Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
CENTURY
COLOUR
PRINTS
Un livre
toujours
est
un
moyen
un
MiCHELET.
id /^
CenturyColour
Eighteenth
Prints : an Essay on certain
Engravers^
Stipple their Work
in Colour
JULIA FRANKAU
iLonlion
MACMILLAN AND CO., Limited
NEW YORK : THE MACMILLAN COMPANY
1906
yV// righti
reierifd
S^uarto,
Edition,
First
1900
1906
Edition, S-vo,
Second
College
library
vS5e
PREFACE
A of mystery
CLOUD and
misunderstanding has
around the
gathered eighteenth-century Colour-
Print. The alphabetof the subjectis scarcely
classic; the very words convey different meanings
to different people,and are translated, or translated,
mis-
11S1628
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
the soft "
rotted
paper with its uneven surface
and faint sepiatint. But practicalworkers accept
neither explanation.
That many, even the large majority,of the
unsung.
I am venturing, perhaps with foolhardiness,
into the gap. I do not
propose to compete with
grand climacteric.
I apologise in advance for all that I have
omitted, and all that I have included. The ject-matt
sub-
tall and
grandfather's-clock an oak dresser full
of "
blue
"
specimen or so of
stipple-engraving, and, fine
finally,
some examples valued only for the tone
and balance of the printing.
It was through this indiscriminate collecting,
nevertheless, that I became aware gradually it
was a new language I was learning,a limited,
lispingbaby-tongue,perhaps,but full of music,
a babble chorusing the epithalamium of printer
and And, as the language became more
engraver.
and more familiar to me, so did its restrictions
become more distinct and definite. I learned that
it could express a ballade, but not an epic ; a
paintingwas to be pursued.
In the wake of the great artists followed
EIGHTEENTH-CENTURY COLOUR-PRINTS
Hume. The
Burney Diaries, the Selwyn Letters,
the Garrick Papers, the Memoirs of poor "Perdita,"
rush so easily to the that it is difficult
memory
to pursue a singleaim.
xiv
PREFACE
society's taste.
glitteringspray along.
On this great art-wave that flooded our land
in the reign of the third George ; on the wave
which its flood gave
at us Reynolds, and at its ebb
Turner ; the colour -
print was the foam that
whitened softlyits crest. The debris of that
wave, the
wreckage in its wake, is as rich
very
and rare as the shells brought to the surface by
years ; but
through its delicate aid "
Mrs.
"
Clarke lolls again impudently on her couch,
red-lipped, black-eyed,fair-skinned, and lures to
;
"
Master Betty,"
"
Lunardi the Aeronaut," and "
Topham Beau-
clerk," the exquisite,the friend of Johnson, the
wit and the libertine,reawaken to life. "
Mrs.
DuflF" and the "Linleys
"
in strange juxtaposition,
"
the virtuous "
Mrs. Siddons and the frail Mrs. "
xvii
EIGHTEENTH-CENTURY COLOUR-PRINTS
to the colour -
printer; scarcelyfiftyof them
devoid of talent or interest either in themselves
XIX
CONTENTS
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
PAUB
CHAPTER VI
The meeting of
Stipple-Engraving and Colour-Printing in
France Jean Fran9ois and his artistic relationshipto
"
CHAPTER VII
CHAPTER VIII
Bartolozzi "
His character as a man and its effect upon his
reputation as an artist "
Some representative prints
described, and a short list given of other desirable mens
speci-
of his Colour-Printed stipple-work .156 . .
xxii
CONTENTS
CHAPTER IX
CHAPTER X
CHAPTER XI
CHAPTER XII
Other and
Stipple-Engravers.-Apologia "
Conclusion 249
INDICES 291
XXIIl
CHAPTER I
antique.
It is for this
earlyspecimens
reason that the
of engraving, stipple engraving, and colour- -
"
Ami et Amile in the Elzevirienne.
Bibliotheque
3
EIGHTEENTH-CENTURY COLOUR-PRINTS
printingfor paper-hangings.
Jean BaptisteMichel Papillontells us that in
the year 171 9 he was sent by his father to the
villageof Bagneaux, near Mont Rouge, to paper
a room for Monsieur De Greder. He papered
the room for him, and he was then asked to
5
EIGHTEENTH-CENTURY COLOUR-PRINTS
This
preciousbook was given to my grandfatherJan. Jacq.
Turine, a native of Berne, by the illustrious Count de Cunio,
Magistrate, who honoured him with his friendship.
Of all the books I possess I esteem it the most, on account
uncommon facility of
in acquiring and
degree
perfectinghimself in whatever he appliedhim-
self
to. They became the delightof the house-
hold,
and they loved each other so perfectly that
the pleasure or chagrin of the one or of the
other was shared between them.
His fatherhaving, in consequence of the
troubles of Italy,taken up arms, was induced
was, he demanded
instantly permission to go and
see his mother, to inform her of the
glory
and of the honour that he had just acquired.
This was granted the more because, his
readily,
grandfather being dead, the Count de Cunio was
glad to take the opportunityof testifying to the
dear and deserted lady (who had always remained
with her aunt a few miles from Ravenna) the
love and esteem which he ever continued to
8
EIGHTEENTH-CENTURY COLOUR-PRINTS
dangerouslywounded.
Isabella was so much affected by the death of
her brother, which happened when she was
II
EIGHTEENTH-CENTURY COLOUR-PRINTS
13
EIGHTEENTH-CENTURY COLOUR-PRINTS
gravingtool.
The family of Campagnola was one of the
oldest in Padua. Giulio's father, Girolamo
15
EIGHTEENTH-CENTURY COLOUR-PRINTS
already it
was said to be the finest in and musicians,
Italy,
imported
specially from France, made its services
notable. Also he
adorning the courts and was
century the
sixteenth-century
to stippleof Giulio
Campagnola, needs perhaps the gossamer bridge
of fancy. But there is no difficultyin finding
solid foothold between Giulio Campagnola and
the seventeenth-century Ottavio Leoni, and from
him onward to the earliest eighteenth-century
the
pause and show how workers in chiaroscuro
followed each other with slowness
equal desultory
to the great goal of Colour.
23
CHAPTER II
24
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
me and
that his celebrity, the vital interest his
25
EIGHTEENTH-CENTURY COLOUR-PRINTS
he and
suffered, he inflicted suffering.
His life was full of incident, and his work is
26
EIGHTEENTH-CENTURY COLOUR-PRINTS
29
EIGHTEENTH-CENTURY COLOUR-PRINTS
30
EIGHTEENTH-CENTURY COLOUR-PRINTS
JiuliaPontana. She
very pale,but her noble
was
31
EIGHTEENTH-CENTURY COLOUR-PRINTS
the other it
alreadytoo late. In pomp
ere was
to him "
adulation, even
flattery, ease of body
32
EIGHTEENTH-CENTURY COLOUR-PRINTS
33 D
EIGHTEENTH-CENTURY COLOUR-PRINTS
as his person,incrediblyspitefuland
vicious, but above all
things wretched. There
35
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
My son, thou art uneasy ; thy
restless and
heart burns within thee for jealousy
of Giorgione,
for love and for hate of thy faithless wife ; thou
art tortured now with envy and ambition. Leave
this place,it is dark for thee with unhappy
memories. Thy brother's
spirit haunts the
chamber where thy pale wife sits forlornlyat
"
this child mine ? with anguish and choking in
his voice, she might have spared him that slow
smile, that glance so comprehensivewith which
she swept his figure.
"
Yours
"
? Per Dio ! My beautiful babe !
The wild passion the words and look wrung
from him was beyond his control ; the gurgling,
new-born cry of the baby lying across her breast
maddened him : it was less than to kill a chicken.
His fingershad stifled the cry before his brain
had time to recognise the inevitability of the
deed.
Her eyes never met his
again ; she was gazing
across him to the glimmering square of the
imprisonment, or death
itself,were nothing to
him. The blood of the only thing he had ever
loved was on his loathsome hands ; all perception
of colour was drowned from the wretched eyes
by tears of agony and acquiescence. They forced
him to
escape, that strong, powerful family of
his, they would not have it said a Panico had
hung, or walked in chains. They drove him
forth and covered his retreat. Neither escort or
child "
a child at whom he looked with envious
"
You want to see the marble ? They are
"
are an artist .? For something in the way Ugo
looked at the figure,something in the way he
touched it,gave the intuition this direction.
"
"
Maestro ! faltered Ugo, and kissed the
extended hand.
They stood together for the space of a
destinywas rising,
not setting.
When he came to Bologna with Raphael's
letter, he was received at the house of the
learned doctor. He was put to wonderful tests.
45
EIGHTEENTH-CENTURY COLOUR-PRINTS
to give
up many hopes,many dreams. Perhaps
if he had known at the beginning,what he knew
a
copy of The'*
Death of Ananias," by Raphael,
in so time, and
short a with such a bold and
they are
49
CHAPTER III
one plate.
present day.
Of Embroidery -
LIKE Prints the known
example comes from the Franciscan Convent at
53
EIGHTEENTH-CENTURY COLOUR-PRINTS
peculiareffect.
These were some of the earliest efforts in the
direction of colour -
printing. Peter Schoeffer,
of Mentz, one of the most famous of the early
pioneers of the art of printing,who perhaps,
therefore,should be reckoned as a typographer
rather than engraver, also made, in the middle
an
overcome.
54
EIGHTEENTH-CENTURY COLOUR-PRINTS
the "
Paxes," "
Little Passions," and "
Block
"
Books "
habitually
were coloured by hand, but
neither these,nor the stencil-patterns on playing-
cards, are of serious moment in the historyof
colour-printing.
Passing over the beautiful chiaroscuros of
Andrea Andreani produced at the end of the
sixteenth century, the next important contribu-
tions
to the portfoliohistoryof engravings in
colour were those made by Hercules Zeghers
early in the seventeenth century.
Hercules Zeghers was a Dutchman, and a
57
EIGHTEENTH-CENTURY COLOUR-PRINTS
pletelyserves a stipple-engraver,
yet show very
clearlythe assistance which a chromo- printer
can derive from an engraver who is working
speciallyfor his advantage. In some of the
absolute knowledge.
As it is unlikelythe reader will come across
possiblyas a pattern.
At the beginning of the book this notice in
This inscription,
as will be seen, claims for
the illustrious ancestor of the commentator the
68
CHAPTER IV
69
EIGHTEENTH-CENTURY COLOUR-PRINTS
dignity.
That Jakob Christoph Le Blon had genius,
the subtle indefinable qualitywhich cannot be
transmitted to
any disciple, is proved by even
a superficial comparison of his work with that
of any of his competitors,either rary
contempo-
or subsequentto the melancholy close of his
tempestuous career. He obtained magnificent
71
EIGHTEENTH-CENTURY COLOUR-PRINTS
72
EIGHTEENTH-CENTURY COLOUR-PRINTS
painter,and not as an
engraver, that he played
the trick on his master which led to his ing
leav-
Zurich almost as abruptly as he had left
Frankfort.
Konrad Meyer had a great reputationin his
native painter,and was
city as a portrait- very
jealousof his reputation and, naturally, of his
clientele. Relations began to be strained between
him and Jakob Le Blon very soon after the latter
reached his adolescence. Jakob was too vivid,
too prominent, too self-assertive,to please his
autocratic and belauded master. Visitors to the
74
EIGHTEENTH-CENTURY COLOUR-PRINTS
It is
impossibleto overrate the importance
of the next episodein Le Blon's career, for it
changed the bright,gay, if restless,painter of
Bohemian habit, into a man full of domestic
anxieties, carrying always a burden for which
his shoulders were unfitted. Amsterdam, with
its dull phlegmatic people,was a strange place
for adventures, the licentiousness of the Court
being merely a tradition in the town. The line
of demarcation was clearlydefined between
citizen and noble. Yet almost from the ning
begin-
Le Blon conquered the phlegm of the
people, and oversteppedthe social barrier : all
classes received him, all classes made much of
him, while he passed his time with wine,
women, and manythe arts to which he was
79
EIGHTEENTH-CENTURY COLOUR-PRINTS
with a wife of
peevish temper, brought up
in the midst of a luxury he was unable to give
her, spoiltand indulged from her babyhood, as
overbearing as her father,but without his intel-
ligence
;
selfish and exacting. Le Blon took
her away from Amsterdam in 1706, when her
father died without having forgiven either of
them. They wandered, unhappilyenough, about
the Continent for some time, Le Blon always
82
EIGHTEENTH-CENTURY COLOUR-PRINTS
expeditionagainstCarthagena ; General
Lord Carpenter,the gallantdragoon leader, who
had taken so prominent a part in suppressingthe
83
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
The Picture projecthas suffered under a
industry.
That he had genius is suggestedby the work
he has left ; that he worked wrong lineson the
is proved by the superiorresults obtained by men
who hardlypossessedtalent.
The formula of Coloritto is as follows : "
conclusion, is the
actuallyin use to-day,one
chiaroscuro, printing.
His own method of preparing his plateswas
as follows :
90
EIGHTEENTH-CENTURY COLOUR-PRINTS
91
CHAPTER V
unsuccessful wooing of an
elusive spirit. Le
92
EIGHTEENTH-CENTURY COLOUR-PRINTS
There
among the earlier English
were
John Skippe.
Elisha Kirkall was born in Sheffield. He
was the son of a locksmith, taught himself and
93
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
Progress after
Hogarth, and issued it in green
mezzotint. The engraving,however, is not up
to the standard of Kirkall's later w^ork. Just at
this time he hit accidentally on the discovery
that a copper-platecould be inked in two colours
and a picture produced by one printingfrom it.
A beautiful engraving after Van Huysum, which
he brought out in 1724, is printed in a light
to the engraved
frontispiece for a volume of
"
and "
bounteous refers jewellery
to the
poems,
and ornament with which Kirkall plentifully
besprinkledthe plain and uninterestingfigure
in the design.
D'Agoty.
John Skippe was a gentleman, and an amateur
artist of some contemporary renown. He duced
pro-
chiaroscuros after Raphael, Correggio, and
Parmigiano in a manner combining the succes-
sive
presentlybecame and
eccentricity, ultimately
lunacy, he complained that this unfortunate
workman, whom he had driven out of the field
where his might have
talents had fair play,
lowered the prices of engravings, and thus
injured the reputation of artists like himself !
It is a singular coincidence that both Jackson
and Papillondied insane.
The struggle for existence, the privation,
almost the starvation,which finally drove Jackson
from Paris,lasted through five long years. They
were just those years so important in a young
man's life,when boyhood passes definitely into
passingalso
blight, over a scarce-grown character,
left it somewhat stunted and withered.
It was a tired and disappointedman that
arrived in Rome in 1731, and, althoughJackson
found friends there and appreciation,he never
followed
accurately the pioneer track of Ugo da
metal instead of
wood, Jackson did not reckon
on
1 06
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
miracle."
As these printswere published in England,
not
"
I went the other morning with Mr. Conway
to buy some of the new paper for you. . . .
no
CHAPTER VI
neglected,and embittered.
It was, apparently,the celebrated amateur
Comte deCaylus who firstsuggestedprintingthese
stipple-engravings in the colours of the original
drawings, from one plate. And although he
himself was still working in mezzotint and many
printings,in the manner of Le Blon, and had
not yet abandoned the ambition to reproducethe
Wedgwood as
"
a new little art." Although
due credit must therefore
given be to Comte de
113 I
EIGHTEENTH-CENTURY COLOUR-PRINTS
Leicester It
gate in and about Square. was at
117
EIGHTEENTH-CENTURY COLOUR-PRINTS
Eldorado in the
daughter he guarded so jealously
and so His daughter listened with
injudiciously.
avid interest to the discussion of her talents.
Gradually she joined in the conversation as it
take
upon itself the functions of a great one, so
125
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
three
very exceptionalproofs. The monochromes
129 K
EIGHTEENTH-CENTURY COLOUR-PRINTS
man demanded.
That
Ryland was a man of good heart but
weak principles,of worthy ambitions but lack of
propose to
weary my readers, but to which, in
disregardeduntil now :
"
I leave behind me those I love. They
will feel every word that is said ; each syllable
133
:: EIGHTEENTH-CENTURY COLOUR-PRINTS
"*14
specialeffort :
"
I do notarraign the gracious benevolence
that has so long dignifiedthe humanity of the
British Crown ; I do not arraign the seat of
judgment that pronounces my sentence. Because
of
deservingpunishment. Here is the
clause of the letter which gives the clue to his
resignation:
"
It was the most wicked of all crimes which
madness drove me to attempt."
This sentence has been considered as a sion
confes-
of guilt. Of course the crime to which he
134
EIGHTEENTH-CENTURY COLOUR-PRINTS
'35
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
"
Dormio Innocuus," "Juno Cestum," O Venus "
Bartolozzi's is the
figure that looms largestin
the public eye through the twenty years of
stipple-work that ended the eighteenth century.
In an interesting monograph the late Mr. Tuer
endeavoured to endow the industrious Italian
with the qualitiesof a great Master. He tended
ex-
a great
potter, Chippendale a great carver, Robert
Adam great architect.
a All four men were in
the forefront of a great decorative movement,
shut his
eyes to the evil effect which the first
introduction of machinery had upon the men
crafts-
in
every branch of manufacture. All
those four men I have mentioned were artist,
artisan,and master in one ; a condition of affairs
of which the
possibility vanished with the
school, to
say nothing of those of the great early
Dutch and Italian Masters, been taken off on the
machine-made paper to which modern custom
141
EIGHTEENTH-CENTURY COLOUR-PRINTS
manufactory of stipple-engravings,
and superin-
tended
the productionof colour-prints
as seriously
as if he knew no better. That in such hands
this happy combination of two little arts
duced
pro-
results almost equal to a great one, it is
the objectof my book to
prove. But nothing is
to gained by exaggerating the powers
be and
of stipple
possibilities -engraving ; it lacks the
grandeur of line-engraving and the poetry of
mezzotint. The union with colour made its
stipple-prints.
"
The so-called "
chalk manner is a form of
stipplein which the strokes of chalk or
crayon
on a granulatedsurface are imitated by a cession
suc-
"
147
EIGHTEENTH-CENTURY COLOUR-PRINTS
every detail.
Having thus secured the ground-tint,the next
be laboriously
sought, "
the flesh had to be built
paintedinto
lips, the plate,and all the accessories
149
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
element which accounts for so much that is
successful result.
The platewas warmed
kept slightly in ing.
print-
It was then that a certain amount of re-
colour-prints.It was
eighteenth-century at this
150
EIGHTEENTH-CENTURY COLOUR-PRINTS
years.
That, notwithstanding the knowledge of
"
how it was done," no modern work equals the
old is due to some of the factors mentioned in
the Preface. Time, which has subdued and
softened the colours, and the tint and texture
of the beautiful old hand-made paper, are eminent
pre-
amongst these. Others are the use of
a
very limited number of impressions
taken off
coppera platewas sufficient to cause it
to show signs of wear, not perhaps to the same
154
EIGHTEENTH-CENTURY COLOUR-PRINTS
my views. In these
catalogues,with a single
exception,the engravings are placed under three
headings : proofs," impressions in colour,"
" "
"
"
prints ; there is no mention at all of proofs
in colour. In the one exceptionalcataloguethe
engravings are classed under four such headings,
the first being "proofs in colour." There were
"
"
prints follow each other regularly ; but
"
"
proofs in colour is an item that does not
exist.
Whilst on the subject of
catalogues,it these
is interestingto note that at the beginning of
the last century many engravings were sold
at public auction under the description printed "
155
CHAPTER VIII
Bartolozzi "
His character as a man and its effect upon his reputation
as an artist " Some prints described
representative and a short
listgiven of other desirable specimens of his Colour-Printed
stipple-work.
falling
below, in some cases infinitely
below, the
high-water mark of his talents. I have contented
myself,therefore,with merely indicating, for the
benefit of my brother and sister collectors,the
directions in which they should look for an
in the
foregoing and following pages ;
and have added a complete set of The Cries of "
^57
EIGHTEENTH-CENTURY COLOUR-PRINTS
Accepting then, as I
avoid, the char-
acter
cannot
though "
Lady Betty Foster has certain claims
to that distinction,nor absolutely worst, at his
although his "Venus Sleeping" is within sight
of that possibility, but they are fair examples of
the work with which he and his pupils were
associated in the public mind in the great days
of stipple-engraving. It would be more difficult
to find an equal difference in the work produced
under a common name by any artist in wood or
165
EIGHTEENTH-CENTURY COLOUR-PRINTS
feeblest and
stipple-workpossible, the best pletely
com-
example of
stipple-engraving printed in colours
in his hand, and the same stipple- engraving
printedin monochrome, could fail to admit the
importance and value of the alliance ; just as the
very same test appliedto a mezzotint, will assure
" "
"
Countess Spencer ; Hope Nursing Love ;
"
"
Miss Bingham" ; Portrait of the Honourable "
" "
Leicester Stanhope ; Simplicity (Miss Theo- "
"
"
Lord Burghersh,"after Sir Joshua Reynolds
"
Countess Spencer," after Gainsborough
"
Miss Farren," signed by Bartolozzi but graved
en-
"
"
Lady G. Bathurst," after Lawrence ; Lady "
"
Tomb of Shakespeare ;
"
The Shepherdessof
" "
the Alps ;
"
Griselda ;
"
Damon and Delia" ;
" "
"
Damon and Musidora ;
"
Hebe ;
"
nelia,
Cor-
"
mother of the Gracchi ;
"
Zeuxis posing
com-
"
the Juno ; Psammetichus
Picture of "
" "
in love with Rhodope ; Eurydice and "
"
Cordelia," after Angelica Kauffmann ; countess
Vis- "
Abington," after
"
;
"
The Libertine Reclaimed," and "
The
Prelude Matrimony," after Harding ;
to Mrs. *'
"
Autumn," and Winter," after Wheatley. "
"
Nymph of Immortality crowning the bust of
"
Georgiana, Duchess of Devonshire," and bella,
Isa- "
water-colour "
extracts
"
from the works of temporary
con-
i6g
CHAPTER IX
THOMAS BURKE
"
Armida are the two of his works that contem-
169
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
and Innocence substituted for Lady Rushout "
"
"
Cupid and Ganymede and "Jupiter and
"
Calisto are a pair exceedinglyrare in colours,
but almost as beautiful in bistre,particularly in
the proof state.
No collection of stipple-engravings is complete
without specimens from the work of Thomas
Burke, and it is impossibleto have too many of
"
them. The four miniatures of Lady Rushout
"
"
and its companion Abra
"
; Cupid disarmed
"
" "
"
Alexander resigning his mistress Campaspe to
"
Apelles ; "
Cleopatrathrowing herself at the
170
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
feet of Augustus ;
"
Henry and Emma "
(an
illustration from Prior's well-known poem, and
a favourite subject with the engravers of the
"
day) ; "
Conjugal Love ; and
Angelica and "
Sacriponte,"
are all from Angelica Kauffmann's
designs.
"
The Duchess of Richmond," after Down-
"
man charming
; a Cupid "
after Bartolozzi,
and another after Reinagle ; a portraitof" Mrs.
collector's attention.
print described
The as Lady Rushout and "
171
EIGHTEENTH-CENTURY COLOUR-PRINTS
state has
Angelica'sname without the n," and "
"
and
Lady Duncannon is sometimes sold
as a pendant.
173
EIGHTEENTH-CENTURY COLOUR-PRINTS
THOMAS CHEESMAN
"
Reverie have proved popular modern tions.
reproduc-
Mrs. Mountain,"
"
Mrs. Humphreys," "
174
EIGHTEENTH-CENTURY COLOUR-PRINTS
" "
and "
Beatrice after Westall, "
Venus and Cupid
after Titian, "
The Lady's Last Stake "
after
Hogarth, "
Prince Octavius," Miss O'Neill as
"
Affection was a popular title,and many
contemporary prints were published under this
description. While on the subjectof titles,it is
worth noting that a very largeproportionof these
borrowed from the or extracts in the
were poems
Cabinet of Genius, and figured that the poets who
most largelyin the pages of that compendium
contributed in the same proportionto the inscrip-
tions
to the prints.
JOSEPH COLLYER
175
EIGHTEENTH-CENTURY COLOUR-PRINTS
Reynolds; "
George, Duke of Montague," after
Beechey ; "
Sir Charles Grey," after Sir Thomas
Lawrence ; and "
Children in the Wood," after
176
EIGHTEENTH-CENTURY COLOUR-PRINTS
sympathy ; ambition
little on the one side and
of
life,and became
her at once her
that she
began genuinelyto love the weak and
respect, appreciation,
a desire for her companion-
ship
that was independent of her sex, and that
lasteduntil,with his intellect weakened by dis-
sipation
and disease, the insidious Marchioness
of Hertford, aided by the infamous Countess of
'79
EIGHTEENTH-CENTURY COLOUR-PRINTS
was justified
always by her conduct. She has
been unfortunate alike in her and
apologists her
detractors. To present her character and her
her rival."
Indeed, neither in the Downman
drawing, of which the engraving is a replica,
nor in the full-lengthafter Sir
better-known
Thomas Lawrence, signed by Bartolozzi, but
engraved by Charles Knight, does she give the
impression of physicalattractiveness. Tall, thin,
drooping, affected, she might be the Lydia
Languish of the stage. The plate of this latter
famous print,by the way, of which I give some
details in another place,was sold at Jeffrey'ssale
in 1803. The proofs and prints were sold at
three shillings each, and the coloured impressions
at nine shillings.At a sale at Messrs. Sotheby,
Wilkinson's, in the year 1902, the record price
of one hundred and eight guineas was given for
a so-called proof in monochrome, signed by
Bartolozzi !
The stage was only a halting-placefor beth
Eliza-
Farren. She left it in 1797, making her
"
last as
"
Lady Teazle and she
appearance ;
married Lord Derby on the ist of May in the
same
year, his wife having been dead nearly five
weeks. The public apparentlywas neither sur-
prised
art-students ten
years before
Royal Academy the
School for such
testified to the necessity ance.
assist-
He bought a small house adjoininghis
own, and fitted it up as a theatre, and for two
He describes it maliciously
as "a pretty little shell
nut-
184
EIGHTEENTH-CENTURY COLOUR-PRINTS
JOHN CONDE
"
Minerva," he describes himself as a French
artist,and states that he designed it "
as a ment
monu-
"
border for prints with appreciation.
Some of the most charming work by Conde
is to be found amongst the miniatures he engraved
for the ThespianMagazine, znd. indeed the delinea-
tion
of the stage and societybeauties of the day
seems to have had an irresistible fascination for
185
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
York." (The Duchess "
of York is from his
"
of Cupid" and the well-known Leda are all "
"
Fitzherbert the disadvantage of constant issue.
re-
The
"
Hobby-Horse," signed by Cosway,
but probably executed by Maria, though prettily
coloured, is woefully defective in drawing. A
portraitof Baron "
Wenzel," the oculist, shows
that it was not only female beauty that Conde
was capable of treating; it is a wholly admirable
productionin both the engraving and the print- ing.
That he was also successful with children
is proved by his plate of Mr. Horace " Beck-
ford." An engraving that he executed from an
WILLIAM DICKINSON
187
EIGHTEENTH-CENTURY COLOUR-PRINTS
stipple engraver.
-
Dodd mentions him as a
"
"
follower of the style of James McArdell ;
and Chaloner Smith, in his British Mezzotinto
Portraits,gives a list of ninety-five by William
Dickinson. But, whether mezzotinter or stipple-
"
"
Child (these two are monstrosities both in
"
colours and in monochrome), and Lydia and "
"
Sylvia,"after Peters, both great "
favourites of
mine Andromache
"
"
weeping over the Ashes of
Hector," after Kauffmann, and a miniature of
"Isabella Stanhope" (Countess of Sefton),after
Cosway.
The print of the "
Duchess of Devonshire
"
and Viscountess Duncannon perhaps the most
is
THOMAS GAUGAIN
engravings. Hudibras
"
and Sidrophel,"after
Hogarth, which he publishedin 1782, was one
of
interesting these
experiments. Venus ing
lend- "
same point.
"
speaking of
While "
The Wife of Bath and
" "
Gaugain were
"
Annette and "
Lubin trations
(illus-
from Marmontel's Moral Tales, ovals
from his own design), which were exhibited at
"
in Hyde Park and several small children-
"
Louisa," after Morland, are now
amongst the
most sought after of Gaugain's work. They
"
illustrate "
The Tale of Louisa in the poems
and
essays by Miss Bowdler of Bath. Among
my own favourites,however, are the small oval,
"
Childish Impatience,"after Cosway, printedin
"
two colours,and the two circular prints Youth "
and "
Childhood," after Prince Hoare ; Lady "
"
Love that meets Return (a pair of ovals after
Morland, illustrating a song of Allan Ramsay's).
The latter of these prints, in the first state, was
called "Jenny and Roger." At the sale before
alluded to, the plateswith 22 proofs,102 prints,
and 31 in colours of the first; 22 proofs,113
prints,and 33 in colours of the second, fetched
nineteen guineas, whilst the original drawing
"
was sold for two guineas. Courtship and "
"
Matrimony," companion prints from designs
by Milbourne ; Rural Music,"
"
Rural templation
Con- "
193 o
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
Finery,"after Artaud.
Two interestingprints in Gaugain*s earliest
manner, that is to say, a mixture of aquatint
"
and stipple,are Diana"
and her Nymphs
and "
The Shepherdess of the Alps." Two of
his best-known plates after Bigg had a large
contemporary sale and were popular.
very
"
JAMES HOGG
sister of "
Olivia." I rather fancythe transcript
is supposed to be from the celebrated picture
paintedin rivalryto the one of Farmer Flam- "
"
seemed to be one appropriately chosen for
197
CHAPTER X
JOHN JONES
as well stipple,
as a
engraver, and he was
the father of George Jones, R.A., the painter of
battle-pictures, who was one of the executors of
the wills of Chantrey and Turner, and filled the
offices of Librarian and Keeper of the Royal
Academy, of which he was for a short time
acting President. Of the two artists,father and
"
FitzPatrick), Sylvia (Lady Anne FitzPatrick),
"
engraving of "
frontispiece
Serena to was the
by Jones is "
Elizabeth Farren and Thomas
"
King in their characters in Burgoyne'scomedy
of The Heiress "
it is after Downman. The head
of Miss vignetted out of this
Farren has been
picture,and re-engraved in stippleby a modern
artist. But it is very poor in comparison with the
"
Mrs. Twiss receives young ladies from the
CHARLES KNIGHT
pupil of
Bartolozzi, and was first employed on
indifferent works, such as Harding's Shakespeare
204
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
Charles Knight, Sculp." There are two such
"
"
proofs in the British Museum. A small
205
EIGHTEENTH-CENTURY COLOUR-PRINTS
a
"
Bacchante," after Romney, and the children's
set after Stothard, entitled respectively "The
Fifth of November," "Feeding Chickens," "The
Dunce Disgraced," The Scholar"
Rewarded,"
"
Coming from School," and Buffet the Bear." "
206
EIGHTEENTH-CENTURY COLOUR-PRINTS
mention.
ROBERT MARCUARD
"
"
Harding ;
"
Adelaide and Fonrose and "
Fon-
rose and Adelaide," after Hamilton ;
"
Hebe,"
"
"
Summer Amusements and "
The Bathers
"
Surprised," The "
Mother's Darling and "
The
Mother's Care," after Bartolozzi. Charlotte "
at
WILLIAM NUTTER
Hospital. The"
Farmer's Visit to his
"
"
SaturdayNight and Sunday Morning," after "
pretty little
"
Plant and "
The Rosebud." Two
"
in dispute.
There are at least three known states of this
print. The first state has the artists' names, the
Beauchamp arms, and the title. In this state
LUIGI SCHIAVONETTI
215
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
Michal, y Izabella z Lasockich
"
Oginscy
is one of my own favourite examples of Schia-
vonetti's work. Michal was the nephew, and
Izabella was the niece, of Count Michal Oginscy,
Pretender to the Crown of Poland, who played
so great a part in the revolution of that country,
and virtually
was king of it for four-and-twenty
hours. Walpole mentions him more than once.
This print is often to be met with under another
name. Its first state is before all letters ; its
second, printedin colours,with the artists'names,
216
EIGHTEENTH-CENTURY COLOUR-PRINTS
217
EIGHTEENTH-CENTURY COLOUR-PRINTS
alarm of the
child, introduced the elder sister
in front of her, holding the mask before her
face. This is the story as told, but the pose,
antiquegem.
When the children by the way, it
grew up,
was the Lady Charlotte and not the Lady Anne
who proved wayward and difficult. She eloped
with the Librarian at Blenheim Palace, Mr.
Edward Nares ; whilst her sister,the shy little
girlwho would not painted,married
be Cropley
Ashley,sixth Earl of Shaftesbury.
The first state of this print has merely the
artists' names with the line of publication.The
"
second has "
F. Bartolozzi delineavit added,
and the publicationline altered. In the third
"
state
"
F. Bartolozzi is erased and the title
"The Mask, From the originalpicturein the
218
EIGHTEENTH-CENTURY COLOUR-PRINTS
J. R. SMITH
continue to
pursue the art of mezzotinting.
J. R. Smith had a varied life, and it is extra-
ordinary
"
and "
Rural Amusement." The first
state of this pair are without titles,and they are
" "
Thoughts
"
Matrimony was
on engraved by
William Ward, from J. R. Smith's design. The
"
set of Loetitia
"
proved so popular that the
worn plateswere altered in 1811, when a large
re-issue was made. From an artistic standpoint,
however, the alterations were disastrous ; the
"
Belissa," The Merry Story," The
"
Snake in "
"
ROBERT THEW
(Robert), 1 758-1802.
Thew Thew's cipal
prin- "
222
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
after Smirke ; and "
Rustic
Courtship and
"
Polite Courtship,"after Dayes.
"
223
CHAPTER XI
P. W. TOMPKINS
225 Q
EIGHTEENTH-CENTURY COLOUR-PRINTS
Morland ;
"
Blind Man's BufF," "
The Liberal
Fair," Peleus "
and Thetis," "
Miranda and
Ferdinand," Flora," and " "
Sylvia overseen by-
Daphne," after Angelica Kauffmann ;
"
Marian,"
"
The Girl of Modena," and "
The Girl of the
Forest of Snowdon," after Bunbury ;
"
Rosalind
and Celia," after Lawrenson ; The Cottager " "
and The"
Villager,"an oval pair after an un- known
pair.
"
"
The Wanton Trick and "
Innocent Play,"
as well as
'*
Refreshment," are from his own
227
EIGHTEENTH-CENTURY COLOUR-PRINTS
229
EIGHTEENTH-CENTURY COLOUR-PRINTS
suggestion.
The portraitof Mrs. Louisa Morgan and her
child is another of Tomkins' chefs-d'ceuvre.
The infant in the pretty cap became Mrs.
Morning
"
and Evening are two prints "
231
EIGHTEENTH-CENTURY COLOUR-PRINTS
232
EIGHTEENTH-CENTURY COLOUR-PRINTS
1797.
The first state has the title,artist's name, and
line of publication
; and there are a few late
233
EIGHTEENTH-CENTURY COLOUR-PRINTS
CHARLES TURNER
Turner
(Chas.), 1 774-1 857, was the son of
Charles and Jane Turner of Woodstock, Oxon.
His father,a Collector of Excise, got into diffi-
culties,
and his mother, who previous to her
marriage had been maid to the Duchess of
Marlborough, exerted her influence with her
late mistress to the post of Custodian
procure of
the China, at Blenheim, for her eldest son.
Young Charles Turner, very soon after his in-
stallati
attracted the attention of the Duke by a
drawing that he made of an Oriental plate.This
was the age of patrons, and Charles Turner was
234
EIGHTEENTH-CENTURY COLOUR-PRINTS
years earlier.
"
"Mademoiselle Parisot was issued at los. in
colour. I have been offered "Cioo for my own
23s
EIGHTEENTH-CENTURY COLOUR-PRINTS
WILLIAM WARD
designs,which were
very much in the manner
able late of
which, signed Bartolonii,**
copy
"
"
Sophia,"and Amelia." "
Of the five, Augusta" "
"
"
Reflection ; the latter, in proofstate, is lettered
as
"
Private Amusement."
238
EIGHTEENTH-CENTURY COLOUR-PRINTS
Other by
stipple-prints Ward are "The strel,"
Min-
after Opie ; a circle with a quotationfrom
Beattie's poem, dated 1784,and a much-engraved
"
"
Annette and Lubin from Marmontel's Moral
Tales.
" "
"
Constancy and Variety are perhaps the "
l^ariety.
Crowded scenes or lonelyroads
My fickle mind by turn approves,
Come then my follow
votaries, me
239
EIGHTEENTH-CENTURY COLOUR-PRINTS
Constancy.
Firm as the rock on which I lean
My mind is fixed and cannot rove,
Though foaming billows roll between
I'll ne'er forsake the youth I love.
"
The originalpicture of Constancy is, or "
discover.
There are two states of these prints: the first
before all letters ; the second with the artists'
THOMAS WATSON
articled to a metal
-engraver, and he executed
some good but
stipple-prints, especially excelled
in mezzotint. He carried on business as a print-
240
EIGHTEENTH-CENTURY COLOUR-PRINTS
buried in Bristol.
Watson's stipple-prints
are meagre in quantity,
although they may be said to make
up amply
for this in quality. Among them are a print of
Mrs. Sheridan as St.
Cecilia," after Reynolds,
"
one of "
Friar Philip'sGeese," and a very poor
one of "
The Duchess of Devonshire." The
"
"
St. Cecilia has been mezzotinted in so very
superiora by Dickinson that no collector
manner
of the interesting
most women of her day. She
was one of the blue-stockings," and an intimate
"
241 R
EIGHTEENTH-CENTURY COLOUR-PRINTS
243
EIGHTEENTH-CENTURY COLOUR-PRINTS
CHARLES WHITE
"
and "
Palemon and Lavinia after
(circles),
Stothard, and "
The Dove," after Miss Bennett,
are other engravings by White. The two most
"
"
Patty,"and Charlotte and Werther
"
seem "
245
EIGHTEENTH-CENTURY COLOUR-PRINTS
CHARLES WILKIN
"
Villiers,"and "
The Duchess of Rutland," after
Wilkin. The late Mr. Tuer issued photogravures
of these in book form, and I believe the edition
very desirable
A is an
acquisition earlyproof
of Wilkin's "
Master Hoare." Henry Richard
Hoare was the only son of Sir Richard Colt Hoare,
Bart.,Fellow Royal Society,and historian
of the
of Wiltshire. He was born in 1785, married in
1802 to Charlotte, only daughter of Sir Edward
247
EIGHTEENTH-CENTURY COLOUR-PRINTS
248
CHAPTER XII
249
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
a Gipsy (Harriet,Lady Cockerell, daughter of
Lady Rushout) is an attractive colour- print.
print-collectors
as having re-worked Rembrandt's
"
"
Hundred Guilder plate, Christ "
Healing the
Sick," and also for the two handsome folio
volumes, entitled A Series of 225 Prints and
Etchingsafter Rembrandt, Teniers, Gerard Dow,
Poussin, and others,by Captain William Baillie ;
"
Alone," after H. Singleton; Music and A " "
"
Music has charms to soothe the savage breast,"
afterCosway ; and "
A Nymph Asleep," after
"
Cipriani; Innocence
"
and Fidelity ; and The "
Duchess of C . . .
delivered from the Cavern,"
after Rigaud.
Blake (William),1757- 1827. Idealist,artist, "
"
and Evening Amusement,"
"
after Wat-
253
EIGHTEENTH-CENTURY COLOUR-PRINTS
linen.
Cardon (Antoine),1772-1813, was an lent
excel-
but he hardly started
stipple-engraver, ing
work-
until the end of the century was well in sight.
He died before he had reached maturity in his
art. But the printsof "
Louisa Paolina Angelica
Cosway," "
Thaddeus Kosciuszko," "
Flora and
Ceres," "
Lady Stanhope," Merry," and "
Mrs.
"
Madame Recamier," after Cosway ; a charm-
ing
miniature of Mrs. Billingtonas St. Cecilia," "
"
Peasants and
Peasants," after Westall ;
"
Welch
"
Cupid Unveiling Venus," after Cosway ; and
"
The Universal Power of Love," after Kirk.
He translated some devotional subjects,after
Rubens, which were most brilliantly
printed in
colours in their proof state.
Delatre (J. M.), 1 745- 1 840, was one of
Bartolozzi's most esteemed pupils,and, according
to his own account, he did a great deal of work
on plates that his
many master signed. He
engraved after Wheatley, Stothard, Angelica
Kauffmann, and Hamilton, in a manner very
little inferior to Ryland.
Among his best works are
"
Damon and
"
Samuel," after Reynolds ; and the following
after Angelica Kauffmann: "
"Dido invoking
the Gods mounting the Funeral
before Pile,"
"
Penelope weeping over the Bow of Ulysses,"
"
Posthumus, Consul of Rome," Beauty,directed "
255
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
Wood he also engraved,after P. W. Tomkins ;
"
May Day or the Happy Lovers," after J.
Saunders ;
"
Genius with Sickle and Sheaf,"
after Cipriani; "
The Wheelbarrow," after
256
EIGHTEENTH-CENTURY COLOUR-PRINTS
after Hamilton.
Facius (George Sigismund and Johann lieb)
Gott-
were two brothers attracted to England by
the BoydellShakespeare scheme, and they settled
here in or about 1776. They are known as
258
EIGHTEENTH-CENTURY COLOUR-PRINTS
that
stipple-plates became
popular colour-printed,
and that still find admirers ; notably Lucy," "
Several of
Josi'sstipple-prints are popular in
colours, and fetch high prices: for instance, the
"
"
Innocent Revenge and Innocent Mischief," "
"
and Camilla "
Recovering," after Singleton,
from the novel of David Simple^
are fair examples
of his method.
Lewis (Frederick Christian),1 779-1 841. "
263
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
"
Gipsies stealinga Child and "
The Child
Restored," after Singleton,are others of his
after Lawrence ;
"
Pam, Flush, and Loo," after
Opie ; Father's
"
Delight," after W. Derby
(companion to "Mother's Pride," after Lodder).
He also engraved a number of ladies' portraits
for Anne Mee's Galleryof Beauties.
MiNAsi (James Anthony), 1 776-1865, of
whom an excellent account is to be found in
Mr. Tuer's Bartolozzi and His Works, worked
late into the nineteenth century. He was one of
Senefelder's earliest victims, and I should never
265
EIGHTEENTH-CENTURY COLOUR-PRINTS
any market.
"
of American Liberty (a crowded engraving,
well illustrating what should not be printed in
colour) ; "
The Venus of Toterdown Hill,"
afterHarding ; The Sad Story,"after Westall ;
"
"
Pindar's word for his having been a poet,
for none of his works seem to have been lished.
pub-
"
and Gaiety after the same
"
artist. The "
"
Innocence," after Richard Cosway, and three
of the set of "
The Five Senses," after Schiavo-
netti. Perhaps his best is
stipple-plate "
Taste
in High Life," after Hogarth.
PicoT (VictorMarie), 1 744-1 802, was another
of Ryland's foreignfriends who joined him in
Cosway.
Reading (Burnet),who worked about 1770-
1820, was a Colchester man, and enjoyed the
unique position of being at once riding and
drawing master to Lord Pomfret. He was a
"
Girl
Carmarthenshire," and
A of
"
Miss Linley,"after Westall, show how well
Ryder varied his styleto suit his subjects. He
associated himself with Cosse in "
The Genius
of Modesty preventing Love unveiling Beauty,"
after Cipriani, and this proves an exception to
"
the rule f union faitla force ; it is a weak
"
and
unimaginative piece of work, reflecting credit on
272
EIGHTEENTH-CENTURY COLOUR-PRINTS
273 T
EIGHTEENTH-CENTURY COLOUR-PRINTS
Purbeck, 1786,*'
is an ambitious piece of work
after Stothard. It is, however, coarse, harsh,
and discordant. The size and subjectplace it
outside the limits of either of the arts employed
in its manufacture, but the subject ensured a
Singleton; "
Palemon and Lavinia and "
The
Children Wood," after Stothard, are other
in the
"
Stella," after Dunthorne ;
"
The Modern
Graces," after Bunbury ; Tom Jones and "
"
The Angry Farmer," after Morland.
Sherwin (John Keyse), 1751-1790, was the
Carracci.
of Caroline Watson.
(Pierre),1750-1810. Generally called
Simon "
"
Simon the Younger." He executed a number
of the plates for Worlidge's Antique Gcrns^ and
was extensivelyemployed by the Boydells,tor
whose ShakespeareGallery he did his best work.
Perhaps his finest, certainly his best-known,
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
hill's First Interview are both after Stothard.
"
"
Celadon and Celia and "
The Lover's Anger,"
after Wheatley, are printsby Simon which I
have met with passedby.
in colour " met with and
Smith (Anker), 1759- 1819; (Benjamin),
1 789-183 3. They were
"
both pupils of Barto-
lozzi. The former was more successful,or at
276
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
"
Garden and St. James's Park."
"
Finelyprinted
in colours, they fetch anything from "100 up- wards,
at which, or indeed at any figure, they
are a very enviable possession.The record price
of "r250 was given for them at Christie's early
in the year 1902. There are a large number of
engravings,which as istic
character-
subject-pictures,
both of periodand painter,and as specimens
277
EIGHTEENTH-CENTURY COLOUR-PRINTS
Campaspe," "
The Power of Innocence "
and
"
The Innocent Stratagem," "
Nurs'd at Home,"
"
Nurs'd Abroad," and a number of others after
Stothard, from whose works he engraved tinually.
con-
"
The Imprudence of Candaules, King
ofLydia," after E. Le Sueur, was admired in its
day.
Vendramini (Giovanni), 1769- 1839. "
He
was born at Roncade, near Bassano, Italy,
came
request, he imprisoned. He
was ultimately
escapedin disguise, and fled to England. Cured
In addition to
"
The Cries of London," the
following prints by Vendramini are often met
"
with in colour
Comedy : and
"
Tragedy," "
"
Love Caressed,""Love Rejected,""Sympathy"
and Serenity,"
"
after Cipriani, and St. John the "
had
gained for her a permanent position.
She engraved the homely features of the
young
Princesses,after Hoppner, when they were still
children, and lived long enough to delineate their
unfortunate niece, the Princess Charlotte, in the
"
Charles Anderson Pelham (son of Lord Yar-
and Prince
"
William Frederick in Vandyck "
"
Adoration," after Beechey. She was very suc-
cessful
Hoppner.
Birch (W.) "
Mrs. Robinson as
"
tion,"
Contempla-
after Sir Joshua Reynolds.
Clarke (J.) Silence," Guardian
"
" "
Angels,"
after Bartolozzi.
Cooper (R.) "
"Mrs. Russell Manners," after
Stoehling ; "
Love Wounded," "
Love Healed,"
after Shelley.
Fogg (A.)"" The Blackberry Gatherer,"
"The Cowslip Gatherer," after Hamilton.
Jenkins (D.) A Nymph Feeding Swans,"
"
"
mann ; Natural
"
Philosophy" and "Navigation."
Martin (E.)"" The Tender Mother," a set
of six.
283
EIGHTEENTH-CENTURY COLOUR-PRINTS
"Discipline," "Puss in
Favour," after Morland.
Sailliar
(L.) Prince of Wales,"
" Duke " "
Angelica Kauffmann.
Spilsbury (J.)" "The Flower Girl," after
Angelica Kauffmann.
Vincent (F.) "
"
Christ's Hospital,"after J.
Cristall.
Williams (E.) "
"
Lindamira."
say.
Ifyou want furnishyour walls or your port-
to folios
with eighteenth-century
prints^and have little
or no practical frequentthe establishment
experience^
of an honest dealer,and use it as a hot-house in which
togrow your taste. Do not grudge the money to keep
the f re burning.
It is quite possiblethat
any one who takes
284
EIGHTEENTH-CENTURY COLOUR-PRINTS
289 u
INDEX OF STIPPLE-ENGRAVERS
Dumee, E 256
Adam, T., 283
Agar, John Samuel, 249 Duterreau,
" ,
2;6
60
Campagnola, Giulio, 3, 12-22,
Keating, G., 262
Cardon, Antoine, 254
Checsman, Thomas, 174, 175, 249, 259 Kirk, T., 255
Clarke, John, 283 Knight, Charles, 154, i8i, 188, 204-
Collyer,Joseph,xii,175-184 209
Condi, John, 185, 186
Cooper, Robert, 283 Legoux, Louis, 283
Coui, 272 Leoni, Ottavio, 3, 22, 23
Levilly,J. P., 226, 257
Debucourt, Philibert Louis, 97, 114 Lewis, Frederick Christian, 22, 263
Delatre, Jean Marie, 232, 255 Lutma, Jan, 1 1 1
291
EIGHTEENTH-CENTURY COLOUR-PRINTS
392
INDEX OF TITLES
(STIPPLE-ENGRAVERS)
Abelard and Eloisa surprisedby Fulbert Amelia, Princess {Ramberg " fV. ff^ard),
[Kauffmann Scorodoomoff),
273
"
238
Abelard and Heloisa. See Mr, and Mrs. Amyntor and Theodora {StothardTom- "
Cosway kins),
227
Abelard offering
Hymen to Eloisa {Kauff-
Airing in Hyde Park {Dayes Gau-
An "
Minasi),265
Ale-House Nutter),
Door, The {Singleton " Ariadne {Cosway Phillips),
269
"
170 226
Alinda {fV. fVard),238 Arts (The)and Sciences {Cipriani Bovi), "
"9i
EIGHTEENTH-CENTURY COLOUR-PRINTS
Attention {Smith Meadows), 263 " Bird Catcher, The {Barney Gaugain), "
.'93
JVard),238 Birth of American Liberty {Harding "
"
Bartolo-zzi),
167 Bouverie, Mrs. {Cosway Cond/),187 "
214 Ryder),272
Beauclerk, (Miss) Elizabeth,
as Una Boyd, Lucy {Downman Tomkins),
227
" "
"
{Reynolds Watson),243
T. "
mann Delatre),
"
255 Brooke, Mrs. {Read Bo^i), 254 "
ffogg)^
195 Bulkeley,Elizabeth Harriet (Warren),
Belissa {J. R. Smith),220 Viscountess {Cosivay Bartolozzi),
167 "
Billiards 188
{Bunbury Dickinson), "
251
lAn.{De Koster
Billington, Burke),
171 "
"
Mrs., as
Billington, St. Cecilia nolds Cagliostro{Bartolozzi Marcuard),210
{Rey- "
"
Cardon),254
" Cakes {Artaud Gaugain),194 "
Bingham, Miss {Reynolds Bartoloxzi),Calais The Snuff Box {Kauffmann " " "
167 Delatre),256
Biography{Crewe White),244 Calisto {Stothard Blake),
"
252 "
294
INDEX OF TITLES
Camilla Fainting {Singleton Keating), " Child Restored, The {Singleton "
JVilkin),247 Tomkins),
226
Captive,The {JVright"Ryder),272 Children feeding Goats {Morland "
Colly
er),176 Scott),
274
Caroline and Lindorf {StothardOgborne), " Childrenplayingwith a Mouse {Hamilton
267 " Delatre),
256
Caroline and Walstein {Stothard "
Children relieving
Beggar Boy a
Strutt),
279 (Children of Sir
Francis Ford)
Castle in Danger, The {Hamilton {Beechey fFilkin),
" "
247
Gaugain),194 Children with Bird {Hamilton "
{Stothard Cordon),254"
BeneJetti),
251
Cawdor, Caroline (Howard), Lady {Ed- Choice, The (Af.fP'ard),
238
ridge Schiavonetti),
" 216 Chop House, The {Bunbury Dickinson), "
Pari set),
268 Sailliar),
284
Chanters, The {Peters y. R. Smith), "
Clarke, Mrs., xvi
221 Cleopatra throwing herself at the feet of
Charlotte,Princess of Wales (C.fVatson), Augustus {Kauffmann Burke),1 70 "
Reading),
271 Comic and Tragic Muse {Kauffmann "
Chauncey, Charles, M.D. {Cotes C. " Coming from School {Stothard Knight), "
fVatson),282 206
Cherry Girl, The {Crewe" IVhite), 244 Conjugal Affection {Smirke The^v),222 "
Child First Going Alone, The {Singleton Conjugal Love {Kauffmann Burke),17 " I
"
Bentdetti),251 Constancy {Morland" JV. fVard),239
295
EIGHTEENTH-CENTURY COLOUR-PRINTS
the
Contemplating Picture (y. R. Smith), Cupid {CiprianiEarlom),257 "
Content {Cheetman),
174 170
Contentment {CiprianiBartolozzi),165 "
Cupid and Ganymede {Kauffmann "
Cosway, Louisa Paolina Angelica {Cosway Cupid unveilingVenus {Cosway Car- "
"
Car don),254 don),255
Cosway, Maria Cecilia Louisa {Cosway Cupid's Pastime {Kauffmann Facius), " "
Sch'tavonettt), 2 16 258
Cosway, Maria Cecilia Louisa, as "A Cupid'sRevenge {BenvtellKnight), 107 "
Heloisa "
{Cosway Tkew), 222 "
Cymon and Iphigenia {Kauffmann "
Cottage Children {Russell fVhite), 245 Damon and Delia {Kauffmann Barto- " "
Duterreau),z^j Smith),220
Courtship{Milbourne Gaugain),193 "
Delia in Town {Morland" J. R. Smith),
Cowper, William {Laxurence Blake), " 220
Gaugain),193 244
Disappointment (Paye),269 Epponina {West fVilkin), 247 "
May and the Earl of Belfast {Mas- Ethelinda and the Knight {Stothard "
querier Cordon),254
"
Meadcnvs),263
Dormant Love {Kauffmann Oghorne), Ethelinda restored to her Father {Sto-
"
thard
266 Meadows), 263 "
Drummond (Mrs.) and her Children Evelina {Hcppner Baldrey), 283 "
Duchess of C . . .
delivered from the 252
Cavern {Rigoud Bettelini),
252 "
Expiationof Orestes, The {fVestall "
{Barber "
Cordon),255 Fair Seducer, The{Morland Dumie),Z56 "
H^ilkin),
247 Farmer's Door, The {Morland "
reau),
Duter-
Dundas, Lady Jane {Hopfmer " Barto- 257
lo^au),168 Farmer's (The) Visit to his Daughter
Dungarvan (Edmund Boyle, Viscount) in Town {Morland "
Bond), 212,
and the Honourable Courtenay and 253
Charles Boyle {Cotv"ay yones),200 "
Farren, Elizabeth (Countess of Derby)
Duty {Conyers Tomkins),227 "
{Dovmman Collyer),
" 176, 180
Duty of a Mother, The {H^ett"Scoro- Farren, Elizabeth (Countess of Derby)
doomoff),
273 {Lawrence Knight),167, 181, 205
"
297
EIGHTEENTH-CENTURY COLOUR-PRINTS
Meadows),263 {KauffmannMarcuard),210
Friendship "
First Pledge of Love, The {Morland" Gathering Fruit {Morland " Meadows),
fFard),237 263
Fitzherbert, Mrs. {Russell Collyer),
ij6 "
Gathering Wood {Morland Meadows), "
"
yones),199 Beauty {CiprianiRyder "
and
Fitzpatrick,Lady Gertrude, "
CoUina "
Cosse),
272
{Reynoldsyones),199
" Genius with Sickle and Sheaf {Cipriani
Fitzpatrick,Lady Gertrude (C.fTtliin), "
Delatre),
256
247 George, Prince of Wales {Cosway "
227 Sailliar),284
Flora and Ceres {Cosnvay Cardon), 254 George, Prince of Wales {Scott),
"
273
Flora and Zephyr {Hamilton Hatvard), George IIL {B. Smith),277 "
Tomkins),
226 (Angels' Heads) {Reynolds Simon), "
Friar Philip's
Geese {Bunbury " T. Wat-
son), 254
241 Grantham (Lord)and his Brothers nolds
{Rey-
Friendship
{Van Assen "
Adam), 283 " Cheesman),174
298
INDEX OF TITLES
Grecian Daughter, The. See Mrs. Hebe (Kauffmann Bartolozzi), 167 "
Grey (Lady Elizabeth)and Edward IV. Hebe (Hamilton Howard), 261 "
Bartolozzi),
168
Guardian Angel, The (Conway Ogborne), "
Henderson, John (Hogg),195
266 Henry and Emma (Kauffmann Burke), "
(Reynolds Bartolo-zzi),
"
167 History (Ogborne), 267
Gwynne, Eleanor (Lely Ogborne),
267 Hoare, Master (ReynoldsJVilkin),247
" "
(Romney Knight),
206
"
Hop Girl, The (PrincessElizabeth "
"
Hamilton, Lady, as
"
Alope (Romney "
Tomkins),226
Earlom),257 Hope. See Lady Leicester
Hamilton, Lady, as
"
Sensibility "
Hope nursing Love (Reynolds Barto-
lozzi), "
(Romnty Earlom),257
"
167
"
Hamilton, Lady, as "The Spinster" Horneck, Miss, " The Country Girl
(Romney Cheesman),174
"
(Peters Dickinson),
" 189
Hammond's Love ^\cpti (Kauffmann "
Hours, The (Shelley"
Nutter),2 1 3
Delatre),
256 Hours crowning Virtuous Love, The
"
Hare, Francis George, "
Infancy (Cosvjay Ryder),272
"
(Hamilton Gaugain),
194 "
Harris,Sir James (ReynoldsC. IVatson), " How sweet's the Love that meets turn
Re-
282 (Morland " Gaugain), 1 93
Harrop, Miss (Kauffmann Delatre), 256 " Hudibrai and Sidrophel (Hogarth "
Hartley, Mrs., as
"
Andromache "
Gaugain),
190
[Egremont Slierzvin), 275 "
Humphrey, Ozias, R.A. (Falconet "
299
EIGHTEENTH-CENTURY COLOUR-PRINTS
"
RylanJ),136 Kemble (Mr.) and Mrs. Siddons as
Cheesman),175
Isabella. See Miss O'Neill Lais 168
{CiprianiBartolozzi),
"
210 Knight),
207
Langham, Henrietta Elizabeth Frederica
Jackson,Mrs. {Cosway Conde),187 "
(Vane),Lady {Hoppner Wilkin),
247 "
193 Gaugain),193
Jemingham, Mrs., as Hebe {Hoppner " Last Supper,The {West Ryder),272
"
Judgment of Paris, The {Kauffmann " Lavinia and her Mother {Bigg Reading), "
Ryland),136 271
Julia{Crewe White),244
" Lavinia and her Mother {Ramierg "
Just Breech'd
{Stothard Nutter),
213 "
Nutter), 212
Justice{Kauffmann Scorodoomoff),
273 " Leda {Cosviay Condi), 187 "
"
Juvenile Culprits Detected {Page " Leicester,Lady, as
"
Hope {Lawrence
Meadows), 263 Meyer),264
"
300
INDEX OF TITLES
Linley, Miss Maria {fVatall Ryder), Mansfield, William Murray, Earl of "
259 216
Little Gipsy, The {Weitcdl"Joit),262 Margaret {Dunthorne Scott),
274 "
Love Caressed {Cifriani f^endramini), Mary, Princess {Hoppner " " C. fVatson),
280 281
Love Enamoured {Hoppner Tomkins), Mask, " The. See Ladies Charlotte and
226 Anne Spencer
Love Healed {ShelleyCooper),283 " Masquerade, The {Hamilton Nutter), "
"
Dickinson),
189
Madonna and Child {Rottenhamer "
Merry, Mrs. {Cosivay Bovi),254 "
Baillit),
250 Merry, Mrs. {Corway Cardan), 254 "
{FalconetReading)^zj
Meyer,Jeremiah i "
Narcissa {J. R. Smith),220, 221
Michal, y Isabella z Lasockich Oginscy Natural Philosophy {Legoux), 283
[Corway Schiatnnetti),
" 216 Nature {Hoppner Knight), 207 "
Tomkins),
226 New Sash, The {Russell" Strutt),
279
Milkmaid, A. See Maria Cecilia Louisa New Shoes {Lady Beauclerk Bovi),254 "
279 "
Tomkins),
227 Nymph Asleep {Cipriani Bettelint),
252 "
274 lozzi),168
Moira, Francis Rawdon Hastings,Earl Nymphs and Satyrs {Cipriani Bovi), "
of {ReynoldsJones),199
"
254
Montague, George, Duke of {Beechey "
Nymphs Bathing {Cheesman),
175
ei),176
Colly Nymphs Sporting{Zuccarelli
Picot),
270 "
Morning Amusement. See Lady Hester O'Neill, Miss {Cosway Agar), 250 "
Mother's Care, The {BartolozziMar-cuard), Orgar and Elfrida {JefferysMarcuard), " "
210 210
Mother's Darling, The {Bartolczzi " 0 Venus Regina {Kauffmann Ryland), "
"
255, 264
Cardon), Painting {Osborne),
267
Moulines" The Handkerchief mann
{Kauff- Palemon and Lavinia {Kauffmann "
" 256
Delatre), Knight),
207
Mountain, {Buck Cheesman),
Mrs. 174 "
Palemon and Lavinia {StothardScott), "
302
INDEX OF TITLES
"fViltdn),247 Ryder),272
Parting of Abelard and Eloisa {JCauff- in Love with Rhodope Psammetichus
mann Scorodoomoff),
"
273 {Kauffmann Bartolozzi),1 67 "
Patience (Kauffmann
and Perseverance "
261
Ryland),136 Puss in Durance {Paye),269
Patty {Bunbury fVhite),
245 "
Puss in Favour {Morland "
Prattent),
Peasant's Little Maid, The {Russell " 284
Nutter),213 Pyramus {Hoppner Knight),
206 "
"
227 Quentin, Mrs., Mrs. Q." {Huet-f^ilUers
Pelham (Charles Anderson) with his "
Blake),252
Lady and their six Children {Cofway
"C. fVatson),282 Radnor, Countess {Costuay Bovi),254
"
Pembroke, Lady {Hogarth Ryder), 272 " R^camier, Madame {Cosway "
Cardon),
Penelope taking down the Bow of ^54
. .
226 23s
Posthumus, Consul of Rome {Kauffmann Reynolds, Sir Joshua{Reynolds C. "
fVat-
" Delatre),
255 scn),282
Power of Innocence, The {Stot hard " Richmond, Mary (Bruce),Duchess of
Strutt),
279 {Kauffmann Ryland), 136 "
borne),
266 {DoTvnman Burke),1 7 I "
Power of Music, The {Kauffmann " Rinaldo and Armida {Kauffmann "
fThite),
245 "9S
Prelude to Matrimony, The {Harding " Rivers, Lord. See Mr. Bcckford
Bartolozzi),167 Robin Goodfellow {Reynolds "
Schia-
Primrose Girl, The {y. R. Smith- "vonetti),
216
Knight),
209 Robinetta. See Hon. Anna Tollemache
Private Amusement {Ramberg " fV. Robinson, Mrs., xvi
"
ff^ard),
238 Robinson, Mrs., "
Per"lita {Reynolds "
Promenade in
James's Park, The St Dickinson).
189
"
{Dayes Soiron),
192, 278
"
Robinson, Contemplation
Mrs., as
"
"
Robinson, Mrs., at
"
Melania {Conde), St. John the Baptist{Raphael " Vendra-
i86 mini),280
"
Robinson, Mrs., as " Venus {Sierwin), Samuel {ReynoldsDelatre), 255 "
Knight),
Runaway Love (^Stothard 207 {Hamilton Oghorne),
" 266 Seasons, The "
Rushout, Rebecca (Bowles), Lady {Plimer Sensitive Plant, The {JVestall Nutter), "
"
Burke),170 213
Rushout, (Bowles),Lady, and
Rebecca Serena. See Miss Sneyd
Daughter [Kauffmann Burke), 169, "
170, 171, 172, 173 Settingout to the Fair {Wheatley Egin' "
"
Ruspina (Mrs.) and Child, "
Cornelia ton),258
{ShelleyKnight),
"
St. Cecilia. See Mrs. Billington Sheridan, Mrs., as St. Cecilia {Reynolds "
304
INDEX OF TITLES
"
Siddons, Mrs., xvi [Reynolds C. fVatson),282"
"
Siddons, Mrs., as The Tragic Muse "
Stanhope, Hon. Leicester [Reynolds "
ivay "
Bo-vi), 254 Nutter),213
Sleepmg Girl,The {ReynoldsJanes),199 Strolling Musicians " [Rigaud Delatre), "
Smith (Lady) and her Children {Reynolds Stubbs, George [Falconet Reading),271 "
"
Bartolozzi), 165 Studious Fair, The [Marcuard],210
Smyth, Lady. See Smith Summer [fVheatley Bartolo-zzi), 167 "
Sophia, Princess {Hopfner C. fVatson), Swinburne, Martha [Cosioay Bovi),254 " "
marm Facius),
"
258 Sylvia. See Lady Anne Fitzpatrick
Spencer, The Ladies Charlotte and Anne, Sylviaoverseen by Daphne {Kauffmann "
"
"The Mask {ReynoldsSchiavonetti), Tomkins),227 "
"
Jones),199
Spencer, Lavinia, Countess {Reynolds Tancred and Sigismunda. See Kemble
"
305
EIGHTEENTH-CENTURY COLOUR-PRINTS
Ryland),136
Thoughts on a SingleLife (J. R. Smith), Venus Sleeping{Pernotin Bartolo%%i), "
{ReynoldsJones),199 "
267
Tom and his Pigeons {Russell Knight), "
Villager,The {A Lady"Tomiins),227
206 VillagersDancing (C. Turner),
235
Tom Jones,The Adventures of (Dozun- Villiers, Lady Gertrude (C. fVilkin),
man " Simon), 276 247
Tom Molly Seagrim {Mor- Viola C. Watson),
{Shelley" 282
Jonesand
lundScott),
274 "
Visit (The) returned in the Country
Tom Sophia Western
Jonesand {Mor- {Morland "
Nutter),212, 253
lana" Scott),274 Visit to the Woman of the Lime Trees
Tomb of Shakespeare,The {Kauffmann {Romberg Ryder),272 "
Bartolozzi),
"
167 Visme, Miss De, "The Woodland
kins),228-230
Tovvnshend, Hannah, Marchioness of Waddy, Miss {Buck "
Cheesman),174
{Reynolds Cheesman),175 " Wales, T.R.H. The Prince and Princess
Tragedy {Ciprianif^endramini),
280 "
of {M. Sloane),
217
Tragic Muse, The. See Mrs. Siddons Walpole, Horatio. See Orford
Tragic Readings {Boyne Knight), 207 "
Wanton Trick, The (Tomkins), 227
Triumph Beauty andof Love, The Wedding Ring, The {Ansell"Knight),
{CiprianiBartolozzi),127, 165
"
207
Turkish Ambassador, The {Miller "
N. Welch {fVestall Cardon),255
Peasants "
"
216
Schia-vonetti), Wells, Mrs. Lingo and Cowslip See '"
Universal Power of Love, The {Kirk " Whitehead, William {Doughty Collyer), "
loz%i),
167 {ReynoldsEarlom),257 "
{Ccstvay Blake),
252 "
{ReynoldsFacius),258 "
306
INDEX OF TITLES
Smith),220
Woronzow Children, The {Cosvoay "
Zephyrus and Flora {Stothard "
Blake),
C. Watson), 281 252
Zeuxis composing the Picture of Juno
Yarborough, Lord. See Pelham {Kauffmann Bartolozzi),167
"
THE END