engraving | graphic designer | Engraving | Bureau of Engraving and Printing | The Graphic | Graphic adventure game | Peter Saville (graphic designer) | line engraving | Engraving of the ''Gnadenaltar'' in the ''Vierzehnheiligen Basilica'', Bad Staffelstein | Engraving from ''The Graphic | Wood-engraving of 1874's 2,000 Guineas Stakes | Widdowson (hand on hip) depicted in an engraving titled "Famous Football Players" issued by the ''Boy's Own Paper | Vignette (graphic design) | vignette (graphic design) | ''Troilus and Cressida, Act V, Scene II''. 1795 engraving by Luigi Schiavonetti | The garden facade of Le Roy's new chateau at Versailles, after an engraving by Israel Silvestre | tactile graphic | ''St Matthew'', chiaroscuro wood engraving after Georges Lallemand | steel engraving | Section from a 19th-century engraving by Nathaniel Whittock from a drawing by Antony van den Wyngaerde (ca 1543-50), which shows the towers and spires of many of the churches mentioned in the rhyme ''Oranges and Lemons | Once in a Blue Moon (graphic novel) | Line engraving | International Centre of Graphic Arts, Ljubljana | Graphic pejoratives in written Chinese | Graphic Era University | Graphic Designer | Graphic designer | Graphic Artists Guild | graphic adventure game | ''General Jail Delivery'', satirical engraving of the time of Lovell's first imprisonment; the publication ''The Statesman'' is shown held (back to the left) by a man talking to a barrister; towards the front William Cobbett |
His early illustrated works were included in periodicals such as The Yellow Book, Punch, The Graphic and Salt-Water Poems and Ballads by John Masefield.
The Graphic described it as a "simple and graceful ballad".
He also contributed a large number of black and white pictures to The Graphic, The Illustrated London News and Cassell's Magazine.
He was recruited by the British art weekly The Graphic to make sketches of delegates to the Hague Conventions, in addition to the portraits of soldiers that he already published in it.
Macbeth studied in London, producing realistic everyday scenes and working for The Graphic magazine.
The Graphic was critical of many aspects of the work, with the reviewer stating that he finished reading it with a feeling of "perplexity" and "weariness".