File:A short history of engraving (and) etching - for the use of collectors and students; with full bibliography, classified list and index of engravers (1908) (14596583429).jpg

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

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Text Appearing Before Image:
which forms the smaller part of his production, is the most gifted
illustrator of the school. His plates to the first volume of the
Chansons (1773) of J. B. de Laborde (a valet de chambre of
Marie Antoinette) are of historical importance for the truth with
which they reflect the atmosphere of the Dauphine and her Court.
A more ambitious task, and one of his most successful, was the
illustration of J. J. Rousseaus Œvres Completes. The best series
of engravings after his designs for this work appeared in the 4to
edition of 1774-83 (in 12 volumes), which was nominally pub-
lished in London,¹ and was the work of NOEL LE MIRE (see Fig.
82), NICOLAS DELAUNAY, J. B. SIMONET, A. J. DUCLOS, P. P.
CHOFFARD, and others. It is a great rarity to find this edition of
Rousseau with its engravings complete; and the same may be said

¹ Actually, I believe, in Brussels. Like many other books of the time published
with false name of place.

2i6 LATER DEVELOPMENT OF ENGRAVING

of so many of the illustrated books of the period, which are too
Text Appearing After Image:
FIG. 82. — Noel Le Mire after J. M. Moreau. The Quarrel (an illustration to
J. J. Rousseau's Julie). often found mutilated of their plates. The same designs were
engraved much less well, and on a smaller scale, in the 8vo editions

THE FRENCH ILLUSTRATORS 217

of Rousseau (e.g. Poingot, Paris, 38 vols., 1788-93; and Didot,
Paris, 1801, 20 vols.).
Unfortunately Moreau lived beyond the time to which he be-
longed by nature. His was too delicate a talent not to yield before
the new classicism of Jacques Louis David ; and in the reaction
against the outward show of the old society, Moreau found himself
the more than commonplace illustrator of J. P. Rabaut Saint-Etienne's
Précis Historiqiie de la Révolution Françalse (1792). On this field of
stern action he was as nothing compared to JEAN DUPLESSI-BERTAUX,^{Dupiessi-Bertaux}
who in his myriad etchings illustrating the period of the Revolution
revived something of the spirit of Callot.
One enterprise of Moreau must sti

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