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) (14783236055).jpg

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

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is happily exemplified in the Hay-Barnand Flock of Sheep of 1650 (B. 224, Fig. 68), where early im-pressions full of burr show up a horse kicking on its back in thefield. About the same date come a considerable number of otherlandscape plates, such as the Canal with an Angler and TtvoSwans (B. 235), and the Canal with a large Boat attd Bridge(B. 236). They are mostly smaller and of closer workmanshipthan the earlier groups, but have an added richness in the burrfrom dry-point. The most perfect example of a similar method,somewhat bolder in touch, is the landscape of 165 i that goes bythe name of the Gold-Weighers Field (B. 234) (i.e. the country seatof the Receiver-general Uytenbogaert, whose portrait Rembrandt l82 THE MASTERS OF ETCHING etched in 1639). Of course the traditional identification of thislocality, as of several of the other landscapes, is not beyondquestion. AVithin two or three years from this date Rembrandthas ceased to do landscape as an end in itself, a fact that no
Text Appearing After Image:
Fig. 67.—Rembrandt. Woman at the Bath. doubt speaks of his retired life in Amsterdam in these latter years.His latest and broadest manner may be exemplified in the largeFlight into Egypt of about 1653 (B. 56). The plate has a curioushistory, having been originally etched by Hercules Seghers withfigures representing Tobias and the Angel. In most of the land-scape the unique manner of Seghers with the multifarious small RELATIVE VALUE OF IMPRESSIONS 183 curving lines is still unaltered, but the additions in the clump oftrees to the right are in Rembrandts strongest style. Before leaving Rembrandt we would take the opportunity of Quality ofemphasising the differences of value which depend on the quality impression.or date of an impression. A genuine print from an original platemay be artistically and marketably worthless, when a good earlyimpression may be realising its tens of pounds, and a rare earlystate its hundreds. A considerable number of the original copper-plates are still in

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