William Cobbett
William Cobbett
John Baldwin Buckstone
John Baldwin Buckstone
Walter Scott
Walter Scott
Michael Faraday
Michael Faraday
Master of the Amsterdam Cabinet. Two Lovers
MASTER OF THE AMSTERDAM CABINET. TWO LOVERS Size of the original engraving, 6½ × 4⅛ inches In the Ducal Collection, Coburg In agreeable contrast is the dry-point of Two Lovers—a little masterpiece—one of his most charming designs. “The sweet shyness of the maiden, the tender glances of the lover and the soft pressure of their hands are rendered with an inimitable grace, and the work is altogether of such exceptional quality that we may count this delightful picture as one of the rarest gems of German engraving in the fifteenth century.”
James Hogg
James Hogg
Sir John C. Hobhouse
Sir John C. Hobhouse
Washington Irving
Washington Irving
Lord Byron
Lord Byron
Lord Brougham
Lord Brougham
Queen Victoria in 1839
Queen Victoria in 1839
Edward Lytton Bulwer
Edward Lytton Bulwer
Pierre-Jean De Béranger
Pierre-Jean De Béranger
John Wilson Croker
John Wilson Croker
John Gibson Lockhart
John Gibson Lockhart
The Fraserians
The Fraserians
Alfred d Orsay
Alfred d Orsay
Rev. William Lisle Bowles
Rev. William Lisle Bowles
Burdett, Hume and O'Connell
Burdett, Hume and O'Connell
William Harrison Ainsworth
William Harrison Ainsworth
Thomas Carlyle
Thomas Carlyle (4 December 1795 – 5 February 1881) was a British historian, satirical writer, essayist, translator, philosopher, mathematician, and teacher [Wikipedia]
Thomas Moore
Thomas Moore
Mary Russell Mitford
Mary Russell Mitford
Regina's Maids of Honour
Regina's Maids of Honour
Sydney Smith
Sydney Smith
Lord John Russell
Lord John Russell
M. Blessington
M. Blessington
Theodore S Hook
Theodore S Hook
The Old Tabard Inn, High Street, Southwark
The Old Tabard Inn, High Street, Southwark
Thomas Campbell
Thomas Campbell
Thomas Noon Talfourd
Thomas Noon Talfourd
John Galt
William Wordsworth
William Wordsworth
Benjamin D’Israeli
Benjamin D’Israeli
The Queen receiving the sacrament, after her coronation - Westminster Abbey, June 29, 1838
Samuel Taylor Coleridge
Samuel Taylor Coleridge
Fashions for 1836 and 1837
Fashions for 1836 and 1837
Samuel Rogers
Samuel Rogers
Napoleon at Longwood
Napoleon at Longwood
Lord Lyndhurst
Lord Lyndhurst
Sir Robert Peel
Sir Robert Peel
Leigh Hunt
Leigh Hunt
Master of the Playing Cards. St. George
Size of the original engraving, 5⅞ × 5¼ inches In the Royal Print Room, Dresden The technical method of the Master of the Playing Cards is that of a painter rather than of a goldsmith. There is practically no cross-hatching, and the effect is produced by a series of delicate lines, mostly vertical, laid close together. His plates are unsigned and undated, so that we can only approximate the period of his activity. That he preceded, by at least ten years, the earliest dated engraving, the Flagellation, by the Master of 1446, may safely be assumed, since in the manuscript copy of Conrad von Würzburg’s “The Trojan War,” transcribed in 1441 by Heinrich von Steinfurt (an ecclesiastic of Osnabrück), there are pen drawings of figures wearing costumes which correspond exactly with those in prints by the Master of the Playing Cards in his middle period. The Master of the Playing Cards is, therefore, the first bright morning star of engraving. From him there flows a stream of influence affecting substantially all of the German masters until the time of Martin Schongauer, some of whose earlier plates show unmistakable traces of an acquaintanceship with his work. St. George and the Dragon is in his early manner. Here are plainly to be seen the characteristics of this first period—the broken, stratified rocks, the isolated and conventionalized plants, and the peculiar drawing of the horse, especially its slanting and half-human eyes. The Playing Cards, from which he takes his name, may safely be assigned to his middle period.
Harriet Martineau
Harriet Martineau
The Duchess of Kent, with Princess Victoria at the age of two
The Duchess of Kent, with Princess Victoria at the age of two
Reversion to the classic (Grecian) type
Reversion to the classic (Grecian) type
Citizen of Early tudor or Louis XI Period
Citizen of Early tudor or Louis XI Period
Noble of the Tudor or Louis XI Period
Noble of the Tudor or Louis XI Period
Men's street costume Late Revolution and early Empire
Men's street costume Late Revolution and early Empire
Gentleman of the early Louis XV Period
Gentleman of the early Louis XV Period
Master of the Playing Cards. Man of Sorrows
To his [Master of the Playing Cards.] latest and most mature period must be assigned the Man of Sorrows—in some ways his finest, and certainly his most moving, plate. Not only has he differentiated between the textures of the linen loin-cloth and the coarser material of the cloak; but the column, the cross with its beautiful and truthful indication of the grain of the wood, and the ground itself, all are treated with a knowledge and a sensitiveness that is surprising. The engraver’s greatest triumph, however, is in the figure of Christ. There is a feeling for form and structure, sadly lacking in the work of his successors, and his suggestion of the strained and pulsing veins, which throb through the Redeemer’s tortured limbs, is of a compelling truth.
Elizabethan or Henry III Period - showing Medicis Collar
Elizabethan or Henry III Period - showing Medicis Collar
Court Dress of tudor or Louis XI Period
Court Dress of tudor or Louis XI Period
Louis XV
Dress in the time of Louis XV
Days of the pannier
Days of the pannier
Late Empire - Ball dress and street costume
Late Empire - Ball dress and street costume
Mousquetaire or Cavalier Costume 1620 - 1640
Mousquetaire or Cavalier Costume 1620- 1640
Master of the Year 1446. Christ Nailed to the Cross
Size of the original engraving, 4⅛ × 3¼ inches In the Royal Print Room, Berlin Chief among the engravers who show most clearly the influence of the Master of the Playing Cards is the Master of the Year 1446, so named from the date which appears in the Flagellation. His prints present a more or less primitive appearance, and were it not for this date, one might be tempted, on internal evidence, to assign them to an earlier period. In the Passion series, in particular, many of the figures are more gnome-like than human. Such creatures as the man blowing a horn, in Christ Nailed to the Cross, and the man pulling upon a rope, in the same print, recall to our minds, by an association of ideas, the old German fairy tales.
Middle class costume during French Revolution - showing Charlotte Corday cap
Middle class costume during French Revolution - showing Charlotte Corday cap
Young Gentleman of the 14th Century
Young Gentleman of the 14th Century