Thomas Forster, worked 1690-1717 , Portrait of Lady Anne Churchill, Dated 1700, Graphite on vellum Museum no. P.20-1910 Victoria and Albert Museum, London Early artists in plumbago One of the earliest of this group of workers was Simon Van de Pass ( 1595-1647 ), and his pencil drawings were probably either for reproduction on silver tablets or counters or for engraved plates. The earlier miniature painters also drew in this manner, notably Nicholas Hilliard in preparing designs for jewels and seals, and Isaac Oliver and Peter Oliver in portraits. A few pencil portraits by Abraham Blooteling, the Dutch engraver, have been preserved, which appear to have been first sketches, from which plates were afterwards engraved. David Loggan ( 1635-1700 ), a pupil of Van de Pass, also left a few portraits, as a rule drawn on vellum and executed with dexterity. Later works William Faithorne ( 1616-1691 ) derived much of his skill from the time he spent with Robert Nanteuil, whose style he followed. There are drawings by him in the Bodleian Library, at Welbeck Abbey and at Montagu House, and two fine portraits in the British Museum. Thomas Forster (c. 1695-1712 ) was one of the major draughtsmen in this form of portraiture, on vellum and on paper. His work was at Welbeck Abbey, in the Holburne Museum at Bath, in the Victoria and Albert Museum and elsewhere. Robert and George White, were English artists, 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. Forster and the two Whites signed their drawings and dated them. By Robert White there are portraits of John Bunyan and Sir Matthew Hale in the British Museum, and his own portrait at Welbeck; and by him and his son there are other drawings, depicting Sir Godfrey Kneller, Archbishop Tenison and others. The two John Fabers, John Faber Senior (c.1660 -1721 ) and John Faber Junior ( 1660-1721 ), were Dutch; they usually added drawn inscriptions, often found within circles around the portraits and occasionally extending to many lines below them. The son was the more significant artist, known for mezzotints. The portrait painter Jonathan Richardson ( 1665-1745 ) executed many drawings in pencil, examples of which can be seen in the British Museum. Later miniature artists, including Nathaniel Hone, Grimaldi, Bernard Lens and John Downman, also drew in plumbago. Other exponents of this art were Thomas Worlidge ( 1700-1766 ), F. Steele (c. 1714), W. Robins (c. 1730), G. A. Wolffgang ( 1692-1775 ), George Vertue the engraver ( 1684-1756 ), Johann Zoffany ( 1733-1810 ), and the Swede, Charles Bancks (c. 1748).
Thomas Forster, worked 1690–1717 , Portrait of Lady Anne Churchill, Dated 1700, Graphite on vellum Museum no. P.20-1910 Victoria and Albert Museum, London Early artists in plumbago One of the earliest of this group of workers was Simon Van de Pass ( 1595–1647 ), and his pencil drawings were probably either for reproduction on silver tablets or counters or for engraved plates. The earlier miniature painters also drew in this manner, notably Nicholas Hilliard in preparing designs for jewels and seals, and Isaac Oliver and Peter Oliver in portraits. A few pencil portraits by Abraham Blooteling, the Dutch engraver, have been preserved, which appear to have been first sketches, from which plates were afterwards engraved. David Loggan ( 1635–1700 ), a pupil of Van de Pass, also left a few portraits, as a rule drawn on vellum and executed with dexterity. Later works William Faithorne ( 1616–1691 ) derived much of his skill from the time he spent with Robert Nanteuil, whose style he followed. There are drawings by him in the Bodleian Library, at Welbeck Abbey and at Montagu House, and two fine portraits in the British Museum. Thomas Forster (c. 1695–1712 ) was one of the major draughtsmen in this form of portraiture, on vellum and on paper. His work was at Welbeck Abbey, in the Holburne Museum at Bath, in the Victoria and Albert Museum and elsewhere. Robert and George White, were English artists, 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. Forster and the two Whites signed their drawings and dated them. By Robert White there are portraits of John Bunyan and Sir Matthew Hale in the British Museum, and his own portrait at Welbeck; and by him and his son there are other drawings, depicting Sir Godfrey Kneller, Archbishop Tenison and others. The two John Fabers, John Faber Senior (c.1660 –1721 ) and John Faber Junior ( 1660–1721 ), were Dutch; they usually added drawn inscriptions, often found within circles around the portraits and occasionally extending to many lines below them. The son was the more significant artist, known for mezzotints. The portrait painter Jonathan Richardson ( 1665–1745 ) executed many drawings in pencil, examples of which can be seen in the British Museum. Later miniature artists, including Nathaniel Hone, Grimaldi, Bernard Lens and John Downman, also drew in plumbago. Other exponents of this art were Thomas Worlidge ( 1700–1766 ), F. Steele (c. 1714), W. Robins (c. 1730), G. A. Wolffgang ( 1692–1775 ), George Vertue the engraver ( 1684–1756 ), Johann Zoffany ( 1733–1810 ), and the Swede, Charles Bancks (c. 1748).
R
1690-1717
1690–1717
R
1595-1647
1595–1647
R
1635-1700
1635–1700
R
1616-1691
1616–1691
R
1695-1712
1695–1712
R
1645-1704
1645–1704
R
1684-1732
1684–1732
R
-1721
–1721
R
1660-1721
1660–1721
R
1665-1745
1665–1745
R
1700-1766
1700–1766
R
1692-1775
1692–1775
R
1684-1756
1684–1756
R
1733-1810
1733–1810