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much larger editions were obtainable. The painterly quality which distinguished the 18th-century mezzotints on copper was wanting in his later works, because the hardness of the steel on which they were engraved impaired freedom of execution and richness of tone, and so enhanced the labor of scraping that he accelerated the work by stipple, etching the details instead of scraping them out of the ground in the manner of his predecessors. To this mixed style, previously used by
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on copper, Cousins added heavy roulette and rocking-tool textures, tending to fortify the darks, when he found that the burr even on steel failed to yield enough fine impressions to meet high demand. The effect of his prints in this method after
Reynolds and Millais was mechanical and out of harmony
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for engraving purposes about the year 1823, Cousins and his contemporaries were compelled to work on it, because the soft copper previously used for mezzotint plates did not yield a sufficient number of fine impressions to enable the method to compete commercially against line engraving, from which
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with the picturesque technique of these painters, but the phenomenal popularity which
Cousins gained for his works at least kept alive and in favor a form of mezzotint engraving during a critical phase of its history.
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365:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Samuel Cousins (see index)
230:, after Hogarth (1873-1877), represent various stages of Cousins's mixed method. It reached its final development in the plates after Millais's
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he engraved many of the best amongst the three hundred and sixty little mezzotints illustrating the works of Sir
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which his master issued in his own name. In the finest of his numerous transcripts of
Lawrence, such as
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418:. Vol. 7 (11th ed.). Cambridge University Press. pp. 335–336.
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by J. P. Mayall from
Artists at Home, photogravure, published 1884,
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This article incorporates text from a publication now in the
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at age 42, engraving by Samuel
Cousins from a portrait by
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Prints & People: A Social
History of Printed Pictures
264:, National Gallery of Art Library, Washington, DC
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151:Cousins was preeminently the interpreter of Sir
48:but its sources remain unclear because it lacks
342:(published by H. Graves and Co., London, 1888);
135:. In 1855 he was elected a full member of the
340:Catalogue of the Works of Samuel Cousins, RA.
381:Profile on Royal Academy of Arts Collections
119:– 7 May 1887 in London) was a British
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232:Cherry Ripe
121:mezzotinter
61:introducing
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323:References
300:James Sant
178:After the
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