Samuel Cousins

English engraver
verifiedCite
While every effort has been made to follow citation style rules, there may be some discrepancies. Please refer to the appropriate style manual or other sources if you have any questions.
Select Citation Style
Feedback
Corrections? Updates? Omissions? Let us know if you have suggestions to improve this article (requires login).
Thank you for your feedback

Our editors will review what you’ve submitted and determine whether to revise the article.

External Websites
Britannica Websites
Articles from Britannica Encyclopedias for elementary and high school students.
Print
verifiedCite
While every effort has been made to follow citation style rules, there may be some discrepancies. Please refer to the appropriate style manual or other sources if you have any questions.
Select Citation Style
Feedback
Corrections? Updates? Omissions? Let us know if you have suggestions to improve this article (requires login).
Thank you for your feedback

Our editors will review what you’ve submitted and determine whether to revise the article.

External Websites
Britannica Websites
Articles from Britannica Encyclopedias for elementary and high school students.
Quick Facts
Born:
May 9, 1801, Exeter, Devon, England
Died:
May 7, 1887, London

Samuel Cousins (born May 9, 1801, Exeter, Devon, England—died May 7, 1887, London) was an English mezzotint engraver, preeminently the interpreter of the painter Sir Thomas Lawrence.

During his apprenticeship Cousins engraved many of the best among the 360 little mezzotints illustrating the works of Sir Joshua Reynolds. In the finest of his transcripts of Lawrence, such as Master Lambton (1826), the brilliance and force of effect in a high key corresponded exactly with qualities achieved by the painter. After the introduction of steel for engraving about 1823, Cousins and his contemporaries were compelled to use it: the soft copper employed for mezzotint plates did not yield enough fine impressions to be commercially competitive with line engraving. Because of the hardness of steel, the paintinglike quality of mezzotints of the 18th century was wanting in Cousins’s later works. The labour of scraping steel was so augmented that Cousins resorted to using stipple engraving and etching processes. To this mixed style he added heavy roulette (toothed wheel) and rocking-tool textures. The effect of these prints was mechanical, but their phenomenal popularity kept alive a form of mezzotint during a critical phase of its history.

This article was most recently revised and updated by Encyclopaedia Britannica.