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See also:PLUMBAGO DRAWINGS . What we should now speak of as See also:pencil drawings were in the 17th and 18th centuries usually known as drawings " in plumbago," and there is a See also:group of artists whose See also:work is remarkable for their exquisite portraits See also:drawn with finely pointed pieces of See also:graphite and upon vellum. In some books of reference they are grouped as engravers, and as such See also:Horace See also:Walpole describes several of them. There is no doubt that many of their See also:fine pencil drawings were prepared for the purpose of See also:engraving, but this is not likely to have been the See also:case with all, and we have See also:evidence of certain commissions executed, by See also:Forster for example, when the portrait was not required for the preparation of a See also:plate. One of the earliest of this group of workers was See also:Simon See also:Van de Pass (1595?-1647), and in all See also:probability his pencil drawings were either for See also:reproduction on See also:silver tablets or counters or for engraved plates. A very few pencil portraits by See also:Abraham Blooteling, the Dutch engraver, have been preserved, which appear to have been first sketches, from which plates were afterwards engraved. They are of exceedingly delicate workmanship, and one in the See also:present writer's collection is signed and dated. By See also:David Loggan (163 1700), a See also:- PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)
pupil of Van de Pass, there also remain a few portraits, as a See also:rule drawn on vellum and executed with the utmost dexterity and with marvellous minuteness, the lines expressing the intricacies of a See also:lace ruffle or the curls of a See also:wig being perfectly rendered. It is evident that these were not always prepared for engraving, because there is one representing See also:Charles II., set in a beautiful See also:gold See also:snuff See also:box, which was given. by the See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king to the duchess of See also:Portsmouth and now belongs to the See also:duke of See also:Richmond, and a similar portrait of See also:Cromwell in the See also:possession of See also:Lord Verulam, while several others belong to Lord See also:Caledon, and there are no engravings corresponding to these. On the other See also:hand, a large See also:drawing by Loggan in the writer's collection, representing Charles II., is the See also:sketch for the finished engraving and bears a See also:declaration to that effect. An artist who is better known to the See also:general See also:collector is See also:- WILLIAM
- WILLIAM (1143-1214)
- WILLIAM (1227-1256)
- WILLIAM (1J33-1584)
- WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
- WILLIAM (c. 1130-C. 1190)
- WILLIAM, 13TH
William See also:Faithorne (1616-1691). He was the pupil of See also:Sir See also:Robert See also:Peale, the engraver, but derived much of his skill from the See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time he spent with See also:Nanteuil, whose involved See also:minute See also:style he closely followed, triumphing over technical difficulties with See also:great success. There are important drawings by him in the Bodleian, at Welbeck855
See also:Abbey and at See also:Montagu See also:House, and two fine portraits in the See also:British Museum. See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
Thomas Forster (fl. 1695-1712) was one of the greatest draughtsmen in this particular See also:form of See also:portraiture. His drawings are both on vellum and on See also:paper, as a rule on vellum. Of the details of his See also:life very little is known. He engraved a few prints, but they are of the utmost rarity. His finest portraits are executed with very great refinement and delicacy, the modelling of the See also:face being quite wonderful. It is in fact one of the marvels of this type of portraiture how such exquisite lines could have been drawn with the roughly cut pieces of graphite which were at the disposal of the artists. In some instances in Forster's work the lines representing the modelling of the face are so fine as to be quite indistinguishable without the aid of a See also:glass. His work can be studied at Welbeck Abbey, in the Holburne Museum at See also:Bath, in the See also:Victoria and See also:Albert Museum and elsewhere. Two other Englishmen should be referred to, Robert and See also:George See also:- WHITE
- WHITE, ANDREW DICKSON (1832– )
- WHITE, GILBERT (1720–1793)
- WHITE, HENRY KIRKE (1785-1806)
- WHITE, HUGH LAWSON (1773-1840)
- WHITE, JOSEPH BLANCO (1775-1841)
- WHITE, RICHARD GRANT (1822-1885)
- WHITE, ROBERT (1645-1704)
- WHITE, SIR GEORGE STUART (1835– )
- WHITE, SIR THOMAS (1492-1567)
- WHITE, SIR WILLIAM ARTHUR (1824--1891)
- WHITE, SIR WILLIAM HENRY (1845– )
- WHITE, THOMAS (1628-1698)
- WHITE, THOMAS (c. 1550-1624)
White, See also:father and son. The former (1645-1704) was a pupil of Loggan and a prolific engraver, and most of his drawings, executed on vellum, were for the purpose of engraving. George White (c. 1684-1732) was taught by his father, and finished some of his father's plates. His own pencil drawings are of even finer See also:execution than those of Robert White. These three men, Forster and the two Whites, carefully signed their drawings and dated them. By Robert White there are remarkable portraits of See also:Bunyan and Sir See also:Matthew See also:Hale in the British Museum, and his own portrait at Welbeck; and by him and his son there are other drawings in private collections, depicting Sir See also:Godfrey See also:Kneller, See also:Archbishop See also:Tennyson and others. The two Fabers (166o?-1721 and 1695?-1756) were from See also:- HOLLAND
- HOLLAND, CHARLES (1733–1769)
- HOLLAND, COUNTY AND PROVINCE OF
- HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
- HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
- HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
- HOLLAND, JOSIAH GILBERT (1819-1881)
- HOLLAND, PHILEMON (1552-1637)
- HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
- HOLLAND, SIR HENRY, BART
Holland, the See also:elder having been See also:born at the See also:Hague, as he himself states on his portrait which was in See also:Vertue's collection. In addition to the portraits these two men usually added beautiful drawn See also:inscriptions, often found within circles around the portraits and occasionally extending to many lines below them. The son was the greater artist and a famous mezzotinter. The portrait painter See also:Jonathan See also:Richardson (1665-1745) executed many fine drawings in pencil, examples of which can be seen in the British Museum. One of the best of these plumbago draughtsmen was a Scotsman, whose work is of the utmost rarity, David See also:Paton, who worked in 167o. The See also:chief of his drawings belong to the See also:earl of See also:Dysart and are at See also:Ham House, and two examples of his portraiture are in the possession of the Dalzell See also:family. Of Paton's See also:history nothing is known See also:save that he was a See also:Catholic who worked for more than one Dominican house, a devoted adherent of the See also:Stuart cause, and was attached to the See also:court of Charles II., when the king was in See also:Scotland. At that time he See also:drew his remarkable portrait of the king now at Ham House. There are drawings of the same See also:character as his, the work of George See also:Glover (d. 1618) and Thomas Cecill (ft. 1630), but they are of extraordinary rarity and were evidently first studies for engravings. Of Glover's work the only signed example known is in the writer's collection. A Swiss artist, See also:Joseph See also:Werner (b. 1637) or Waerner, drew well in pencil, adopting See also:- BROWN
- BROWN, CHARLES BROCKDEN (1771-181o)
- BROWN, FORD MADOX (1821-1893)
- BROWN, FRANCIS (1849- )
- BROWN, GEORGE (1818-188o)
- BROWN, HENRY KIRKE (1814-1886)
- BROWN, JACOB (1775–1828)
- BROWN, JOHN (1715–1766)
- BROWN, JOHN (1722-1787)
- BROWN, JOHN (1735–1788)
- BROWN, JOHN (1784–1858)
- BROWN, JOHN (1800-1859)
- BROWN, JOHN (1810—1882)
- BROWN, JOHN GEORGE (1831— )
- BROWN, ROBERT (1773-1858)
- BROWN, SAMUEL MORISON (1817—1856)
- BROWN, SIR GEORGE (1790-1865)
- BROWN, SIR JOHN (1816-1896)
- BROWN, SIR WILLIAM, BART
- BROWN, THOMAS (1663-1704)
- BROWN, THOMAS (1778-1820)
- BROWN, THOMAS EDWARD (1830-1897)
- BROWN, WILLIAM LAURENCE (1755–1830)
brown paper as the material upon which his best drawings were done, and in some cases heightening them with touches of white paint. The most notable of his portraits is one which is in the collection at Welbeck Abbey.
The earlier See also:miniature painters also drew in this manner, notably See also:Hilliard in preparing designs for jewels and See also:seals, and See also:Isaac and See also:- PETER
- PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
- PETER (PEDRO)
- PETER, EPISTLES OF
- PETER, ST
Peter See also:Oliver in portraits. By Isaac Oliver there is a fine drawing in Lord See also:Derby's collection; and one by Peter, a marvellous likeness cf Sir Bevil See also:Grenville, in that of the writer. The later men, See also:Hone, See also:Grimaldi, See also:Lens and See also:Downman, also drew finely in plumbago. Other notable exponents of this delightful See also:art were Thomas Worlidge (1700-1766), F. See also:Steele (c. 1714), W. See also:Robins (c. 1730), G. A. See also:Wolff-gang (1692–1775), George Vertue the engraver (1684–1?56), Johann See also:Zoffany (1733-1810), and the Swede, Charles Bancks (c. 1748), who resided in See also:England for some years. (G. C.
End of Article: PLUMBAGO DRAWINGS
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