. M. Wenceslaus Hollar and his Views of London and

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INGRES, J. A. D.

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JACQUE, C.

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Allhusen, E. L. The Etched Work of Augustus John. Print

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232 BIBLIOGRAPHY

KLINGER, MAX.

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LALANNE, MAXIME.

Bradley, W. A. Maxime Lalanne. Print Coll. Quarterly,

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Cary, Elizabeth, L. Alphonse Legros. Print Coll. Quarterly,

Vol. II., 1912.
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Malassis, A. P. and Thibaudeau, A. W. Catalogue raisonne de
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LEHEUTRE, G

Delteil, Loys. Gustave Leheutre. Le Peintre Graveur IUustre,
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[1906].
Cary, Elizabeth. Auguste Lepere. Print CoU. Quarterly, Vol.

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Marx, Roger C. Augusle Lepere. Paris, 1919.
LHERMITTE, L.

Henriet, Frederic. Les Eaux-Fortes de Leon Lhermitte. Paris,
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LIEBERMANN, MAX.

Schiefler, Gustav. Das Graphische Werk von Max Liebermann.
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LUMSDEN, E. S.

Salaman, M. C. E. S. Lumsden, R.E. Print Coll. Quarterly,

Vol. VIII., 1921.
Salaman, M. C. Masterly Etchings by E. S. Lumsden, R.E.
The Bookman's Journal and Print Collector, Vol. VI.,
No. 10, 1922.

McBEY, J.

Salaman, M. C. James McBey. The Bookman's Journal and
Print Collector, Vol. V., Nos. 1 and 2, 1921.
MACLAUGHLAN, D. S.

Palmer, Cleveland. The Recent Etchings of Donald Shaw
Maclaughlan. Print Coll. Quarterly, Vol. VI., 1916.

MONOGRAPHS AND CATALOGUES 233

MANET, EDOUARD.

Moreau-Nelaton, E. Manet, Graveur el Lithographe. Paris,

1906.
MEISSONIER, J. L. E.

Schaus, William. Etchings and Engravings by and after J . L. E.

Mcissonier. New York [c. igoi].
MERYON, CHARLES.

Bradley, W. A. Charles Meryon, Poet. Print Coll. Quarterly,

Vol. III., 1913.
Delteil, Loys. Meryon. Le Peintre Graveur Illustre, Vol. II.

Paris, 1907.
Dodgson, Campbell. The Etchings of Charles Meryon. The

Studio, London, 1921.
Huish, Marcus B. Charles Meryon : a Memoir and complete

descriptive Catalogue of his Works. From the French of

Philip Burty. London, 1879.
Stokes, Hugh. Etchings of Charles Meryon. (Great Etchers

Series.) London : Newnes, 1906.
Stokes, Hugh. Meryon and Paris : New Sidelights. The

Bookman's Journal and Print Collector, Vol. V., No. 2,

1921.
Wedmore, Sir F. Meryon and Meryon 's Paris. London, 1st

ed., 1879; 2n d ed., 1892.
Wright, Harold J. L. Some undescribed states of Meryon

Etchings. Print Coll. Quarterly, Vol. VIII., 1921.
MILLET, J. F.

Delteil, Loys. Millet. Le Peintre Graveur Illustre, Vol. I.

Paris, 1906.
Wickenden, R. J. Jean Francois Millet. Print Coll. Quarterly,

Vol. II., 1912.
Wickenden, Robert J. The Art and Etchings of Jean-Francois

Millet. Boston, 1914.

PALMER, S.

Hardie, Martin. Catalogue of Samuel Palmer's Etchings.

Print Coll. Quarterly, Vol. III., No. 2, p. 225.
Palmer, A. H. Life and Letters of Samuel Palmer. London,
1891.
PIRANESI, G. B.

Focillon, Henri. G. B. Piranesi : Essai de Catalogue de son

CEuvre. Paris, 1918.
Giesecke, A. Giovanni Battista Piranesi. Leipzig, 191 1.
Hind, A. M. Giovanni Battista Piranesi : a Critical Study.
London, 1922.

234 BIBLIOGRAPHY

PIRANESI, G. B. (cont.)

Ivins, W. M. jun. Piranesi and " Le Carceri D'Invenzione."

Print Coll. Quarterly, Vol. V., 1915.
Moore, Benjamin B. G. B. Piranesi. Print Coll. Quarterly,

Vol. II., 1912.
Samuel. A. G. Piranesi. London, 1910.
PISSARRO, C.

Rodo, Ludovic. The Etchings of Camille Pissarro. Print
Coll. Quarterly, Vol. IX., 1922.

RAJON, P. A.

Wickenden, R.J. Paul Adolphe Rajon. Print Coll. Quarterly,

Vol. VI., 1916.
REDON, ODILON.

Mellerio, Andre. Odilon Redon : Catalogue de I'CEuvre Grave.

Paris, 1913.
REMBRANDT.

Bartsch, Adam. Catalogue raisonne de toutes les estampes qui

forment Vceuvre de Rembrandt. Vienna, 1797.
Binyon, Laurence. Rembrandt' s Landscape Etchings. Print

Coll. Quarterly, Vol. II., 1912.
Blanc, Charles. L'CEuvre Complel de Rembrandt. 2 vols. Paris,

1873; 2nd ed., 1880.
Claussin, J. J. de. Catalogue raisonne de toutes les estampes qui

forment Vceuvre de Rembrandt. Paris, 1824; 2nd ed., 1828.
Coppier, A. C. Les Eaux-Fortes de Rembrandt. Paris, 1917.
Daulby, Daniel. Descriptive Catalogue of Works of Rembrandt,

Bol, Lievens, and Van Vliet. London, 1796.
Dutuit, Eugene. L'CEuvre Complet de Rembrandt. 3 vols.

Paris, 1881-1884.
Gersaint, Edme F. Catalogue raisonne I'ceuvre de Rembrandt,

1751. English translation, 1752.
Haden, Sir F. Seymour, P.R.E. The Etched Work of Rembrandt.

London, 1879.
Hamerton, P. G. The Etchings of Rembrandt. Portfolio

monograph. London, 1894.
Hind, A. M. Etchings of Rembrandt. Great Etchers Series.

London : G. Newnes. Great Engravers Series. London :

Heinemann. 1912.
Hind, A. M. Rembrandt' s Etchings. 2 vols. London, 1912.
Holmes, Sir C. J. Notes on the Art of Rembrandt. London,

1911.
Holmes, Sir C. J. The Development of Rembrandt as an Etcher.

Burlington Magazine. Vol. ix. 1906. London.

MONOGRAPHS AND CATALOGUES 235

REMBRANDT (cant.)

Knackfuss, H. Rembrandt. Translated by Campbell Dodgson.

Bielefeld, 1899.
Middleton-Wake, C. H. Catalogue of the Etched Work of Rem-
brandt. London, 1878.
Rovinski, D. L'iEuvre grave de Rembrandt. Text (1 vol.),

plates (3 vols.). St. Petersburg, 1890.
Rovinski, D. L'CEuvre grave" des Aleves de Rembrandt et des

maitres qui out grave dans son gout. St. Petersburg, 1894.
Seidlitz, Woldemar von. Kritisches Verzeichnis der Radierungen

Rembrandt's. Leipzig, 1895.
Singer, H. W. Rembrandt's Radierungen. Stuttgart, 1906.
Wedmore, Sir F. Rembrandt : His Life and Work by E.

Michel. London, 1894.
Wilson, T. Descriptive Catalogue of the Prints of Rembrandt.
London, 1836.
RENOUARD, P.

Janin, Clements. Paul Renouard. Print Coll. Quarterly,
Vol. IX., 1922.
RICHTER, A. L.

Singer, H. W. Kritische Verzeichnis der Radierungen von
A. L. Richter. Dresden, 1913.
ROBINS, W. P.

Salaman, M. C. The Etchings and Dry-Points of W. P. Robins.
The Bookman's Journal and Print Collector, Vol. V., No. 4,
1921.
ROBINSON, SIR J. C.

Allhusen, E. L. Sir J. C. Robinson's Etchings. Print Coll.
Quarterly, Vol. VIII. , 1921.
RODIN, AUGUSTE.

Delteil, Loys. Rodin. Le Peintre Graveur Illustre, Vol. VI.
Paris, 1910.
ROPS, F.

Ramiro, Erastene. Catalogue de Felicien Rops. Bruxelles, 1893.
Mascha, Dr. Ottokar. Felicien Rops. Munich, 1910.
ROTH, E. D.

Mather, T. J., jun. Etchings of Ernest D. Roth. Print Coll.
Quarterly, Vol. I., 1911.
ROUSSEAU, TH.

Delteil, Loys. Rousseau. Le Peintre Graveur Illustre, Vol. I.
Paris, 1906.
ROWLANDSON, T.

Grego, Joseph. Rowlandson, the Caricaturist. 2 vols. London,
1880.

236 BIBLIOGRAPHY

RUYSDAEL, J.

Bradley, W. A. Etchings of Jacob Ruysdael. Print Coll.
Quarterly, Vol. VII., 1917.

SHERBORN, C. W.

Hopson, W. F. C. W. Sherbom : an Appreciation. 1910.
Sherbom, C. D. Sketch of the Life and Work of C. W. Sherbom.
London, 1912.
SHORT, SIR FRANK.

Salaman, M. C. Sir Frank Short, R.A., P.R.E., Master Engraver.
The Bookman's Journal and Print Collector, Vol. V.,
No. 6, 1921.
Strange, E. F. The Etched and Engraved Work of Frank
Short, R.A. London, 1908.
SMILLIE, J. D.

Smillie, James D. Some Work by James D. Smillie. The
Century Assoc. New York, 1910.
SMITH, J. A.

Laurvik, J. Nilsen. /. Andre Smith. Print Coll. Quarterly,
Vol. IV, 1914.
SMITH, PERCY.

Dodgson, Campbell. Mr. Percy Smith's " Dance of Death."
Print Coll. Quarterly, Vol. VIII., 1921.
STAUFFER-BERN, KARL.

Lehrs, Max. Karl Stauffer-Bem, 1857-1891. Dresden, 1907.
STEINLEN, A. T.

Crauzat, E. de. L'GSuvre de Steinlen. Paris, 1913.
STRANG, IAN.

Etchings and Dry-Points by Ian Strang. London, 1920.
STRANG, W.

Binyon, Laurence. The Etchings and Engravings of William

Strang. Print Coll. Quarterly, Vol. VIII. , 1921.
Catalogue of Etchings, with Introduction by Laurence Binyon.

Glasgow, 1906.
Catalogue of Etched Works, 1006-1012. Glasgow, 1912.
STRUCK, H.

Schwarz, C. Das Graphische Werk von Hermann Struck.
Berlin, 1911.

TIEPOLO, G. B.

Hind, A. M. The Etchings of G. B. Tiepolo. Print Coll.

Quarterly, Vol. VIII., 1921.
Molmenti, Pompeo. Acque-Forti dei Tiepolo. Venice, 1896.

MONOGRAPHS AND CATALOGUES 237

TOULOUSE-LAUTREC, HENRI DE.

Deltcil, Loys. Toulouse-Lautrec. Le Peintre Graveur Illustre,
Vol. X. (i). Paris, 1920.
TURNER, J. M. W.

Rawlinson, W. G. Descriptive Catalogue of Turner's Liber
Studionuu. London, 1878; 2nd ed., 1906.
TUSHINGHAM, S.

Konod)\ P. G. Etchings and Dry-Points by S. Tushingham.
London [1922].
VAN DYCK, A.

Carpenter, W. H. Vandyck's Etchings. London, 1844.
Hind, A. M. Van Dyck. The Great Engravers. London, 1911.
Hind, A. M. Van Dyck : his Original Etchings and his Icono-
graphy. Boston and New York, 1915.
Hind, A. M. Vandyck : his Original Etchings. Print Coll.

Quarterly, Vol. V., 1915.
Wibiral, Dr. Franz. L'Iconographie d'Anloine Van Dyck.
Leipzig, 1877.
VELDE, VAN DE.

Bradley, W. A. The Van de Veldes. Print Coll. Quarterly,

Vol. VII., 1917.
Franken, D., and P. Van der Kellen. L'CEuvre de Jan Van de
Velde. Amsterdam and Paris, 1S83.
VIERGE, D.

Marthold, Jules de. Daniel Vierge. Paris [1907].
WALCOT, W.

Salaman, M. C. William Walcot and his Roman Compositions.
The Bookman's Journal and Print Collector, Vol. V., No. 3,
1921.
WATTEAU, A.

Hind, A. M. Watteau . . . and French Engravers and Etchers.
The Great Engravers. London, 1911.
WEBSTER, HERMAN A.

Hardie, Martin. Herman A. Webster. Print Coll. Quarterly,
Vol. II., 1912.
WHISTLER, J. McN.

Dodgson, Campbell. Two unpublished Whistlers. Print Coll.

Quarterly, Vol. VII., 1917.
Dodgson, Campbell. The Etchings of J. McN. Whistler. The

Studio, London, 1922.
Kennedy, E. G. The Etched Work of Whistler. Grolier Club
Catalogue. With 3 portfolios containing over 1000
reproductions. New York, 1910.

238 BIBLIOGRAPHY

WHISTLER, J. McN. (cont.)

Mansfield, Howard. Whistler. Chicago, 1909.

,, „ Whistler as a Critic of his own Prints.

Print Coll. Quarterly, Vol. III., 1913.
Mansfield, Howard. Whistler in Belgium and Holland. Print

Coll. Quarterly, Vol. VI., 1916.
Menpes, Mortimer. " Whistler as I knew him." London, 1904.
Pennell, E. R. and J. The Life of James McN. Whistler.

2 vols. London and Philadelphia, 1908.
Smith, John Russell. A Catalogue of the Etchings and Dry-

Points of J. A. McN. Whistler. London, 1874,
Wedmore, Sir F. Whistler's Etchings : a Study and Catalogue.

London, 1st ed., 1886; 2nd ed., 1899.
WILKIE, DAVID.

Laing, David. Etchings by Wilkie and Geddes. Edinburgh,

i875-

ZILCKEN, P.

Pit, A. Catalogue descriptif des eaux fortes de Ph. Zilcken.

Amsterdam, 1918.
ZORN, A.

Delteil, Loys. Zom. Le Peintre Graveur Illustre, Vol. IV.

Paris, 1909.
Asplund, Dr. Karl. Anders Zom : his Life and Work.

" Studio " Office, 1921.
The Etched Work of Anders Zorn. 2 vols. Stockholm,

1920.

GENERAL CATALOGUES.

Andresen, Andreas. Der Deutsche Peinlre-graveur. 5 vols.

Leipzig, 1864-1878.
Bartsch, Adam. Le Peintre Graveur. 21 vols. Vienna, 1803-

1821. Reprinted 1920.
Beraldi, Henri. Les Graveurs du Dix-neuvieme Steele. 12 vols.

Paris, 1885-1892.
Dumesnil, Robert. Le Peintre- graveur Francais. 11 vols.

Paris, 1835-1871.
Dutuit, Eugene. Manuel de I' Amateur d'Estampes. 6 vols.

Paris, 1884-1885.
Le Blanc, C. Manuel de V Amateur d'Estampes. 4 vols.

Paris, 1854.
Vesme, A. de. Le Peinlre-graveur Italien. Milan, 1906.

INDEX

Altdorfer, Albrecht, 44
Amman, Jost, 44
Ammonia, use of, 21
Appian, Adolphe, 145
Aquatint; Biting, 193-194

Charcoal, use of, 20

Dust-grounds, 187, 189

Famous examples, 197-198

History of, 185-186

Sand-paper, 187, 198-199

Spirit-grounds, 1S8, 194

Technique of, 187-197

Backhuysen, Ludolf, 66, 79, 81
Barocci of Urbino, 47
Bartsch, Adam, 70
Bath, Nitric, 27, 28

Dutch, 29

Perchloride of Iron, 30

Bauer, Marius, 151, 156

Bega, Cornelius, 66, 73, 75

Beham, Hans Sebald, 44

Bella, Stefano Delia, 47

Berchem, Nicolaes, 66, 69

Bevel of Plate, 21

Bibliography of Works on Etching and

Etchers, 222-238
Biting the plate, 27

Aquatint, 193-194

Foul, 31, 32, 35, 38

Re-biting, 32

Blampied, E., 127

Blankets for printing, 210, 211

Bol, Ferdinand, 66

Bone, Muirhead, 4, 12, 174, 175, 177-

179, 218

Bosse, Abraham, 10, 15, 22, 55

Both, Jan, 66, 69

Bracquemond, Felix, II, 109, 134, 140,

141
Brangwyn, Frank, 4, 114, 121
British Museum, 44, 62, 91, 198, 200,

218
British School of Etching, origin of, 80
Brockhurst, G., 127
Bur (drypoint) 18, 159, 163-164
Burdett, Paul, 186
Burgkmair, Hans (Younger), 44
Burin, 16, 17, 18
Burnisher, 16, 17, 36, 37, 38
Burridge, F., 127
Buytenwegh, William, 48

Callipers, use of, 37

Callot, Jacques, 10, 48, 52, 53

Cameron, D. Y., 12, 113, 116, 176, 180,

181
Canale, G. A. (Canaletto), 11, 85, 90
Care of prints, 213-214
Castiglione, 47
Charcoal, 17, 20
Chinese white, 25
Chloroform, use of, 25
Claude (see Gellee).
Clausen, George, 117, 118, 121, 218
Cleaning the plate, 21
Constable, 79
Continental etchers, nineteenth and

twentieth centuries, 127-156
Copper, 20

Corot, Jean Baptiste Camille, 132, 134
Cotman, John Sell, 91, 202, 203
Counterproofs, 212
Crocus powder, use of, 16, 19
Crome, John, 11, 79, 91, 94, 201, 203
239

240

INDEX

Dabber, for laying ground, 17, 22

Dabber, printing, 209

Daniel, Revd. E. T., 91

Daniel, William, 186

Daubigny, Charles Francis, 134, 135

Delacroix, Eugene, 192, 198

Diamond point, 17, 163

Dishes, 15

Dodd, Francis, 185

Drypoint, Bur, 18, 159, 163-164

Masters of, 169-185

Technique, 163-164

Tools, 17, 163-164

Diirer, Albrecht, 9, 43, 44, 45, 160, 169

Dusart, Cornells, 66, 73

Dust grounds, aquatint, 187, 189

Dutch bath, 29

Dutch School, Early, 10, 47-51

Contemporary with Rembrandt,

66
Dutch etchers nineteenth and twentieth

centuries (see Continental)

Emery paper, use of, 38

English etching, seventeenth century,
11, 80

Nineteenth and twentieth cen-
turies, 91-127

Etching, Brief outline of development,
9-12

Practical side of, 15-39

Tools (see Tools)

Ground (see Ground)

Ether, uses of, 19, 25

Everdingen, Allart van, 69

Faults and corrections, 34-39

Pitting, 28, 34

Rotten lines, 28, 34

Stains, 39

Flemish School, Early, 51

Forain, Jean Louis, 12, 145, 148-150

151, 153, 218
Foul biting, 31, 32, 35,

Removal of, 38

Fragonard, Jean Honore, 11, 85, 86

Frames for prints, 213

Frankfurt black, 208

French blacks, light and heavy 208

French School, Early, 52-55

Etching, seventeenth century, 10

Eighteenth century, 85-91

Revival in nineteenth cen-
tury, 11

Nineteenth and twentieth

centuries (see Continental)

Gainsborough, 200

Gas-smoker, 23

Geddes, Andrew, 11, 55, 91, 165, 170

Gellee, Claude, 10, 52, 54, 58, 134

German School, Early, 43-44

Gethin, P. F., 120, 122

Girtin, Thomas, 186, 200

Goya, Francisco, 11, 85, 86, 93, 116,
191, 197

Graf, Urs, 43

Graver (see Burin)

Great etchers and their work, 43-156

Griggs, F. L., 127

Ground, 21

Laying the, 22, 23

Liquid, 25

Preparation of, 22

Recipes, 22

Rolled paste, 25

Smoking the, 23-24

Transparent, 26

Grounds, aquatint, 187, 188, 189, 194,

198, 199
Guercino, 47

Haden, Sir F. Seymour, 4, 12, 97, 101,

109, 167, 170
Haig, Axel, 146
Hal, Franz, 70
Hamerton, Philip, 12, 19, 22, 86, 92,

140, 169, 176
Hammering, 37
Hand-rest, 18
Hand- wiping, 210
Hankey, Lee 127
Hardie, Martin, 97, 127
Harraden, J. B., 186

INDEX

241

Heater, 19

Hind, A. M., 56, 58, 62, 65, 175, 186

Hirschvogcl, Augustin, 44

Holbein, 115, 140

Hollar, Wenzel, 11, 80, 83, 84

Holroyd, Sir Charles, no

Hopfer, Daniel, 43

Hundred Guilder Print," 61

Inks, preparation of, 208

Use of, 209

Italian etchers, sixteenth and seven-
teenth centuries, 44-47
Eighteenth century, 85-91

Manet, Edouard, 145

Marcantonio, 9

Master of the Amsterdam Cabinet, 169

Mazzuoli, Francisco (Parmigiano), 44,

47
McBey, James, 12, 122-124, 184, 185
Meldolla, Andrea Schiavone, 47
Meryon, Charles, 4, n, 12, 74, 133,

134-140
Millet, Jean Francois, 11, 58, 115, 127,

128, 130, 131, 217, 219
Mogul varnish, 19
Molyn, Pieter (I), 48, 49
Mounts, size and proportion of, 213-

214
Muslin for printing, 19, 210

Jacque, Charles, n, 18, 127, 129, 166,

I/O

Jacqucmart, Jules, n, 140, 142, 143

Janssen, Gerhard, 186

Japanese Brown and Red, 208

Jardin, Carol du, 66, 73, 76, 127

Jigger, 19

John, Augustus, 119, 122

Keene, Charles, 98
Koninck, Phillipe, 48

Naiwyncx, Herman, 74
Needle, 15, 17
Needling, 27
Nitric bath, 27, 28

Nooms, Reynier (Zeeman), 66, 74, yy,
139

Oil-rubber, 17, 19

Oils, 16, 19, 25, 208

Oilstone, 16

Olive oil, use of, 19

Osborne, Malcolm, 127

Ostade, Adriaen van, 66, 69-72, 73, 127

Laar, Pieter de, 73

Lalanne, Maxime, n, 140, 144

Lautensack, Hans Sebald, 44

Legros, Alphonse, 12, 107, 109, 115,

172, 175, 199
Lepere, Auguste, 145, 147
Le Prince, Jean Baptiste, 186
Lewis, F. C, 186
Leyden, Lucas van, 51
Lievens, Jan, 66
Liquid grounds, 25
Lumsden, E. S., 125, 127

Palmer, Samuel, 4, 12, 92, 99, 100
Paper, kinds of, 209
Parmigiano (see Mazzuoli)
Pennell, Joseph, 52
Perchloride of Iron Bath, 30
Pigments, 208
Piranesi, Giovanni, n, 86
Pitting, 28, 34
Plate, bevel of, 21
Biting the, 27

242

INDEX

Plate, Cleaning the, 21

Preparation of the, 21

Re-biting, 32

Re-facing, 20

Re-working, 33

Surface of, 20

Various metals of, 20

Potter, Paul, 66, 74
Presses, types of, 15
Pressure, regulation of, 211
Printing, 206-213
Prints, Care of, 213-214

Cleaning, 214

Drying, 212

Mounting, 213-214

Proofs, taking of, 209-213
Putty powder, use of, 19, 39

Rags, 19

Re-biting the plate, 32

Re-facing the plate, 20

Read, David Charles, 91

Rembrandt, 9, II, 12, 17, 48, 55-67, 70,
109, 115, 121, 127, 145, 146, 161, 169,
170, 175

Reni, Guido, 47

Retroussage, 210

Re-working the plate, 33

Reynolds, Sir Joshua, 217

Ribera, Jose, 47

Robinson, Sir John Charles, 10S, no

Rodin, Auguste, 173, 175

Roghman, Roeland, 73

Rolled-paste grounds, 25

Roller, 17, 23

Roman ochre, 208

Rops, Felicien, 152

Rosa, Salvator, 47

Rotten lines, 28, 34

Roulette, 17, 18

Rousseau, Theodore, 126, 127

Rowlandson, Thomas, 200

Royal College of Art, South Kensing-
ton, 12, no

Rubens, Peter Paul, 10, 51

Rushburg, H., 127

Ruysdael, Jacob, 11, 58, 66, 74, 78, 79,
127, 217

Salaman, Malcolm C, 57, 70, 80, 186,

194
Sandby, Paul, 186
Sand-paper aquatint, 187, 198-199
Scraper, 16, 17
Scratches, 16, 37
Screen, 18

Seghers, Hercules, 48
Sensier, Alfred, 219
Sherwin, William, 186
Short, Sir Frank, 12, 22, no, in, 115,

183, 185, 189, 194, 196, 198, 203
Sickert, Walter, 198, 217
Slade School, 12, no
Snakestone, 17, 19
Soft-ground etching, technique of,

199-200 -
Examples, 201-203

Solander Boxes, 213

Solis, Virgil, 44

Soper, George, 127

Spanish etching, eighteenth century,
85-91

Spence, R., 127

Sperm oil, 19

Spirit ground, aquatint, 188, 194

Stains on plates, 39

Stannard, Joseph, 92, 96

Steel-facing, 20

Steinlen, Alexandre, T., 151, 155

Stoop, Dirk, 66

Stopping-out, 30

Varnish, 19, 26

Strang, William, no, 112, 115, 176, 182

Tapers, 23

Tiepolo, Giovanni Battista, 11, 85, 87-

89
Tools, 15-20

Drypoint, 163-164

Tracing, 24
Transferring, 24
Transparent ground, 26
Turner, J. M. W., 91. 92, 95, 200

Van de Velde, Adrian, 66, 79, 82
Van de Velde, Jan, 46, 47, 186

INDEX

243

VanDyck, Sir Anthony, 10, 50, 51, 62
Vermeer of Delft, 140
Vice, use of, 38

Hand, 23

Victoria and Albert Museum, 91, 218
Vlieger, Simon de, 69
Vliet, Jan George van, 66

Wedmore, Sir F., 80, 109, 170

Whitening, use of, 21

White wax, 19

Whistler, James A. McN., 4, 12, 56, 80,

98-109, 168, 170, 171
Wilkic, Sir David, II, 55, 91. 162, l6 9

Walcot, W., 127
Waterloo, Anthonie, 6S, 69

Zecman (see Nooms)
Zorn, Anders, 12, 146, 154

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It, 4S.

6 BROMBOROUGH. A CORNFIELD BY THE MERSEY.

(S. 130). Etching. 50 impressions only printed. 3$ by 7§. £3 ios.

7 LANGSTON MILL (S. 282). Etching. 8 by log. £4 ios.

8 HOUGHTON BRIDGE (S. 267). Etching. 7i by I2§. £4 4s.

9 ON THE BANKS OF THE ARUN (S. 269). Etching. 6 by 7g.

A 4S.

10 STORM OFF YARMOUTH. Very fine and large Mezzotint after

Turner. 23 by 17. £7 7s.

11 A DUTCH GREENGROCERIE (S.no). Etching. 50 impressions

only. Plate destroyed. 4J by 7J. £4 4S.

12 THE DIJK BELL (S. 183). With verses beneath. Etching. 5by4j.

£1 15s.

13 UNLOADING PEAT, DORT (S. in). Etching. 50 impressions

only. Plate destroyed. 5$ by ;|. £4 4s.

14 OLD GRAVEL PITS, MOSELEY, NEAR BIRMINGHAM

(S. 229). From the water-colour by David Cox in the Victoria and Albert Museum.
Mezzo. Second state. = J by -j\. £3 ios.

15 NUTBOURNE MILL, BOSHAM (S. 66). Etching. Very rare.

Only 50 printed. 6 by 8. £j 75.

16 NEAR HINGHAM, NORFOLK (S. 117). After Crome. Mezzo-

tint. Hare. io| by 14. £5 10s.

17 APRIL DAY IN KENT (S. 254). Etching. Rare. 7| by nf.

£7 IOS.

18 TALLAND, CORNWALL (S. 84). Etching on Zinc. Rare. 7J by 6.

£3 IOS.

19 A QUIET EVENING ON THE FERRY OVER THE BLYTH.

6 by 8. Rare. £4 15s.

20 SION HOUSE, MIDDLESEX (S. 297). Drypoint. Very rare.

13J by 10. £9 os.

TERMS : CASH WITH ORDER. Money willingly refunded if goods are
not approved of. Many other etchings in stock. Catalogues sent free
to Collectors.

GREATOREX - -

GALLERY

>-<

% ,

' -■■- — 2<
6» — — ' -y

•*■

A,
/

r X

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THE SOUL OF THE VINE.'
Dry-point by Troy Kinney.

ETCHINGS • MEZZOTINTS
DRAWINGS

14 Grafton Street, London, W.l.

(Corner of New Bond Street.)

The Cots wo Id Gallery

| 59 Frith Street, Soho Square, W.\. i

1 FOR THE SALE OF ORIGINAL ENGRAVINGS 1
| BY OLD & MODERN MASTERS : CANALETTO, :
1 CLAUDE, DURER, MERYON, MILLET, PIRANESI, j
j REMBRANDT, VAN DYCK, ZEEMAN, &c. 1

j Special attention given to the IVorks \
I of English Engravers j

| J. M. JV. Turner, R.A. \
\ John Sell Cotman \
! Samuel T } aimer \
1 TVilliam 'Blake \
\ Faithorne \
I &c. |

THE COTSWOLDGALLERY

59 FRITH ST- SOHOSCt w i

Maker of Prints

rom

Drypoint — Etched— Aquatint

and

all other Engraved Plates

Also
the supply of materials
appertaining to the requisite
of Etchers and Engravers

Stanley R. Wilson

33, STRAND, LONDON, W.C. 2

(3 doors from Villiers Street.) Gerrard 2311.

A MESSAGE TO THE ETCHING CRAFT
ARTIST, STUDENT AND COLLECTOR

A CENTURY OF
EXPERIENCE

'THE ability to supply the
exact requirements of the
Etching Craft — whether for
artist, student, or collector —
comes from the experience
gained during ioo years. +

That experience covers a cen-
tury of practical knowledge in
supplying just what is per-
sonally and individually
required.

The following gives a record
of business history which has
brought the name of Kimber
to its present prominent
position in the world of etclier
and artist's material supplies.

1704-1845- (Richard Hughes)
1820-1893 - [Edward Kimber)
1847 - (Richard G. Kimber)
Now - (If 'it/red C. Kimber)

A LL tools and materials for making and printing etchings, dry points, aquatints, mezzotints, and ==

-**• copper and wood block engravings, including copper and zinc plates, wood blocks, points, =S

scrapers, burnishers, etc. Grounds and Mordants. Colours, Inks. Handmade, Dutch, India, ==

Japanese and Plate Papers. New and Second-hand Copperplate Presses. =

Illustrated Catalogue on application. Telephone for immediate requirements, 2779 Museum. =

WILFRED G. KIMBER, 36 Bedford Place, Bloomsbury Sq., London, W.C.I |ff

flllllllllllllllllllllll

ETCHINGS

DRYPOINTS, MEZZOTINTS, Etc.

PROOFS TAKEN WHILE WAITING

OR RETURN OF POST

ARTISTS' INSTRUCTIONS CAREFULLY FOLLOWED

Write - 'Phone - or Call —

A. ALEXANDER & SONS, LTD.,

Art Plate Printers,
15 WESTMORELAND PLACE, LONDON, N.I.

•Phone : CLERKENWELL 3136.

RHIND'S

LIQUID AND SOLID

ETCHING GROUNDS

KNOWN • THROUGHOUT • THE ■ WORLD

Copper and Zinc Plates of the best quality,
coated and uncoated.

c
o

ft,

to
•8

Everything for Etching kept in Stock.

W. Y. RHIND

69 GLOUCESTER ROAD, REGENT'S PARK
LONDON, N.W. 1

THE

BOOKMAN'S JOURNAL
PRINT COLLECTOR

MONOGRAPHS AND
™* CATALOGUES BY
WELL-KNOWN EXPERTS.

n EPRODUCTIONS OF THE
**■ WORK OF LEADING
MODERN ETCHERS, AND
SELF-PORTRAITS OF THE
ARTISTS. * * * *

DRINT NOTES FOR
* COLLECTORS AND

STUDENTS. * * *

Monthly 2/-. Advantageous
Terms to Direct Subscribers

London :
"THE BOOKMAN'S JOURNAL
AND PRINT COLLECTOR,"
173-4-5 Fleet Street, E.C.4

New York :
THE R. R. BOWKER CO.
62 West 45th Street.

jy^onographs— many of them illustrated, and some with
catalogues on the following etchers, engravers and
other subjects, have already appeared in

"The Bookman's Journal and Print Collector"

Japanese Colour Prints

Japanese Colour Prints
Japanese Print Values
♦•Kinney, Troy
♦♦Lee, Sydney
♦♦Legros, Alphonse
Linton, Wm. Jas.
♦♦Lithographs and Litho-
graphers
** Lithographs and Litho-
graphers
♦♦Living Art, Varied Appeal

of
♦♦Lumsden, E. S.
♦♦Macbeth-Raeburn, H.
♦♦McBey, James
♦Medland, Thos.
Meryon, Chas.
♦Ogborne, John
♦Pether, Wm.
♦Piranesi, Giovanni
♦Prints, Restoration of
♦♦Print Collectors' Club

Raeburn, Sir Henry
♦♦Robins, W. P.
♦Rota, Martin
♦Rowlandson, Thomas
♦Rowlandson, Thomas
Schonsberger, Hans
♦♦Short, Sir Frank
♦Soiron, Francois
♦♦Soper, Geo.
♦Stadler, Joseph Constantin
♦Strange, Sir Robert
♦♦Strang, Wm.
♦Transparent Prints
Turner's "Liber Studiorum"
♦♦Victoria and Albert
Museum
Vivares, Francis
•♦Walcot, Wm,
•Walker, Wm.
Whistler, Unrecorded
Proofs
♦Wille, J. G.
•Woolett, Wm.
Zorn Etching Values

The subjects denoted by a double asterisk are by Malcolm C. Salaman, and those by a
single asterisk by the late J. H. Slater, editor of "Engravings and Their I 'alue," the remainder
being variously contributed by : Dr Neil Munro — Hugh Stokes — Shozo Kato— G. H.
Sargent — T. Simpson— Harold Wright— L. A. Legros— Dr. H. N. Harrington— Kineton
Parkes— F. L. Wilder — Alexander J. Finberg.

FOR PRICES OF VARIOUS BACK NUMBERS APPLY :

The Publisher " The Bookman's Journal and Print
Collector" Office, 173-4-5, Fleet Street, E.C.4

♦Aiken, Henry

V. 1, No. 5

♦♦Amongthe Painter Etchers V. 3, No. 68

Austen, Winifred

V. 6, No. 8

♦Baillie, Capt. Wm.

V, i t No. 6

♦Balechou, Jean

V. 2, No. 41

♦Barnard, Wm.

V. 2, No. 36

♦Baron, Bernard

V. 1, No. 11

♦Bartolozzi, Francesco

V. 1, No. 7

♦Baxter, George

V. 2, No. 41

♦♦Benson, Frank W.

V. 3. No. 73

♦♦Blampied, Edmund

V. 6, No. 11

♦♦Bliss, Frank E.

V. 3, No. 77

•BoydeM, John

V. 2, No. 43

♦Burke, Thos.

V. 2, No. 34

♦Clint, George

V. I, No. 24

♦Cooper, Richard

V. 1, No. 25

♦Cruikshank, George

V. 1 , No. 10

♦Corbutt.C.

V. 2, Nos. 44, 45

♦Duncan, Edward

V. 1, No. 13

Durer Discovery, The

V. 2, No. 42

Durer Woodcuts

V. 5, No. 6

♦Earlom, Richard

V. I, No. 17

♦Engravers' Proofs

V. 2. No. 46

•Engravers' Reprints and

Copies

V. 3. Nos. 57, 58

♦Engravings, Hints on

Collecting

V. 1, No. 8

Engravings Upon Flint

Crust

V. 3, No. 70

♦•Etchers at Auction

V. 3, No. 67

Etchings Modern \ Their

Values

V. 6, Nos. 9, 10,

Etchings (Modern), Their

11, 12

Values

V. 7, No. 13

Etchings, Signed and

Unsigned

V. 7, No. 13

♦Fittler, James

V. 3, No. 55

♦Freeman, Samuel

V. 1, No. 15

♦Frye, Thos.

V. 2, No. 32

♦Glass Prints

V. 2, No. 39

♦Green, Valentine

V. 1, Nos. 2, 3

••Griggs, F. L.

V. 7, No. 14

♦Hendrik, Count Goudt

V. 1, No. 12

♦Harris, John

V. 2, Nos. 47, 48

Harunolu, Suzuki

V. 1, No. 3

Hiroshige, Utagawa

V. i, No. 16

♦Hodges, C. H.

V. 3, No. 53

♦Hogarth, Wm.

V. 2, No. 49

V. 1, N03.14

16,

V. 5, No. 2

V. 4, No. 79

V. 4, Nos. 82

V. 3, No. 77

V. 4, No. 89,

9°,

V. 1, Nos. 4,

V. 3, Nos. 69, 70

V. 3, No. 58

V. 6, No. 10

V. 6, No. 9

V. 5, Nos. 1,

V. 2, No. 33

V. 5, No. 3

V. 2, No. 52

V. 2, No. 28

V. 2, No. 29

V. 2, Nos. 30,

.11

V. 4, No. 91

V. 6, Nos. 7,

V. 5, No. 4

V. 1, No. 23

V. I, No. 26

V. 2, No. 27

V. 4, No. 85

V. 5, No. 6

V. 2, No. 50

V. 4, No. 88

V. 1, No. 15

V. 2, No. 38

V. 4, No. 79

V. 2, No. 42

V. 6, No. 12

V. 3, No. 75

V. I, Nos. 8,

V. 5. No. 3

V. 2, No. SI

V. S, No. S

V. 3, No. 56

V. I, No. 1

V. 5, No. S

BOOKS ON ETCHING

Engraving, other Arts and Crafts, Collecting and kindred
Subjects, and every other conceivable subject. Also Illus-
trated Books (with Plates in Colour), Finely Coloured En-
gravings, Rare Books, First Editions, Belles-lettres, etc., etc.

Over 1,000,000 Volumes (Second-hand and New) in stock

Books sent on approval

Search made for out of print books not in stock and

reported free of charge

Write for Catalogues (post free) mentioning definite

requirements if possible

Books (Libraries or Small Parcels) Purchased

W. & G. FOYLE, Ltd.

121-125 CHARING CROSS ROAD, LONDON, W.C. 2

That book you want I

Foyles have it, or will soon find it 1

A. HOLDGATE & SONS,

Art Copper-plate Printers.

ETCHINGS - AQUATINTS - MEZZOTINTS, Etc.
STEELFACING AND PLATE CLEANING.

PAPERS OF EVERY SIZE AND DESCRIPTION IN STOCK.

Bring your Plate and see for yourself.

EST. 1861. 'Phone: MUSEUM 460.

47 MAPLE STREET, LONDON, W. 1.

ENGRAVING / ETCHING

Gravers, Scrapers, Dry Points, Etching Needles,
Burnishers and other Engraving Tools in many
styles.

Tools for music Engraving.

Engraving Machines.

Copper and Zinc Plates, specially prepared, as
supplied to Royal College of Art, South Kensing-
ton, and other leading Art Classes, Etchers and
Engravers.

Brass, Steel and Aluminium Plates.

Copper-plate and other Proving Presses.

Blankets, Wiping Canvas and Muslin,

Plate Papers in all grades.

Japanese Papers, Tracing Gelatine and Papers.

Ink In Tubes : Black, Brown, Sepia.

Etching Chemicals, Turps, etc.

Nitric Acid, Peraal Copper Etcher, and Etching

Mordants made up to any fonnulse.
Etching Balls, Bordering Wax, Tapers for Smoking.
Liquid Etching Ground.
Mogul Varnish, for Stopping Out and Rebiting

Varnish.
Dabbera : Silk or Kid.
Wiping Canvas in three varieties.
Hand Vices and Heaters.
Mezzotint Tools.

Engravers' Pads, Bull's Eyes and Magnifiers.
Tools and Materials for Japanese Wood-cutting

and Printing.

EVERY REQUISITE FOR DRY POINT WORK, HAND, ETCHING,
PHOTOGRAVURE, AQUATINT, ETC., ETC.

A. W. PENROSE & CO., LTD.,
109, FARRINGDON ROAD, LONDON, E.G.I.

THE PRINT COLLECTORS QUARTERLY IS
A MAGAZINE WHICH WILL APPEAL TO ALL
LOVERS AND CONNOISSEURS OF PRINTS
AND DRAWINGS BOTH OLD AND MODERN :
EVERY NUMBER DEALS WITH AT LEAST
FOUR ARTISTS OR SUBJECTS AND THE
ARTICLES ARE WRITTEN BY EXPERTS
IN AN EASY AND INTERESTING STYLE :
COMPLETE CATALOGUES ARE APPENDED
WHERE NECESSARY AND THESE ARE
OF PERMANENT VALUE FOR REFERENCE
PURPOSES : THE QUARTERLY IS PUB-
LISHED FOUR TIMES A YEAR IN THE
MONTHS OF FEBRUARY APRIL OCTOBER
AND DECEMBER AND THE ANNUAL SUB-
SCRIPTION IS TWENTY SHILLINGS POST
FREE THE EDITOR IS CAMPBELL DODG-
SON THE KEEPER OF PRINTS AND DRAW-
INGS AT THE BRITISH MUSEUM AND THE
PUBLISHERS ARE MESSRS DENT OF ALDINE
HOUSE BEDFORD STREET LONDON WEST
CENTRAL TWO

Etching Presses

and

Etching Materials of eVery
& description * *

can be obtained at

HUGHES & KIMBER,

9 Gough Square, London, E.C. 4.

ESTABLISHED 1820.

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