VI. The EngraversThe 94 engravings for Moore were drawn and engraved by a large number of artisans (see Appendix II) although the name of Deeble stands out prominently and it is little wonder his name is included in the complete title of the work. Although Ian Mackenzie refers to him as “a line engraver of small bookplates including landscapes, and topographical views after his contemporaries” it is clear he had some sort of reputation[i] and the title page makes it clear he was in charge of the illustrations. William Deeble (fl.1815-1858) may even have been from Devon, or more likely, Cornwall: of 217 Deebles registered in the 1881 census 99 lived in Cornwall and 15 in Devon (41 others in London).[ii] While several have no reference such as James Bingley, William Floyd, J Eke, or Thomas H Shepherd, H Worsley (a local Plymouth artist and engraver), A Glennie, T H Clarke, J Gandy, W J Lea, S Condy or W H Bartlett and are not listed in Mackenzie’s catalogue others receive brief mention similar to that of William Deeble, these being Thomas Higham, Henry Wallis, A MCcClatchie and J Henshall.
Other contributors deserve a little more attention: Thomas Mann Baynes was known as a watercolour artist as well as draughtsman and lithographer and worked with W H Bartlett on a series covering the Wye. Robert Brandard (1805-1862) who only drew the Bishop’s Palace in Paignton was born in Birmingham but worked in London and was one of two or three brothers who worked there. Interestingly, he was registered in Islington about the time he produced the one plate for Jennings. Thomas Hewitt Williams was known as a West Country draughtsman and occasional lithographer who wrote and illustrated several books. He was in Devonport in 1801 but moved to Exeter before 1807 where he remained. He made a number of walking tours throughout Devon and illustrated his own guide books.[iii] George Bryant Campion (1796-1870) was also a painter of landscapes and military subjects even teaching drawing at the Royal Military Academy, Woolwich but later lived in Munich and is known for two sets of prints.
R Browne’s name crops up in two Devon contexts. Henry Besley’s Route Book of Devon was a huge success as one of the first Devon guides produced in the county and ran to several reprints. In the early guides (1845 to 1851) Besley introduced a map of Plymouth and it is signed in the title panel “R. Browne, Architect, Delin.” However, the Plan of Plymouth, Stonehouse and Devonport had already appeared in 1841 in William Wood’s The Stranger’s Handbook to the Western Metropolis. This was not, however, R Browne’s first cartographic venture. When Octavian Blewitt updated The Panorama of Torquay in 1832 for E Cockem in Torquay there was a map of that town[iv] “Drawn by R. Browne, archt.” Moore’s map of Exeter was similarly drawn by Browne.
There were other contributors: there are 13 other engravings embedded in the text section of Volume I. While most are unsigned including 2 Dartmoor scenes, Dartmouth, 3 fossils and a plan of their find, a Devonshire plough, the Laywell spring in Brixham; four are signed. Sowerby drew an illustration of Grauwracke of Hartland Point, a scene of Vixen Tor is signed J Mosses Sc., Bowman’s Nose is by Sears, and W Dawson signed the view of Aqueduct over the Torridge.
Link to images of all Moore plates
Link to images of all Fisher plates
[ii] Mackenzie (1987/88).
[iii] See website britishsurnames.co.uk/surname/deeble/1881census.
[iv] A Topographical Map of the Parishes in the vicinity of Torbay Illustrative of the District and Antiquities Described appeared in the Panorama of Torquay. This map was only 135 x 180 mm. It was lithographed by George Rowe, a popular local lithographer, draughtsman and publisher of topographical views.