SLATER
ENGRAVINGS
THEIR VALUE
NE
885
563le
1897
A 723,009

ARTES
1817
SCIENTIA
LIBRARY
VERITAS
OF THE
UNIVERSITY OF MICHIGAN
FURIOUS
TUEBOR
VERIS PENINSULAM AMJENAM
CIRCUMSPICE
ENGRAVINGS AND THEIR VALUE
NE
885
5631e
1897
ENGRAVINGS AND
THEIR VALUE:
A GUIDE
FOR THE PRINT COLLECTOR
BY
J. HERBERT SLATER
Barrister-at-Law, Editor of "Book Prices Current", and "Sale Prices",
Author of "The Library Manual", "Early Editions",
"Round and About the Bookstalls", &'c., &c.
SECOND EDITION. REVISED AND ENLARGED
LONDON
L. UPCOTT GILL, 170, STRAND, W.C.
1897
PRINTED AT NIMEGUEN (HOLLAND))
PREFACE
THE first edition of this work was received so cordially
that it soon ran out of print and copies have, for some
time past, been extremely difficult to procure at anything
approaching a reasonable price. A second edition is a
necessity and in preparing it for the press I have taken
the opportunity of thoroughly revising the text and adding
in many ways to the utility and interest of the work. The
Biographical details have been augmented, the auction
prices brought up, as far as possible, to date, and the names
of large number of engravers added to the list.
As a rule living artists have not been noticed, since the
judgment on their labours has yet to be pronounced. Excep-
tion has, however, been made in favour of a few whose works
are in especial demand.
Crouch End, London, N.
1897
J. H. S.
376313
1
CONTENTS
PAGE
CHAPTER
I. THE ORIGIN OF ENGRAVING.
[I.
VARIOUS METHODS OF ENGRAVING.
III.
ON FORMING A COLLECTION.
1
30
8
23
IV. THE EXAMINATION AND PURCHASE OF PRINTS
36
V.
ON THE GENUINENESS OF PRINTS
45
•
VI. THE CLEANING OF PRINTS. TAKING COPIES
61
VII. THE PRESERVATION OF PRINTS
71
THE PRICES OF PRINTS.
76
VIII.
IX.
TECHNICAL TERMS.
X. WORKS OF REFERENCE USEFUL TO COLLECTORS.
81
85
ALPHABETICAL LIST OF THE PRINCIPAL ENGRAVERS
WITH THE PRICES REALISED AT AUCTION FOR A
SELECTION OF THEIR WORKS
95
NOTES
THE prices quoted in the Biographical portion of this work
represent sums realised at auction for prints in the state
and condition mentioned, or, if nothing is said about state
and condition, then for ordinary lettered impressions in
average condition.
Works printed in colours are expressly stated to be
coloured.
Prints after William Hogarth, Sir Edwin Landseer,
Meissonier, George Morland, George Romney, J. M. W. Turner,
& F. Wheatley should be looked for under the respective
names of those painters, as well as under the names of
the engravers who worked after their designs. Prints after
Sir Joshua Reynolds are catalogued under the names of
the engravers only.
ENGRAVINGS AND THEIR VALUE.
Part I.
COLLECTING ENGRAVINGS.
CHAPTER I.
THE ORIGIN OF ENGRAVING.
ENGRAVING is the art of cutting metals, wood, and precious
stones, and representing on the face of any of those
mediums a device or design to be reproduced on paper
or other suitable material.
This definition, though not technically accurate, is never-
theless popular, for the general idea of the process of
engraving is, as a rule, associated with the transfer of the
design, to such an extent, indeed, that the very terms
engraving" and "print" are frequently regarded as syno-
nymous. Strictly speaking, a "print" is the impression;
that which produces the print is the "engraving,” hence
the latter term is, technically, applicable to the medium
only and not to the impression itself. Both terms are,
however, now frequently confounded, being indifferently
applied to the production itself and to the plate or block
on which the artist has worked.
The process of engraving as a mode of decoration merely,
1
2
ENGRAVINGS AND THEIR VALUE.
was practised by goldsmiths and metal workers from the
very earliest times, and specimens of ancient art, as
beautiful in conception and design as any our workmen
are capable of producing at the present day, are frequently
met with in the cabinets of collectors. Homer, on several
occasions, uses the word yoápa (grapho), clearly showing
that even in the disturbed state of society which the
poet delighted to depict, the art was, in his opinion at
any rate, in ordinary practice. The Bible abounds in
references to the subject, as for example, "And thou shalt
take two onyx stones and grave on them the names of
the children of Israel" (Exodus xxviii., 9); “With the
work of an engraver in stone, like the engravings of a
signet, shalt thou engrave," &c. (Exodus xxviii., 11), from
which we may certainly conclude that the Israelites had
acquired a knowledge of the practice during their capti-
vity in Egypt.
There is, indeed, no lack of authority to support the
conclusion that decorative engraving has been in vogue
from a very early date, while in the days of the Greeks
and Romans it was so common that the laws and important
contracts were almost universally engraved on metal plates,
and even slaves were sometimes branded with metal stamps.
The ancients thus made the first step, thoroughly master-
ing in detail the art or process of engraving, although it
was not until comparatively recent times that the difficulties
attending the transfer of the design were successfully
overcome. When we consider that many of the designs of
the Roman epoch have, when properly manipulated, the
distinct power of making impressions, we can only wonder
that such a practical nation should have overlooked the
additional step which would have anticipated the flight of
a thousand years. In cutting and carving precious stones,
the ancients were at least equal to the artists of our own
times, and, having the requisite skill and knowledge to
excel in the most difficult branch of the art, it certainly
THE ORIGIN OF ENGRAVING.
3
seems unaccountable that they should never have thought
of engraving on wood or metal with the object of obtaining
an impression.on papyrus, linen, or even the hard waxen
tablets which served them for paper.
These remarks will remind the reader that I have hitherto
spoken only of the process of engraving—that is to say,
the act of cutting or carving a certain medium with a
required design. The practice of transferring an impression
of the design to paper is just that very step which, so far
as is known, the ancients neglected to take, and which,
probably, was not taken at all until the middle of the
fifteenth century.
The circumstances which led up to this great invention
may be briefly narrated. At the period mentioned, a
particular kind of work, termed niello, was much in vogue,
especially in Italy, for the adornment of all kinds of
ecclesiastical and domestic utensils. It was executed in
the following manner: The design having been cut with
a graver on a silver plate, the latter was covered with a
fusible substance, composed of silver, lead, copper, sulphur,
and borax, which, being melted, ran into and filled the
engraved lines, and, when allowed to cool, hardened, and
became firmly fixed. This compound was called nigellum.
The surface of the plate was then smoothed and polished,
and the design appeared in black lines on a ground of
bright silver. In the preparation of these plates it was
necessary for the artist to test the character of his work
before infusing the composition, as afterwards no correc-
tions could be made. This was effected by taking a mould
in fine clay, and from that a cast in sulphur, which,
when the lines were filled with a black colouring matter,
presented the same appearance as the plate itself would
do when niellated. This mode of procedure was followed
until Maso Finiguerra, of Florence, the ablest worker in
niello of his time, adopted the simpler plan of taking
impressions direct from the plate. The first proof so
H
ENGRAVINGS AND THEIR VALUE.
obtained is supposed to be that in the Bibliothèque Natio-
nale, which was taken from the pax of the Coronation of
the Virgin, ordered in 1450, and delivered in 1452. Direct
impressions from the earliest metal plates are, however,
thought by some, and especially by Willshire, to have
been taken from the Corona luminaria of Barbarossa, in
the Cathedral of Aix-la-Chapelle. However this may be,
it is probable that this great discovery directly suggested
the practice of true copper-plate engraving, of which Fini-
guerra is by some authorities regarded as the inventor.
Of all the modes of engraving in its more extended
sense, the most ancient is, however, that on wood, for
which we are indebted to the brief-malers (or card-painters)
of Germany, who not merely confined their attention to
the making of playing-cards, but frequently depictured
the images of saints, and the various subjects connected
with ancient history. These being cut in wood, impres-
sions were afterwards taken from the block, thus furnishing
the origin of "block-books," and perhaps supplying Guten-
berg with his first ideas of the typographic art. Papillon,
the author of the "Traité Historique et Pratique de la
Gravure en Bois" states that he had seen a series of cuts
dedicated to Pope Honorius IVth, who governed the Romish
Church from 1285 to 1287, but there is very little doubt
that his narrative must be treated as a species of French
romance, though the question whether Papillon was the
deceiver or was himself deceived is distinctly open to
argument. Furthermore, it is probable that playing cards,
which were certainly known in France as early as 1340,
were printed from wood blocks when the demand for them
grew sufficiently large, which seems to have been about
fifty years later. Wood engraving preceded chalcography;
of that there seems to be little, if any, doubt.
The earliest print bearing a date with which we are
acquainted is known as the "Brussels Print" (A.D. 1418);
but so many doubts have been thrown on its genuineness
THE ORIGIN OF ENGRAVING.
5
-doubts which it would be out of place to argue here—
that the advent of the art of engraving as now practised,
may, perhaps, more safely be fixed five years later. The
"St. Christopher," (A.D. 1423) discovered by Heinecken, in
1769, in the Carthusian Convent at Buxheim, must be
regarded as the earliest genuine print which has hitherto
come under the notice of collectors. The block from
which this impression was taken, was cut, doubtless, by
the card-painters to whom we have already referred. The
design represents the infant Christ being carried across
the sea on the shoulders of St. Christopher.
The invention of printing doubtless gave a great stimulus
to the art of engraving, as woodcuts were at an early
period used in the embellishment of books, and as the
number of the latter increased, so also would the practice
of engraving become more general. The art, therefore,
which dates from the middle of the fifteenth century, and
which is almost coeval with the invention of printing,
includes not only the science of engraving practised many
hundreds of years before, and used merely for purposes of
decoration, but also the process of taking impressions from
engraved plates upon paper or other suitable substances.
The department of prints and drawings occupies only a
small space in the British Museum building, but its con-
tents should be, perhaps, as generally attractive as any
other of the collections. Etchings and engravings of the
different schools, from the earliest period to recent times,
are not only of the highest value for the study of art, but
are objects of enjoyment easily appreciated by all classes.
In the Print Room the reader will find a collection of
works illustrating the invention of engraving on metal;
while cases contain a number of engraved silver plates,
many of them niellated, and illustrating the first step
towards the great discovery attributed for the sake of
convenience to Maso Finiguerra. In consequence of the
extremely fragile nature of the material, but few of the
6
ENGRAVINGS AND THEIR VALUE.
sulphur casts—taken, it may be remembered, by the workers
in niello as a proof or test of their skill-have sur-
vived to the present date. The total number known to
exist is only twenty-five, and of these the British Museum
possesses no fewer than nineteen, exclusive of a cast from
the celebrated pax in the Church of San Giovanni, at
Florence. The niellated silver plate itself is in the National
Museum, at Florence, while the impression on paper,
already mentioned as being in the Bibliothèque Nationale,
is interesting as being the first known proof taken direct
from a metal plate.
I have not thought it necessary to consider the subject
of the history of engraving further than to point out a
few of the principal features. To enter into a further
discussion would demand great space, and would also be
out of place in a book meant to be practical, and which
is nothing should it fail in that. Two or three chapters
in Willshire's "Ancient Prints" are devoted to historical
details, and to this excellent treatise the reader is referred
for further information. To sum up in a few words, I
think a perusal of that and other treatises devoted to this
branch of the subject will render it tolerably clear that
the German schools first practised wood engraving in 1423
and the Italian schools not until 1467, while engraving on
metal is traced to Germany in 1446 and not to Italy until
1465. If this is so the invention of chalcography must
not be credited to Maso Finiguerra but to a master of
North Germany who, for lack of a more distinctive title
is known as "The Master of 1446". A flagellation from
copper, by this engraver, with the date 1446, was in the
possession of the late M. Jules Renouvier of Montpellier,
and if this is genuine, which there does not seem much
reason to doubt, the claims of Finiguerra are completely
undermined. The subject is, however, extremely complex,
and much difference of opinion exists with regard to it.
The following prices were realised at Sir Mark Sykes"
THE ORIGIN OF ENGRAVING.
7
sale in 1824 for impressions from works in niello, both on
paper and sulphur. The value of works of this class
will, doubtless, have increased enormously at the pre-
sent day:
Impressions from Works in Niello.
1. The Madonna seated on a throne, with the Infant Saviour
in her lap. By Maso Finiguerra. £3 15s.
2. The Adoration of the Magi. By the same. £52 10s.
3. The Eagle Offered in Sacrifice. By Pellegrino di Cesia. £5.
4. The Triumph of Mars and Venus. By the same. £31 10s.
5. Orpheus. By the same. £4 6s.
6. Mutius Scævola Burning off his Right Hand. By the
same. £14 14s.
7. Hercules Combating the Hydra. By the same. £8 13s. 6d.
8. An impression, taken from the reverse of a medallion.
Anonymous. £1 11s. 6d.
9. Tobit and the Angel. Anonymous. £6 6s.
10. A battle of three warriors on horseback. Anonymous.
£32 11s.
Impressions in sulphur from Works in Niello.
11. A box containing seven impressions, representing the
Sacrifice of Cain and Abel, Cain Killing Abel, and other
Scriptural subjects. £38 17s.
12. Christ Washing the Apostles' Feet, perfect; The Last
Supper, perfect; The Crucifixion, perfect; The Dead
Body of Christ, also perfect. £173 5s.
13. Christ Praying in the Garden, slightly injured £36 15s.
14. The Ascension of Christ, perfect. £69 6s.
15. Christ Taken in the Garden, partly restored; Christ Before
Pilate, partly restored; Christ Releasing the Patriarchs
from Limbo, perfect; The Resurrection, perfect. £126.

CHAPTER II.
VARIOUS METHODS OF ENGRAVING.
Engraving on Wood.-Wood-engraving first came
into common practice at the end of the fifteenth century,
was brought to perfection by Albrecht Dürer and his school,
and gradually declined during the seventeenth century
until the days of Bewick, when it once more regained its
former excellence. At the present day, many wood-cuts
are of the greatest excellence, and compare favourably in
technic with work executed in metal. In former times,
however, the reverse was the case, for, while some prints
exist of which it is not easy to say whether they have
been printed from blocks or metal plates, the majority are
easily recognised by reason of their comparatively coarse
appearance. This, of course, has nothing to do with the
design, the quality of which is primarily considered in all
cases where the merit of a print is called in question.
It must by no means be supposed that the mere fact
of an early engraving being indifferently, or even badly,
executed, is in itself always sufficient to cause a deteriora-
tion in value: on the contrary, some of these ancient pro-
ductions sell for large sums, while others of better quality
can hardly find a purchaser. The question of value some-
times depends upon considerations other than those of
merit, as will be explained in the chapter dealing with
this branch of the subject.
8
VARIOUS METHODS OF ENGRAVING.
9
The woods generally used by engravers are pear, syca-
more, and box, the two former being employed for large
or coarse cuts, where too close an inspection is not, from
the nature of the case, to be anticipated. Box-wood, on
the contrary, from its superior hardness and grain, is
admirably adapted for finer work, and is now almost
universally used where sharpness of outline is a desideratum.
When the surface of the block is made perfectly flat
and smooth, it is prepared for drawing on by a very thin
coating of Chinese white and brickdust, rubbed up and
mixed together with a drop or two of water, and applied
by the fingers. Some lay this mixture on with a brush,
but much the better plan is to rub it on the surface of
the block with the palm of the hand, and finally to soften
off with the tips of the fingers.
A tracing of the drawing made in sharp lines with a
soft pencil, is transferred to the wood by means of tracing
paper which is first turned over and laid flat on the
surface. The lines are then gone over with a hard pencil,
or a steel point, the object being to produce a clean out-
line for the artist to make a finished drawing of.
If pencil lines are employed, the drawing is in
facsimile, and no great skill is required on the part of
the engraver. If, on the contrary, the drawing is made
with a brush, using Indian ink and Chinese white, it then
becomes necessary for the engraver to be an artist, to
enable him to produce by means of lines, technically called
a “tint,” what the artist has produced in body colour.
Many subjects, such as portraits, copies of pictures, &c.,
are photographed on the wood; and in such cases it is
even more essential that the engraver should, in addition,
be an artist. It is a matter of doubt whether the old and
greater masters of the art, like Dürer, ever actually cut
their blocks at all. There are now professional engravers
who merely work after the design, sending it back from
time to time for further details: and this probably was the
10
ENGRAVINGS AND THEIR VALUE.
course usually adopted in early days, since in no other way
can the large number of works ascribed to some of the old
masters be accounted for.
When the engraving is finished, but before the super-
fluous wood is cut away-the object of leaving this being
that it may act as supports to protect fine lines, &c.—the
surface of the block is covered with a thin coating of
printer's ink, applied with a soft "dabber," covered with
silk, or an ordinary printer's roller often covered with
leather. To take an impression, a piece of india-paper is
laid face downwards on the block; a stout smooth card
is laid on that, and gentle pressure is applied by rubbing
with a steel "burnisher." The impression thus obtained
is called an "overlay" proof, and it is usual for the artist
to suggest on this, by means of flake white or a soft pencil,
the alterations required. When these have been made,
the engraver will take a finished proof by first cutting out
with a penknife or tool those, portions of the overlay proof
that have received impression from the superfluous wood
previously spoken of. On re-inking the block, these are
placed on their corresponding places, and are called
"bearers"; the object being, this time, to take a proof of
only those parts engraved. The india-paper and card will
be placed as before, and if the operator be an adept, a
beautifully clear impression will be obtained. Great prac-
tice and a light touch are necessary for the production of
good proofs. The engraver thus proves his work, so to
speak, and this is the origin of the word "proof," a term
which of late years has been much abused, as I shall have
occasion hereafter to point out.
It will have been observed that impressions are, in the
case of wood, taken by inking the projections, whence it
follows that the black and tinted portions are left even
with the surface, while the parts intended to be left white
are cut out. A wood block is, therefore, said to be cut in
cameo or relief, forming a marked contrast to engraving
VARIOUS METHODS OF ENGRAVING.
11
on metal, where the incisions are filled with ink and the
rest of the plate wiped perfectly clean. This latter process
is called intaglio, and here the parts cut away are meant
to show black, while the surface makes no mark, and con-
sequently shows white. The one process is thus seen to
be the exact reverse of the other.
When the engraving meets with the artist's approval,
prints are taken from it by means of a press; in fact, it is
only necessary to observe that the printing from wood
blocks is, in its simpler form, precisely similar to printing
from type, and that both are generally done at one and
the same time. It is a very great question whether the
early engravers used a press, as we do now, or whether
they merely took impressions by means of friction. The
controversy on this point will probably never be set-
tled, but as Gutenberg is known to have used a screw-
press in his printing operations as early as 1459, it may
safely be assumed that its convenience would speedily be
recognised in the case of engravings also.
The paper on which all the early woodcuts were printed
will be found to be exceedingly thick and coarse, manu-
factured probably from hempen fibre. The ink, usually a
pale bistre, appears to have been watery and thin, and
the result was, of course, a certain indistinctness of out-
line, which is seldom observed at the present day, when
experience has taught a complete reversal of practice in
these respects.
Chatto's "History of Wood-Engraving" gives a clear and
succinct account of the processes which brought the art to
its highest state of perfection, and it may not be out of
place to mention that, in addition to several wood blocks
in the possession of the Trustees of the British Museum,
the Spencer Library possesses more than one xylographic
block, while a fine collection of 135 others may be seen in
the Imperial Library at Vienna. Another interesting fact
worthy of note is that the first illustrated English news-
12
ENGRAVINGS AND THEIR VALUE.
paper, issued in 1643 under the title of "Mercurius Civicus,
or London's Intelligencer" contains portraits of Charles I.
and Fairfax, both fairly executed on wood. Since those
days, the art of the wood engraver has passed through a
period of neglect, to emerge again where strong contrasts of
light and shade are necessary to be drawn. It is not, however,
practised to any great extent at the present time, there
being numerous mechanical and cheap processes excellently
adapted for book illustration. These will be found care-
fully explained in a work by Mr. H. Trueman Wood entitled
Modern Methods of Illustrating Books," published in 1887.
Engraving on Metal.-As already mentioned, engrav-
ing on metal is executed in intaglio, though specimens in
relief are occasionally met with. It is possible that some
of the oldest prints were executed in this manner, and that
metal plates were cut on precisely the same principle as
that followed in the case of engraving on wood. Indeed,
many prints which have been usually regarded as impres-
sions from wood blocks, have of late years been suspected
as having been taken from metal. A great difference of
opinion is, however, noticeable on this point, and it is not
perhaps very material for the purposes of our remarks
which medium was used. It will suffice to say that where
an engraving is found unevenly coloured, giving rise to a
certain heaviness, where sharpness and clearness are con-
spicuously wanting, where the cutting of angles and corners
is deficient, and where the effects of the scrotton are
scarcely visible, there a controversy as to the material used
by the engraver may be expected to arise. This subject is
involved in such obscurity that it is a matter of doubt
whether Caxton, in his "Book of the Chesse Moralysed "
used wood blocks or metal plates for some of his illustra-
tions, and the controversy is best let alone, as no satisfac-
tory conclusion is at all likely to be arrived at.
In order to obtain the intagliate forms in the metal
plate, several methods are followed. In "copper-plate"
VARIOUS METHODS OF ENGRAVING.
13
66
น
engraving, strictly so-called, the hollows are ploughed out
with an instrument called a "burin" or graver," any
roughness that may be left being smoothed down with a
"scraper." The design to be engraved is not transferred
to the plate by means of tracing-paper, as in the case of
wood blocks, but is scratched upon it with a "needle" or
dry-point." Some artists, instead of cutting out the
metal with a graver, work on it in stipple, a practice
which has existed for at least 400 years, and probably
longer. Stipple consists of specks, or dots, of various size, in-
tensity, number and relative closeness, giving the granulated
appearance of a chalk-mark on coarse paper. Every en-
graver in stipple adopted a style of speck which was
variously known as " Agar's-grain," "lemon-grain," "roulette,"
"butterfly's wing," &c. Modern stipple is cold and severe,
but the stipple seen in classic prints resembles in its
delicacy and softness the old stumped crayon work of the
last century. Stipple engraving is peculiarly adapted to
printing in colour, for a soft and harmonious ensemble is
produced, which could not be effected in line-engraving,
where the balance of colour is lost, and the result hard
and unsatisfactory. The graver is, however, the favourite
tool of the artist in metal, and has been employed from
a very early date by the greatest masters of the art.
It now becomes necessary to mention a series of curious
engravings known as 'dotted prints," which combine in
appearance the character of work in relief and in intaglio.
These prints illustrate a peculiar mode of engraving, in
which the design is worked out with a varied combination
of dots, lines, and scratches, detaching themselves white
or black from respective grounds of black or white. It
has not as yet been clearly settled whether wood or metal
was employed for the production of these specimens of
ancient work.
Dotted prints are exceedingly scarce and valuable, not
more than 300 examples being known; of these, two or
14
ENGRAVINGS AND THEIR VALUE.
three are in the British Museum and the rest in various
European repositories, notably in the museum at Munich.
The "
Mazarin Crucifixion," so called from a fine specimen.
of this kind of work found pasted within the cover of a
copy of the Mazarin Bible, was sold for £10 at the Ottley
sale (May, 1837) to the Trustees of the British Museum,
and may now be seen in the Print Room of that institu-
tion. A good facsimile of a dotted print will be found
in the Illustrated London News for the 20th April, 1844,
and as the average reader will never, in all probability,
come across a genuine specimen of the work, he cannot
do better than content himself with an inspection of this
copy.
Etching on Copper.-Towards the close of the
fifteenth century, the practice of engraving copper plates by
the action of acids was introduced, and this, to a certain
extent, superseded the use of the burin or graver. To this
process of intagliating the term "etching" is now applied,
and, as in the case of engraving from niellated plates,
the novelty originally consisted in the application of a
practice perfectly well known and understood at the time.
Acids, it may be mentioned, were extensively employed
by the ancients for "biting" metals to be used for pur-
poses of ornamentation, but it was not until a compara-
tively recent date that the idea of taking impressions
from the plate occurred to any one. There are many
modern works which detail the various modes of etching,
and it would be out of
longed explanation of the
however, will, perhaps, be
distinguish between the different branches of the art.
Having procured a plate of copper, which is cleaned
and polished, the artist in the first instance lays on a
coating of varnish, called "etching ground." On this
ground the required design is transferred, or else worked
out at once with an "etching point" or
etching point" or "needle." Diluted
place to enter into a pro-
process. A short statement,
useful, as it is necessary to
VARIOUS METHODS OF ENGRAVING.
15
แ
แ
nitrous acid is then poured on the prepared plate, and
the lines traced by the needle are consequently “bitten
in," the rest of the plate being protected from corrosion
by the varnish. Modern artists finish off the design with
the dry point" and scraper," and the work is then
complete. To print off, it is only necessary to ink the
plate as in other cases, and to press paper over the
surface. Copper is the metal generally employed by
etchers; but at the beginning of the present century, steel
began to be used, and is sometimes brought into re-
quisition at the present day.
The inventor of the etching process is not certainly
known. Some attribute the discovery to Albrecht Dürer
and others to Lucas van Leyden. The oldest etching
known is, however, the satirical print entitled "Roma caput
mundi" dated 1496 and signed with the letter "W" which
late researches have identified with Wenceslaus von Olmutz.
Printing in Colours.—Printing in colours from wooden
blocks and copper plates suggested itself to the early en-
gravers. Hercules Seghars, a painter of the Flemish school
(born in 1625), is supposed to have invented a method of
printing in oil colours. His process was the application
of colours with a brush upon a graduated background, from
which the copperplate, charged with a single colour, was
printed. Jacques Christoph Le Blon, a French artist,
invented a method of printing mezzotint plates in colour.
These were produced from a series of three or four dis-
tinct plates used for the primary colours, and by printing
any of these colours over other colours, each over each, va-
rious combinations were effected. Intermingling these
colours in the various grainings of the plate, tints of the
utmost delicacy and of beautiful gradation were produced.
This process becoming known about the time of the inven-
tion of stippling, stipple printed in colours followed-a
happy combination of the two methods. The printers and
engravers of the day turned their attention to this branch
16
ENGRAVINGS AND THEIR VALUE.
of the art, and one printer, James Gamble, ignoring Le
Blon's invention of printing mezzotints, announced himself
as the inventor of printing in colours. But while Gamble
has no claim to this distinction, he was one of the first
to apply Le Blon's method to stipple engraving. The
history of colour printing from two or more wood blocks
dates from 1457. The chiaroscuro process is said to have
been invented by the Germans but it obtained its greatest
excellence between 1518 and 1540, in Italy, under Ugo da Carpi.
Mezzotinto Engraving.-Mezzotinto engraving (from
mezzo, middle, and tinto, tint) was invented in 1641 by
Ludwig von Siegen, an officer in the service of the Land-
grave of Hesse. In pure mezzotint no shades or lines are
visible and its general effect is one of the utmost delicacy.
It is thus admirably adapted for the representation of
rich hangings, velvets, and other substances where softness
of expression is required. Many of our best moonlight
effects and night scenes have been produced by artists
who were adepts in this style of engraving. The process
consists in raising a burr or certain roughness over every
part of the surface of a plate of copper or steel. The
instrument used for effecting this is called a cradle,"
and it is rocked backwards and forwards in such a way
as to rough the plate in every direction, and to such an
extent that, if it were filled in with ink, the impression
produced from it would be a mass of deep black. At the
present day, plates are frequently cradled by machinery,
and sold by the square inch to artists and others who
require them.
Upon the burred plate, previously coated with lamp-
black, the design to be engraved is transferred. This is
accomplished by covering the back of the design with a
mixture of powdered red chalk and flake white, and, when
this is smoothed over the plate and the face of the design
carefully traced, the red particles on the back are trans-
ferred to the black ground. The metal is then scraped
VARIOUS METHODS OF ENGRAVING.
17
away and burnished, so as to produce the requisite light
and shade. This is the true process of engraving in
mezzotinto, in imitation of painting in Indian ink; but it
is very seldom that a subject is entirely worked in by
this method. Usually the outline is etched by means of
acids, and the different kinds of texture, &c., portrayed by
lines and dots, as in other kinds of engraving. The scraping
process is exceedingly difficult, and not only difficult,
but tedious; and, besides this, it is regarded as wanting
in power to detach the several parts with proper relief;
nor would it appear well adapted for landscapes where a
clear sky or light foliage is required. For portraits, how-
ever, the art is unrivalled, and many of our finest produc-
tions of this kind are executed in mezzotinto, or la manière
Anglaise, as it is sometimes called.
The famous Prince Rupert, who was at one time sup-
posed to be the actual inventor of the process, but who,
doubtless, learned it from Von Siegen, was a very good
engraver in mezzotinto, while Earlom, Valentine Green,
and Houston, as well as many other Englishmen, have
raised the art to a height of estimation which has not
been surpassed by any other process whatsoever. If not
generally practised, it is because of its difficulty and the
time required in its execution-fatal demands when en-
gravings have to be turned out to meet the requirements
of the market, and which, if sold in remunerative quan-
tities, are regarded as good enough for the age. Of late
years pure mezzotinto has again been recognised as
an important branch of English art, and some very
beautiful prints entirely produced by the process have
been published. An influential society has also been
established for the encouragement of engraving in this
manner.
Chiaroscuro Engraving.-Engravings in chiaroscuro
(Lat. clarus, clear, and obscurus, obscure or dark) were
originally designed to imitate the drawings of the old
2
18
ENGRAVINGS AND THEIR VALUE.
masters, and examples of the art-on both copper and
wood-are frequently to be met with. It will have been
noticed that in ordinary engraving on metal or wood, the
minuter details are sought to be reproduced in black-and-
white only, the different shades being produced from the
surface of a medium more or less cut down or hollowed.
Engraving in chiaroscuro is a modification of this, and
raises an actual colour out of a perfectly flat surface, ir-
respective altogether of any lines or hatchings. To ac-
complish this it is necessary to employ several blocks,
the first of which is called an outline block, because on
it is engraved a bare outline of the subject. An im-
pression, generally in black, is printed off from this, and
over the same impression, when dry, a second block is
applied for the purpose of putting in the darker shadows.
A third block prints off the lighter tints and shadows, and
occasionally other blocks are used for putting in any little
details which the artist considers worthy of being printed
off separately. The colours of the second and subsequent
impressions may, of course, be the same in each instance,
or may be made to represent a gradation of shade from
different colours.
Chiaroscuro work is very beautiful when properly per-
formed, but, unfortunately, a good deal of carelessness
appears to have been exhibited with respect to many prints
of this kind. It is a hard-and-fast rule with artists in this
kind of engraving that the successive blocks must exactly
"register"—that is to say, each block must fit precisely, so
as to fill in the spaces left by the previous block or blocks.
For example, take the case of a portrait; here the outline
block would mark the position of each feature of the face,
and the second block would, as a rule, throw on the
dark shadows. Assuming, therefore, that the second block
does not fit, the spaces will not be properly filled, the
shadows thrown on any particular portion of the face may
be out of position, the shading and colouring of the eyes
VARIOUS METHODS OF ENGRAVING.
19
may be placed elsewhere, and, if a third block be used,
the general effect is made worse, and the print becomes
a mere abortion. The greatest care has consequently to
be taken in the printing-off as well as in the cutting of
the blocks. The first state of the engraving, i.e., the im-
pression produced by the outline block, may be satisfac-
tory; the second, in which the dark shadows appear, may
also be beyond reproach; while the third state, displaying
the high lights, may be as bad as the other two are good.
Hence is it that the amateur, on comparing notes with
other collectors, is sometimes puzzled to account for the
strange variations that exist among prints of this class,
for, without practice, he will be unable to discriminate
between one state and the state immediately succeeding.
Some engravers used more than three blocks, and hence
the difference between the states is not so marked, the
print being, as it were, built up little by little; others,
like Ugo da Carpi and Goltzius, frequently dispensed with
the outline block; while a third class followed no settled
rules, but were a law unto themselves. The earliest chiaro-
scuro work hitherto discovered is the "Venus and Cupid"
of Lucas Cranach, bearing date 1506.
It appears to be generally understood amongst advanced
collectors that specimens of the work of Ugo da Carpi, or
any of the early German engravers in chiaroscuro, may
be bought regardless of quality; but at them the rule stops
short, for it is not thought advisable to have anything to
do with the more modern productions, unless they have,
at any rate, some degree of excellence in their favour.
Many of the latter show as mere daubs, the lights and
shadows being out of place, for the reasons already ex-
plained and commented on.
Line Engraving.-This process has become very com-
mon of recent years, having been employed largely by
publishers of magazines and periodicals, and specimens of
the art have been distributed broadcast. Many engravings
20
ENGRAVINGS AND THEIR VALUE.
in this style possess a high degree of excellence, though
collectors are apt to look upon them as more or less
mechanical, perhaps because the flat tints are ruled with
a machine called a "ruler." Mr. Maberly, in his work on
prints, states it to be his opinion that this style of en-
graving far surpasses any of the others. In points of ex-
cellence he admits that the velvety softness of mezzotint
cannot be imitated, that the process is unsuitable when the
mingling of light and shade is necessary, and that in crispness
and brilliancy it is far exceeded by wood-engraving. It
becomes exceedingly difficult, therefore, to see how such
eulogy can be deserved, although it is true that the finish
is, as a rule, microscopically even and exact. Beyond this,
line engraving would not seem to have anything to
recommend it over and above the other processes, while the
very multitude of prints thrown on the market makes the pos-
session of specimens a matter of comparative indifference.
The process of Line Engraving consists, legitimately,
in first etching the plate and then, after it is bitten in,
finishing it with the graver and dry-point. Other and
swifter methods have, however, recently been brought to
the assistance of the artist, so that many, not to say most,
of the Line Engravings of the present day are produced
by a combination of processes which have come to be
regarded as purely mechanical, though this sweeping denun-
ciation is certainly not warranted by the facts.
Aquatint Engraving.-This method is especially
adapted to those subjects requiring tints of extreme delicacy
or excessive depth, and is a most tedious and difficult
process. Any one of the numerous steps is apt to be
marred by the slightest irregularity, and, as a matter of
consequence, prints in aquatint are not often met with.
Engraving in this style is like making an Indian-ink or a
sepia drawing, the different washes or tints being produced
by successive bitings-in by acid. In chiaroscuro work the
tints are produced by successive blocks, so that aquatint
VARIOUS METHODS OF ENGRAVING.
21
may, perhaps, be roughly described as nothing more than
chiaroscuro in intaglio.
A short explanation of the process may, possibly, make
this clear. A very highly-polished copper-plate is first
taken, and over this is poured a mixture consisting of
resinous gum and the very purest spirits of wine: the
latter is then evaporated, leaving the resin spread over
the plate in minute granulated particles. The subject
is then traced on this ground, all the lines being subse-
quently gone over with a tracing-point. If sulphuric acid
be then poured on the plate, the exposed parts will, of
course, be bitten in. The different portions or surfaces of
the plate which have not at the time to be operated on
are stopped out until the subject, with all its gradations
of light and shade, is eaten by the acid into proper form,
and the engraving is complete. In this manner a plate
is often bitten ten or twelve times before it satisfies
the artist. As before stated, the process is exceedingly
difficult, for, if the copper-plate is not perfectly clean, or if
the acid is too strong, or allowed to bite too much or too
little (the temperature having a great deal to do with
this), or if the stopping-out is not skilfully performed, the
print will present an appearance much worse than any
amateur attempt at chiaroscuro. The truth appears to
be that aquatint is frequently used as an adjunct, but
rarely as a complete process. A very clear and concise
account of the manner of working will be found in Maber-
ly's "Print Collector."
There are many other kinds of engraving which have
sprung up of late years, and which may possibly be
familiar; but those I have enumerated are about all,
singly or in combination, that owe their life to artistic
skill. The others are more or less machine-made, and,
though valuable as a means of popularising works of art,
cannot be expected to find a place in the portfolios of
collectors for many years to come. Lithography is one
22
ENGRAVINGS AND THEIR VALUE.
of these comparatively modern processes and one which,
apparently, does not commend itself to the notice of
connoisseurs. The reason of this doubtless lies in the fact
that lithographs are extremely common, and also cheap
to produce, the labour of engraving being entirely obviated.
Lithography owes its success to the mutual antipathy of
grease and water. If a design be drawn in greasy
ink upon a properly prepared stone and the stone be
then damped the inked part of it will not take up
the water. If the stone is now rolled with a suitable
roller charged with ink, the lines of the design will only
be touched, the general surface remaining quite clean.
From this impressions may be taken upon paper to almost
any extent. Zincography is a form of Lithography, a
sheet of zinc being used instead of stone. These and
other processes, such as the Autotype, Phototype and
Photogravure, are, however, beyond discussion in a work
of this kind. Lithography was accidentally discovered
about the year 1792 by Alois Senefelder, of Munich.

CHAPTER III.
ON FORMING A COLLECTION.
Commencing a Collection.-A person commencing
to collect prints would, in all probability, if left to him-
self, make a series of miscellaneous purchases commonly
called "bargains," intending, when a sufficient quantity
of specimens should have been accumulated, to arrange
them on a plan to be subsequently matured. To this end
he would frequent sale-rooms or the shops of the dealers,
and buy anything that might take his fancy, or possibly
"parcels," his great object being to acquire a selection,
leaving arrangement altogether out of the question for
the time being.
Now, if there are ways of making confusion and unnecessary
expense a matter of certainty, this is undoubtedly the
one that must carry the palm; for after a few months'
devotion to such a system, the amateur would find him-
self in possession of a majority of worthless specimens,
and, perhaps, by good luck, one or two fair ones. Any
attempt at arrangement would, however, be out of the
question, for the simple reason that artists are legion,
and the collector, with all his efforts, would not have
been able in the time to get together a sufficient number
of representative examples. Here a print and there a print
would be the rule, and many engravers even of the same
school would, as a matter of course, be omitted. Besides
23
24
ENGRAVINGS AND THEIR VALUE.
this, it must never be forgotten that many so-called engravings.
are absolutely worthless, and these are just the kind that
are likely to be thrust upon an incompetent or reckless
purchaser.
Collectors, no matter of what articles, whether prints
or books, or old china or enamels, or anything else
that is worth collecting, proceed upon a defined plan,
beyond the boundaries of which they stray at their peril.
These boundaries, narrow at first, become gradually
enlarged, but are never completely removed. Method and
order have to be scrupulously followed in the formation
of a collection of any kind; they are pursued with equal
ardour in the compilation of the catalogue, and the in-
evitable hammer of the auctioneer falls true to the principles
they have taught.
Before an amateur can safely follow a pursuit which
is, to say the least, expensive, it stands to reason that
he must make himself conversant with the rudimentary
portion of his studies. He must be versed in the different
modes of engraving as already detailed, so as to be able
to recognise the character of a print from its appearance.
This is, perhaps, the preliminary step; but whether it be
So or not, the knowledge is absolutely necessary, and
cannot be dispensed with. There are two ways of acquir-
ing this information, the first and most expensive of which
is to frequent the dealers' shops and learn by experience.
The second way is to study the text-books which treat
on the subject, and afterwards to examine a selection of
prints known to be of a particular species or kind: this
can generally be done free of expense by any one who
lives in the vicinity of a large town, for, to say nothing
of the local museum, there is always the auction-room to
resort to, and the day before a sale takes place it is the
invariable custom to exhibit the articles to be offered to
the public on the morrow.
The collector should, in the first place, procure Willshire's
ON FORMING A COLLECTION.
25
"Introduction to the Study and Collection of Ancient Prints,"
and read it carefully through, if neccessary more than
once, until the principles sought to be inculcated are
thoroughly mastered. He will then be sure to recognise
many prints by name or description; he will also know
what sort of prints they are, and he can then repair
to the auction-room and study the appearance of the
specimens on view. This may appear a roundabout process,
but unless the collector has a friend who is willing to
throw open his portfolio and enter into details, I know of
none other, unless it be to trust to the tender mercies of
the dealer, an alternative not to be thought of at so early
a stage, unless money is of no account-in fact, I should
advise the student not to spend a shilling on a print
until he has gained a fair amount of knowledge of his
subject; if he does, he may rest assured that he will
waste his money.
Assuming that a fair acquaintance with the different
processes of engraving has been obtained by this or some
other method, the next thing is to acquire an equal know-
ledge of the engravers themselves, the general character
of their works, when they lived, and the marks and ciphers
they used on their plates. For this, two other works
will have to be purchased, Bartsch's "Le Peintre Graveur,"
21 vols., 8vo (Vienna, 1803-21), and Passavant's “Le Peintre
Graveur", 6 vols., 8vo (Leipsic 1860-64); though possibly
the latter work may be dispensed with for the present,
or even both, if Bryan's "Dictionary of Painters and En-
gravers" be procured. After a careful study of these books,
the reader will have obtained a fair theoretical knowledge
of old engravers and their works, and will, moreover, be
in a position to map out a system or plan, to which he
must rigidly adhere in the future.
System to be followed.-Any system the amateur may
think fit to follow will only be one of many, for some collectors
make a speciality of etchings, others prefer woodblocks, a
26
ENGRAVINGS AND THEIR VALUE.
few accumulate portraits; in all these cases regardless of
the engraver or the painter he has reproduced. On the
other hand, many persons choose a few engravers and
follow them, to the exclusion of the rest; others take the
names of painters and collect the engravings after their
works. In all these instances a system is followed, be-
cause the collector speedily discovers that he cannot hope
to reap satisfaction in any other way.
All the best writers who treat on this branch of the
subject advise that the cabinet should be remarkable for
quality, not quantity; and it is wise, therefore, to confine
the attention to a few masters at a time, to make the
collection of their works alone a matter of importance,
and, above all things, to carefully study them, side by
side, with the recognised text-books. In this way much
knowledge may be gained, at the least possible expense,
and, as time goes on, other artists may be added to the
list, and the collection correspondingly increased in extent.
One other rule may be here adverted to with advantage,
and that is, Do not at the beginning endeavour to obtain
prints of great rarity or extraordinary quality. Bargains
may sometimes, in the case of books, be picked up on
stalls, in out-of-the-way shops, and in holes and corners of
every large town; but between books and prints there is
a great difference. The former are much more numerous;
a certain volume belonging to one edition has its precise
counterpart in another volume of the same edition, and,
given copies equally good, both are of equal value. For-
geries, though not unknown, are, comparatively speaking,
rare, on account of the great expense necessary to produce
them. Where a scarce book is discovered, it can be bought
with tolerable safety; but prints vary so much, per se, in
quality and "state" a term to be fully explained here-
after-that one impression from a plate may be of con-
siderable value, and another, from the very same plate,
of little or none; it is even possible to discover that a
ON FORMING A COLLECTION.
27
print, purporting to be by a famous artist, may be a mere
copy, or perhaps an open forgery. In addition to these
considerations, the chances of picking up a bargain are
much more remote than in the case of books, since, com-
paratively speaking, few people deal in prints, and those
who do are, as a rule, fully alive to the merits of the
specimens they possess.
Rare prints must therefore be bought from a reliable
source, and paid for; and when the reader considers for a
moment the value of some of these, he will possibly feel
inclined to postpone for a season any attempt at collect-
ing them. Badness of trade does not appear to have the
smallest effect on the habits of collectors of curiosities,
and there are scores of enthusiasts to be found who will
put down £200 or £300 for a relic, in the very midst of a
panic on the Exchange.
As an example of this extravagance, Willshire, in his
work on the collection of ancient prints, cites the case of
the "Hundred Guilder" print of Rembrandt. "The print,"
says Gilpin, "is held in such esteem that I have known
thirty guineas given for a good impression." This apparently
outrageous price was quadrupled at Verstalk's sale in
Holland in 1847, for a "good impression" sold on that
occasion for 600 guilders-and the same print was af-
terwards bought by Sir Charles Price for £200. Then
it lay dormant for some years, to emerge again in 1867,
when that eminent collector's portfolio was brought to the
hammer. A Mr. Palmer had it knocked down to him for
£1180 on that occasion, and a year later, on another sale
taking place, it produced £1100. In Mr. Gilpin's days
public folly was in a state of comparative infancy, and
may, for anything known to the contrary, not even yet be
fully developed, a remark which seems to be justified
seeing that at Mr. Holford's sale in 1893, a first state of
this same "Hundred Guilder" print realised £1750 whilst
another impression in a second state brought £1290. "Rem-
28
ENGRAVINGS AND THEIR VALUE.
brandt leaning on a Sabre" sold for no less than £2000
while 154 lots realised the extraordinary total of nearly
£18,000. Under the name of Rembrandt in the catalogue
portion of this work some other very high prices will be
seen to have been realised at auction for rare states and
early impressions of favourite etchings. The reader must
not, however, run away under the idea that because, for
example, Rembrandt leaning on a Sabre" sold for £2000
at the Holford sale all the other impressions existing
would bring that amount or near it. This particular print
was in the "first state," of which only three other examples
are known to exist. It was, in fact, a curiosity and nothing
more. A "second state" would not have sold for so much
while an ordinary impression from the finished plate would,
comparatively speaking, have sold for next to nothing.
It has been suggested as advisable for the young collector
of prints to confine his attention to a few of the best
masters, and to collect their works only. The question
now arises whether he should endeavour to obtain the entire
works of such masters, comprising every state" in which
they are to be found; or whether he should merely seek to
possess a selection of the more important specimens. The
answer to this inquiry is entirely dependent on the pecuniary
resources of each individual collector, although it is perhaps
quite unnecessary to state that no amount of money will
suffice to purchase a print which is unique and in the
possession of the curator of a museum or other public
institution. Bodies which have permanency of establishment
in their favour, may, and generally do, seek to form
collections of a magnitude and extent quite out of the range
of the ordinary collector, who must perforce confine his
attentions to a more limited sphere. It would appear to
be wise, therefore, to purchase a few of the finest procurable
specimens of the work of each selected master, and to
leave rare 'states to those who can afford to pay for
them. If this be done, an interesting and instructive
>"
ON FORMING A COLLECTION.
29
collection may be formed with comparative ease and at
moderate expense.
States. The word " state," already made use of on
several occasions, may be thus explained: Engravers were,
and indeed are, accustomed from time to time to take
off impressions of their work for the purpose of seeing
whether it is progressing satisfactorily or the reverse, and
this process is as a rule repeated until the engraving is
finished. Each of these impressions is technically known
as the first or second, &c., "state" of the plate, as the case
may be, and with respect to the older masters, many of
them are exceedingly rare, and not a few unique. Ardent
collectors frequently vie with each other in giving extra-
vagant prices for rare "states," some of which, as we have
seen, have of late years become so expensive that they are
quite out of the reach of ordinary persons. Rembrandt,
who had the good fortune to be appreciated during his
lifetime, is charged with having multiplied "states" for
the sole purpose of satisfying his cupidity. The motive
ascribed may be a false one, but it is certain that this
artist was in the habit of taking impressions from the
plate in its various stages of incompleteness, and some of
these being tolerably numerous are sought by collectors
with a fair prospect of success. Hence it is that many
portfolios display "state" upon “state,” one differing from
the other to such a small extent that a person who has
not a considerable amount of technical knowledge at his
fingers' ends would think that all were alike. Mr. Maberly,
in his "Print Collector," may well caution his readers
against the hope that "while a
"while a whole company crowd
round the portfolio, the finest specimens will be in any
degree appreciated," and suggest that, "except on special
occasions, the collector will grow reluctant to display them.
The ambition "to rank among brother collectors as pre-
eminent above all others for the excellence and complete-
ness of the specimens of some favoured engraver" is the
30
ENGRAVINGS AND THEIR VALUE.
LE
reason why "states" are bought up at improvident prices.
The point next arises whether or no it will be advisable
to collect copies, and this may well be left to the collector
himself. A copy does not necessarily mean an exact
counterpart of the original, but rather a duplicate in
effect; some of the details may be different, and yet the
work be none the less a copy. Marc Antonio frequently
copied the works of Dürer, but he did not at any time
slavishly follow the original line by line. The practice
of making accurate copies has frequently been resorted
to by inferior engravers; but when this is the case there
is nothing to admire unless it be the wonderful imitative
capacity and patience of the artist. In other cases,
however, I think that the comparison of a copy with its
original is productive of considerable enjoyment, and
certainly of much improvement.
From what has been said, the scheme proposed for the
consideration of the collector will be seen to resolve itself
into this: Study a selection of artists only, and, for con-
venience, a few of the best may be divided into schools
and arranged chronologically, those who have worked on
wood being, of course, kept distinct from those who have
engraved on metal, chiaroscurists from engravers in mezzo-
tint, and so on. The following analysis covers most of
the ground so far as old prints are concerned and may
be found useful for purposes of reference. It is based
to some extent on the arrangement of Passavant.
1. Old Woodcuts (Northern School). Albrecht Dürer,
Hans Burgkmair, Hans Schäufflein, Lucas Cranach the
elder, Lucas Cranach the younger,
the younger, Hans Brosamer,
Hans Sebald Beham, Jacques Binck, Baldung Grün or
Grien, Lucas van Leyden, Albrecht Altdorffer, Urse
Graff, Alexander Mair, Erard Schön, Antoine de Worms,
Hans Holbein, Virgil Solis, Melchior Lorch, Christopher
Jegher.
2. Old Woodcuts (Southern School). Jacob Walch ("Master
ON FORMING A COLLECTION.
31
of the Caduceus ") Antonio de Giunta, Zoan Andrea, Florio
Vavassore, Battista del Porto (the "Master with the Bird"),
Domenico Campagnola, Æneas Vico, Domenico Beccafumi,
Francesco De Nanto, Francesco Marcolini, Giuseppe Porta,
Christoph Chrieger, Nicolo Boldrini, Giuseppe Scolari.
3. Works in Chiaroscuro (Northern School). Lucas
Cranach, Baldung Grün or Grien, Jost Dienecker, Hans
Burgkmair, Albrecht Dürer, Johann Ulrich Pilgrim, (more
recently known as Johann Wechtelin), Heinrich Goltzius,
Christoph Jegher, to whom may be added Albrecht Alt-
dorffer and Holbein though these artists worked very little
in this style.
4. Works in Chiaroscuro (Southern School). Ugo da
Carpi, Antonio da Trento, who was probably identical
with Antonio Fantuzzi, Giuseppe Nicolo, Andrea Andreani,
Bartolomeo Coriolano, Nicolo Boldrini, Alessandro Ghandini,
Johannes Gallus.
5. Later Woodcuts. Elisha Kirkall, John Baptist Jackson,
Nicholas de Sueur, Arthur Pond and George Knapton,
Simon Watts: these artists worked also in chiaroscuro
and in a combination of processes. Thomas Bewick, John
Bewick, Luke Clenell, William Harvey, Richard Austin,
Charles Thompson and George Baxter, a colour artist. All
these engravers were of the Northern School where alone
the art of engraving on wood was revived and practised
with success.
6. Engravings on Metal (German School). "The Master of
1446", The Master of the Banderoles" also known as
"the Master of 1464", "The Master of 1466", Martin
Schongauer and his brothers Ludwig and Bartel, Albrecht
Glockenton, Wolf Hammer, Michael Wolgemut, Wenceslaus
von Olmutz, Alexander Mair, "The Master of the Shuttle",
Israel van Meckenen.
7. Engravings on Metal (Nuremberg School). Ludwig Krug,
Albrecht Dürer, Peter Flötner, Augustin Hirschvogel, Hans
Sebald Lautensach, Hans Sibmacher.
32
ENGRAVINGS AND THEIR VALUE.
*
8. Engravings on Metal (Schools of Augsburg and Bavaria).
Hans Burgkmair the Elder and Younger, "Jaccop", Heinrich
Steiner, Albrecht Altdorffer.
9. Engravings on Metal (Schools of the Upper Rhine and
Switzerland). "Master of the monogram H L", Daniel
Specklin, Hans Holbein, Urse Graf, Jost Amman, Daniel
Lindmeir, Melchior Meier.
10. Engravings on Metal (Schools of Franconia and Saxony).
Lucas Cranach the Elder, Hans Brosamer, Peter Roddelstet
de Gottland.
11. Engravings on Metal ("Little Masters" of the Nurem-
berg School). Hans Sebald Beham and his brother Bartel,
Jacques Binck, George Pencz, Heinrich Aldegrever, Virgil.
Solis, Nicolas Solis, Kilian Proger.
12. Engravings on Metal ("Little Masters" of Lower Ger-
many). Nicolas Wilborn, Ladenspelder d'Essen, Anton de
Worms.
13. Engravings on Metal (Dutch and Flemish Schools).
"The Master of the Gardens of Love", "The Master of
1480", "The Master of the Boccaccio", Hieronymus van
Aeken, otherwise known as Jerome Bosch, Lucas van Leyden,
Adriaen Collaert and his son Jan, Philip Galle, Cor-
nelis his son and Cornelis his grandson, "The Master of
the Crab", "The Master with the Star", Jacob Cornelisz,
Alaert Claessen, "The Master of the letter S", Cornelius
Matsys, Cornelius Cort, The Wierix family, The De Passe
family, The Sadeler family, Jan Saenredam, Heinrich Goltzius,
Jacob de Gheyn, The Bloemaert family, Jacob Matham,
Lucas Vostermann, Count de Goudt, The Hondius family,
Jacob Houbraken, Scheltius Bolswert, and his brother Adam,
The Visscher family, The Edelinck family, Romeyn de
Hooghe.
14. Engravings on Metal (The French School). Jean Du-
vet ("The Master of the Unicorn"), Etienne de Laune,
Robert Boissard, Léonard Gaulthier, Jacques Callot, (a pupil
of Philippe Thomassin), François Perrier, Louis Dorigny,
+
ON FORMING A COLLECTION.
33
Sir Nicolas Dorigny, Nicolas Chaperon, Claude Mellan, Jean
Boulanger, Grégoire Huret, Pierre Daret, Pierre Lombart,
Israel Silvestre, Domenique Barrière, The Poilly family,
Jean Pesne, The Audran family, Robert Nanteuil, Gerard
Edelinck, Antoine Masson, The Drevet family, François
Chereau and his brother Jacques, Nicolas Henri Tardieu
and his son Jacques, Johann Georg Wille, J. J. Flipart,
Laurent Cars, Jacques Philippe le Bas, Pierre François
Basan, Jacques Firmin Beauvarlet, Etienne Ficquet, Claude
Chatelin, J. M. Moreau, N. Ponce.
15. Engravings on Metal (English School). Renold
Elstracke, The De Passe Family (also mentioned in the
Dutch and Flemish Schools), John Payne, William Holle,
Thomas Cockson, William Dolle, Thomas Cecil, Robert
Vaughan, William Marshall, George Glover, Robert van
Voerst, Lucas Vostermann, Wenceslaus Hollar, Martin
Droeshout, Thomas Cross, Robert Gaywood, William Sherwin,
William Faithorne the Elder, John Fillian, David Loggan,
Abraham Blooteling, Pieter Vanderbank, Robert White,
Simon Gribelin, Bernard Baron, George Vertue, William
Hogarth, Simon Ravenet. Thomas Major, Francesco Barto-
lozzi and his pupils Tomkins, Schiavonetti, Cheesman,
Gillray, and J. K. Sherwin, W. W. Ryland, William Woollet,
Francois Vivares, and William Blake.
16. Works in Mezzotinto (All Schools). Ludwig von Sie-
gen, Prince Rupert, Jan Thomas, Jan van Somer and his
brother Paul, Abraham Blooteling, Francis Place, William
Sherwin, Edward Lutterel, Isaac Beckett, William Faithorne
the Younger, George White, John Smith, John Faber,
father and son, Jacques Christoph de Blon, Robert Williams,
James MacArdell, Richard Houston, John Finlayson, Edward
Fisher, Valentine Green, Richard Earlom, James Watson,
William Dickinson, J. R. Smith, Charles Turner, S. W. Rey-
nolds, James Ward, William Ward, William James Ward,
Samuel Cousins, Wm. Pether, John Dixon, Robert Dunkarton,
John Jones, John Dean, George Keating, William Say.
3
34
ENGRAVINGS AND THEIR VALUE.
17. Engravings on Metal (Italian Schools). Maso Finiguerra,
Baccio Baldini, Sandro Botticelli, Robetta, Zoan Andrea,
Nicoletto da Modena, Antonio da Brescia, Giulio and
Domenico Campagnola, Jacob Walch, Battista del Porto,
Girolamo Mocetto, Pelligrino, "Master of the Rat Trap,"
Marc Antonio, Agostino di Musi, Marco da Ravenna, “The
Master of the Die," Giulio Bonasone, Æneas Vico, Caraglio,
The Ghisi family of Mantua, The Carracci family, Cornelius
Cort (also mentioned in the Dutch and Flemish Schools), Martin
Rota, Cherubino Alberti, Francesco Mola, Raphael Morghen.
18. Etchings (Dutch and Flemish Schools). Albrecht Dürer,
Van Dyck, Jerome Cock, Abraham Bloemaert, Rembrandt,
Van Ostade, Jan Both, Nicholas Berghem, Paul Potter,
Adriaen van de Velde, Anthony Waterloo, Arnold Houbraken.
19. Etchings (The French School). François Perrier, Jacques
Callot, Claude Lorraine, Vaillant Wallerant, Le Comte de
Caylus, Jean François Millet, Charles Méryon, Alphonse de
Neuville.
20. Etchings (Italian School). Mario Parmagiano, Andrea
Meldolla, Annibale Carracci, Guido Reni, Simone Cantarini,
Della Bella, Benedetto Castiglione, Il Spagnoletto.
21. Etchings (The English School). This is contemporary,
the process of etching having only recently been followed
in this country. The following deceased artists who
practised this style may, however, be mentioned: J. W. M.
Turner, Sir David Wilkie, George Cruikshank, Samuel
Palmer, Richard Doyle, H. K. Browne ("Phiz."), John Leech.
22. Etchings (The German School). Baldung Grun, Jan Cor-
nelisz Vermeylen, Franz Friederich, Henri de Brunswick
and in later days Nicolaus Chodowiecki.
This classified list amounts to nothing more than a
skeleton plan to be varied or added to as experience and
inclination may direct. It is useful as a general guide to
the schools, but has no pretensions to completeness. The
lists of etchers in particular might be indefinitely prolonged,
and in fact the subject of etching, especially as it affects the
ON FORMING A COLLECTION.
35
English School, must be studied with the aid of modern
treatises, among which the late Mr. Hamerton's "Etching
and Etchers" takes a foremost place.
The practice of styling an engraver "The Master" of a
certain date or device is resorted to as the only practic-
able way of shortly describing an unknown engraver. An
anonymous print can thus be catalogued with others
bearing the same mark or possessing the same characteristics,
as the work of "The Master" of the monogram, date, device,
or subject with which he is identified.

CHAPTER IV.
THE EXAMINATION AND PURCHASE OF PRINTS.
Early and Good Impressions.-This branch of the
subject can only be thoroughly learned by actual expe-
rience. There are, however, a number of universally ac-
cepted rules regulating the examination and purchase of
prints which may be followed with advantage, although it
will of course be readily understood that no amount of
theoretical knowledge can entirely compensate for a defi-
ciency in practical skill. The "vamping" of prints, as
any fraudulent alteration of their actual condition is some-
times called, is unfortunately common, and the greatest
care is required on the part of even an experienced col-
lector, if he would avoid being deceived: a novice would
most assuredly be taken in; and it will be advisable, there-
fore, either for such a person to procure assistance when
making his purchases, or else to deal only with houses of
established reputation. When every precaution is taken
occasional mistakes will be unavoidable, and all that
can be done is to reduce the risk of deception to a mi-
nimum.
The primary rule is this: If a print offered for sale is
found to be "vamped" in one particular, the probability
is that it has been tampered with in others, and as the
detection of artfully-concealed defects is at the best of
times a matter of difficulty, it is always better to put the
36
THE EXAMINATION AND PURCHASE OF PRINTS. 37
print on one side, and to refuse to have anything further
to do with it, no matter how tempting the offer may seem.
The reader must remember that the skill employed by
many unscrupulous persons in the restoration, and even
forging, of prints, would be worthy of the greatest admi-
ration were not the motive so thoroughly debased. What
looks like a perfect specimen, not infrequently turns out
to be made up to such an extent that hardly a square
inch of the paper is genuine or sound.
Re-touching and Cross-hatching.-A print to be
unexceptionable should be an early and good impression
taken from the original plate by the artist himself or
under his superintendence, and should also be in good
condition. Early impressions are of course better than
later ones, for after a time the plate gets worn, and as a
consequence the delicate lines become fainter and at length
broken altogether, the stronger parts become confused,
and the general impression appears clouded. Very little
experience is required to detect a print openly taken from
an old and worn plate or block; and a comparison between
the extremes of a very early impression and a very late
one will reveal a wide and marked distinction which
cannot possibly be overlooked. When matters reach this
critical stage the plate is often re-touched-that is to say,
worked over again in the particular style of the
artist; if an etching, the design is re-bitten, and perhaps
finished with the graver; if an ordinary print, the
details are gone through as in the first instance, and when
this is well done it is sometimes very difficult to detect
the operation at all. Cross-hatching—another process fre-
quently called into request-consists in drawing lines across
former lines for the purpose of producing a better effect.
Assuming a print to be undoubtedly an early impression
care must be taken to ascertain that it is also a good
impression and in good condition. Some prints though
perfectly genuine, have been badly struck off, or perhaps the
38
ENGRAVINGS AND THEIR VALUE.
paper is bad or imperfect or may have been creased or
undergone a shake, that is to say a movement under the action
of the press causing an appearance of double printing. In
all these cases the value of the print is materially diminished.
The habit of inspecting other prints from the same plate,
combined with a careful comparison between examples of
early and late impressions, is the only way of acquiring
an amount of knowledge sufficient to detect a good im-
pression free from re-touchings and cross-hatchings. One
thing especially must be borne in mind-mere depth and
blackness of tone do not of themselves indicate an early
impression; on the contrary, when these desirable qualifi-
cations are unnatural, or carried to an extreme, the purity
of the print becomes prima facie excessively doubtful.
Clearness of work-the finer lines being sharp and dis-
tinct-combined with a proportionate degree of depth, the
absence of black patches, and a general gradation of light
and shade, all combine to indicate an early and good im-
pression.
Modern Impressions from Old Plates.—A good
impression is necessarily an early one, but the converse
rule does not always hold good, since many prints, though
early, have been spoiled through bad printing: too much
or too little ink may have been used, and while in the
one case the impression becomes smeared or devilled,"
the design is not sufficiently defined in the other. The
method of printing has of recent years vastly improved,
and when an impression is taken from an old and original
block, it is sometimes difficult to detect the reprint. It
may seem to the reader a matter of indifference when'
an impression is taken, so long as the block or plate
itself is genuine and in its original state, but the fastidious
collector does not see the same value in a reprint as
in an original impression.
Forged Watermarks.—Where it is suspected that
a modern impression has been taken from an old block
THE EXAMINATION AND PURCHASE OF PRINTS. 39
or plate the character of the paper should first be carefully
examined. The subject of paper marks is dealt with later
on but in the meantime it may be stated that many, but
not all, of the old papers are watermarked, and lists of
marks have been compiled for the benefit of collectors
(see the third volume of Sotheby's "Principia Typogra-
phica," 3 vols., folio, 1858), though it has long been the
practice for fraudulent persons to imitate these marks
so closely as almost to defy detection. The plan they
adopt is to procure some old paper-the fly-leaf of a book
for instance-and to paint with oil a representation of
the mark to be forged. Occasionally, however, they scratch
the back of the paper, with great nicety and skill, with
the required device. This accomplished, the next process
is to cut the paper, or rather fray it to the necessary
dimensions, and then an impression is taken from the
block, and marked with one or two, or perhaps more,
"collectors' marks." A few stains here and there and
the fraud is complete.
If it should happen that the plate or block is in a good
state of preservation it is almost impossible to detect this
particular process of vamping; but, fortunately for collec-
tors, it is seldom that all the necessary conditions are in
favour of the operator. To detect the fraud, the paper
should be held up to the light and carefully scrutinised
with a strong glass. If the watermark has been unskil-
fully scratched in, its surface will be found either to be
rough or else to possess an unnatural gloss, showing that
it has been smoothed over with a hot iron; the edges of
the paper may also show signs of recent cutting or
tearing.
Assuming that the inspection is so far satisfactory, care-
fully examine the face of the print, looking especially for
circular white spots and straight white lines cutting through
places where they should not be found. If these exist, it
shows that the block has become worm-eaten or warped
40
ENGRAVINGS AND THEIR VALUE.
by age, and consequently that the impression has only
recently been struck off. In the case of a metal plate,
rust discloses a bluntness, and points to the same conclusion.
The detection of this class of semi-spurious engravings
is a work of great nicety, only to be entrusted to persons
of experience, and even they are occasionally deceived.
The works of Albrecht Dürer, Claude, and Robetta, are stated
by Willshire to be most frequently re-printed and palmed
off upon the unwary, and consequently, whenever a print
purporting to be by any of these artists is offered for sale,
great caution should be exercised.
Dimensions of Prints.-It may be remarked once for
all that a spurious print cannot always be detected by
reference to its dimensions. It is true that Bartsch and
other authorities frequently quote the size of a print, but
it must be remembered that paper contracts in exact pro-
portion to its dampness, and as old impressions were always
struck off on damp paper, the size depends on the quantity
of moisture absorbed. Still, where a print is unusually
disproportionate in this respect, the collector will of course
avoid it, unless the discrepancy can be satisfactorily
accounted for.
Characteristics of an Early Impression. It is
considered better, and rightly so, to have a good and early
impression in bad condition than an inferior one in good
condition, for in the former case the intrinsic quality of
the piece is not in any way impaired, and much may
legitimately be done to smooth away extraneous defects.
The characteristics of an early impression are so marked
that unless some artifice has been employed for the purpose
of disguising its real state, there is hardly room for a
mistake. There is a depth and sharpness about the fine
lines, and a general richness of tone which is sufficient in
ordinary cases to rivet the attention. Practice is, however,
absolutely necessary in order to distinguish genuine from
reworked impressions.
THE EXAMINATION AND PURCHASE OF PRINTS. 41
In addition to the general appearance of the print it is
well to look out for certain peculiarities which sometimes
exist. One of these is "burr," a term which may be thus
explained: In the case of metal plates in which the dry
point has been much employed, some of the stronger lines
will be found slightly furred. This is because the dry point
has no clean-cutting edge, and therefore raises a cloud
along the whole length of its course on either side of the
line. When an impression is taken from a plate having
a considerable quantity of burr, the appearance some-
what resembles that of a line ruled with ordinary ink
upon damp paper. A simple and easily-devised experiment
will illustrate this.
Now, when a print bears on the face of it evidence of
a large quantity of burr it is considered to be an early
impression, because as the plate gets worn with repeated
printing this peculiarity becomes gradually less marked,
until at last the lines become clear and sharply defined.
The same remark applies to a sort of inky smear which
the French term fond sale, and which is the result
of an imperfectly polished plate of copper having been
used by the engraver. In this instance, also, use causes
the plate to become smooth, and the fond sale gradually
disappears. It is, perhaps, needless to observe that both
burr and fond sale have been carefully imitated in order to
satisfy the demand.
1
Proofs. In connection with the subject of early im-
pressions, it is necessary to remark that a considerable
trade is done in what are called "proofs." I say "trade,'
because that term is peculiarly applicable when so-
called early impressions are struck off for the express
purpose of sale. It has always been the custom of
engravers as they proceed with their work to take off
an occasional impression in order to ascertain whether
any improvement or alteration is called for. They prove
the progress of the engraving, so to speak, and these im-
42
ENGRAVINGS AND THEIR VALUE.
In
pressions are consequently known as "proofs." In the
early days an artist took these proofs for this sole purpose,
and would probably strike off two or three only, judging
from them in what "state" or condition his plate really
was. The terms "proof" and "state are under these
circumstances identical, and refer to the condition of the
plate prior to its completion. For many years, however,
proofs have been taken from finished plates as a matter
of course, and these modern impressions are published with
many variations, some of them entirely arbitrary.
general the first impressions are taken on India paper and
sold under the name of "Artist's Proofs." They contain
no lettering of any description and are frequently signed
in pencil by painter or engraver or both. Next come proofs
before letters on India paper. In this case the subject
not printed, but the names of painter and engraver are,
the former at the left hand bottom corner of the print and
the latter at the right; the date of publication is also
occasionally added. Next we have proofs before letters
on plain paper, after which the plate is engraved with the
title of the subject in faint letters not inked in. Impres-
sions from the plate in this state are known as Open
Letter Proofs." Then the plate is completed and we have
lettered proofs on India paper, lettered proofs on plain
paper, ordinary prints on India paper and finally ordinary
prints on plain paper. Remarque proofs are generally
taken from etched plates and may be known by an etch-
ing, appropriate to the subject, in the bottom margin.
They rank with artist's proofs, or above them if signed in
pencil by painter and engraver. Not all prints are pub-
lished in such a variety of state, the practice of multi-
plying proofs depending chiefly on the degree of popu-
larity likely to be attained by the print.
India paper is a medium of soft texture capable of
absorbing ink much more evenly and readily than ordinary
papers, or plain papers as they are called. India paper
THE EXAMINATION AND PURCHASE OF PRINTS. 43
is always toned, generally buff, and is therefore easily
recognised. It is used mainly for proofs, though not in-
variably, for as we have seen, ordinary lettered prints are
sometimes taken off on India paper. Japanese paper does
not differ from India paper except in thickness.
Counter-Proofs.-The amateur must be certain that
any print offered for sale is not a copy or a counter-proof.
With respect to counter-proofs, which are impressions
taken, not from a plate, but from a proof on paper just
worked off, it will be observed that they appear fainter,
and the design is always reversed. If the collector does
not know to what point the design ought to face, he may,
of course, be deceived; but there is little excuse for this,
as he can derive the information he will require on this
head from Bartsch's "Le Peintre Graveur," or any other
book where prints are catalogued.
Repaired Engravings.-In purchasing a good speci-
men of sufficient value to justify the belief that it may
have been worth someone's while to vamp it, a minute
inspection with a strong glass is absolutely necessary.
The scrutiny should take place in the daylight, and not
with gas or candle; in fact, a proper and sufficient light
should be insisted on, or the investigation postponed until
it can be had.
If a print is satisfactory so far as its intrinsic qualities are
concerned, the next thing to inquire into is its condition.
Take the print up in both hands, noticing particularly
whether there is any unnatural feeling of thickness about the
paper; if there is, it is possible that the print may be "lined,"
or “laid down," that is to say, affixed to another sheet of
paper of a similar size, texture, and colour. When this
is the case, the value is not so much diminished by reason.
of that fact alone, as by reason of a suspicion which at
once arises that all this trouble was not taken for nothing,
but rather to hide some defect. Prints which are found
to be laid down should be refused, no matter how excellent
44
ENGRAVINGS AND THEIR VALUE.
in other respects they may seem to be, for until the
mounting is removed it is impossible to ascertain whether
they have been repaired or not.
manner.
Repairs are frequently executed in the most ingenious
Not only are defective or light spots appearing
on the face of the print touched with Indian ink, but
sometimes the whole surface is washed over with colour
or neutral tint for the purpose of heightening the effect.
Part of the print may even have been cut out and the
inserted piece traced over with the pen, or a section of
another impression of the same print let into the space
with such nicety that discovery with the naked eye is
extremely improbable.
The margin must also be looked to, as it sometimes
happens that in scarce engravings the margins are accu-
rately measured to a quarter of an inch or less, the rule
being the more margin the greater value. A very strong
light is necessary to detect a false margin, which is usually
found inlaid at the plate-mark.
If a print has been cleaned with acid, a strong glass
will show that the paper has been roughened in the
process, and, in addition to this, the lines of the print
will perhaps be broken. If a hot iron has been passed
over the print to conceal the roughness caused by the acid,
an unnatural gloss is produced, sufficient, at any rate, to
put the purchaser on his guard.
The corners of prints will sometimes have been repaired,
and this also detracts from their value; but no objection
can be raised where the edges and corners are merely
protected with mounts, although it is better not to employ
them if it can be helped.

CHAPTER V.
ON THE GENUINENESS OF PRINTS.
Forged Prints.-It will be remembered that reference
has been made to the "vamping" or fraudulent patching
up of prints in bad condition. It has been assumed for
explanatory purposes that the prints were, as a matter of
fact, genuine enough, but that it became profitable under
certain circumstances to "improve" them in one or more
of the many available ways. This kind of practice, though
objectionable in the extreme, and never resorted to by
any dealer of repute, is innocent when compared with
the actual manufacture of prints, which undoubtedly takes
place to a very considerable extent. In these cases there
is no foundation of truth whatever: the entire specimen
is a forgery that is to say, a mere copy; and in order
to make it look original, the paper may bear a forged
watermark, and possibly collectors' monograms equally
false.
To show what can be done I need only instance the
case of Harris, the well-known maker of facsimile repro-
ductions of early wood engravings and printed text. This
accomplished copyist was accustomed to supply deficiencies
in imperfect books, which he did by hand with so much
skill that it is sometimes extremely difficult to detect his
work, even when placed side by side with undoubtedly
genuine matter. Some of the most valuable books in the
45
46
ENGRAVINGS AND THEIR VALUE.
British Museum Library have been made complete by
Harris, and it is said that he sometimes did not recognise
the work of his own hand when he saw it. Had he
chosen to copy rare engravings, the market would very
speedily have become entirely unreliable, and no one
would have been absolutely safe.
Some few years ago a number of spurious woodcuts
crept into the market. The story was that they had been
found in an old house at Munich during the progress of
some alterations. Like all cuts of the 15th century, which
these purported to be, they were of extremely primitive
appearance and no difficulty was experienced in disposing
of them. Probably, the question of fraud never entered the
mind of anyone until their very number began to excite
suspicion and enquiries came to be made. It finally
turned out that a regular manufactory existed and that
these so-called ancient woodcuts had been distributed all
over Europe, many being bought by collectors of lifelong
experience and even by dealers with perhaps more practical
experience still. These spurious antiques are occasionally
met with yet and doubtless purchased. Forgeries of all
kinds are very apt to deceive, if suspicion has not actually
been aroused and they are placed on the market in a
plausible manner. The whole history of forged documents,
books, and prints shows that a good imitation has, at first,
everything in its favour, and that it will, in all probability,
be accepted by the very people who afterwards discover
and point out the fraud.
Nearly all good prints have been copied, and some so
closely that very great care has to be exercised when
making a purchase. No collector can afford to dispense
with Bartsch's "Le Peintre Graveur," for the author, after
describing the almost innumerable prints which came
under his notice from time to time, has mentioned also
many copies, and pointed out how they may be distinguished
from the originals. Thus, Zoan Andrea's well-known print
ON THE GENUINENESS OF PRINTS.
47
""
,,Judith and Holofernes" has been copied by some anony-
mous master, who has done his work so well that one
specimen may very easily be mistaken for the other.
Bartsch observes, speaking of the genuine print:
"On
remarque dans le fond le lit d'Holoferne sous une tente,
au haut de laquelle est écrit: 'DIVA IVDIT."" He then
says that the copy of this piece can be recognised by the
absence of the words "DIVA IVDIT." Sometimes the
differences are very minute-a flag may be turned the
contrary way, or may not be exactly like the original,
and such little discrepancies as these have been carefully
noted by Bartsch for the benefit of collectors.
The prints which have been more persistently
copied than any others are those of Rembrandt, Lucas
van Leyden, and Martin Schongauer. Some of these
copies are inferior, and would deceive nobody; others are
very capital imitations, and the greatest care has then
to be exercised whenever a print by any of these artists
is offered for sale. In the case of Rembrandt even more
than ordinary caution is requisite, for the copies are nume-
rous and very good. The print of the Resurrection of
Lazarus," for example, was reproduced by Denon more than
a hundred years ago, and this copy has often passed for
the original. 'The Goldweigher" had also been copied,
so has "The Mill," while of the artist's smaller pieces there
are innumerable imitations. Willshire's advice to the
amateur respecting the prints of Rembrandt is worthy of
reproduction. He says, speaking of the copyists: "We
have little doubt the collector will join us in wishing that
such clever ladies and gentlemen, as the before-mentioned,
would find some other source of amusement and profit
than that of making counterfeit copies of the etchings of
great masters. By these adepts in imitations, and the
many worn-out old, and re-touched new, impressions, the
novice is so liable to be deceived that we would advise
him, in respect of Rembrandt, to avoid at first taking a
48
ENGRAVINGS AND THEIR VALUE.
single step on his own responsibility." This is good and
sound advice, which may very well be applied to the
works of Van Leyden, Martin Schongauer, and many other
engravers.
A great number of copies do not, of course, attempt to
deceive at all: for example, they may bear the copyist's
own mark; and when this is the case the amateur has only
himself to blame in the event of a mistake. In such in-
stances there can have been no attempt at deception, for
some engravers have a natural talent for reproducing the
works of others, and take credit to themselves for the
nicety with which they do it. Occasionally a copy is as
scarce and even scarcer than the original, and as much a
legitimate object of attention. It must not be assumed,
therefore, that all copies are made or sold fraudulently.
But that there are many copies in the market which, either
by accident or design, are sold as originals is undoubted.
Mr. Maberly tells a story of Hudson, the master of Sir
Joshua Reynolds, who had been so fortunate as to obtain
a fine impression of the very rare etching by Rembrandt
called the “Coach Landscape." On the occasion of the
acquisition of this treasure he gave a supper to his friends,
with the object of displaying his purchase. One of his
artist-acquaintances, Wilson by name, etched a plate in the
style of Rembrandt, and sent an impression to Paris,
where he caused the report to be spread that a print
hitherto unknown had been discovered, and that it was
supposed to be a companion to the "Coach Landscape."
Hudson, who was very vain of his knowledge in this
branch of art, hastened to Paris and bought the print.
On his return, he invited all his amateur friends to a
second supper, and received their congratulations. Now
it was Wilson's turn, and shortly after he also invited the
whole of the same party-Hudson included-to another
entertainment of the same kind. Every plate was turned
down, and under each was an impression of the companion
ON THE GENUINENESS OF PRINTS.
49
to the "Coach Landscape," and under Hudson's plate lay
the money he had paid to Wilson's confederate in Paris.
This story is no doubt true, and it should serve as a warn-
ing to the collector to have nothing whatever to do with
a valuable print unless he has taken the greatest precau-
tions against being deceived.
General Rules for Purchasers.-These inay shortly
be tabulated as follows: Never complete a purchase with-
out comparing the print with the description of it given
by Bartsch, Passavant, Nagler, or some other competent
authority. Look carefully at the mark and signature of
the artist, and also at the size, dimensions of the paper,
and its watermark. Never purchase a print purporting to
be by Rembrandt, Van Leyden, Albrecht Dürer, Claude,
Robetta, or Martin Schongauer-except from a first-rate
dealer without taking the opinion of an expert. Should
any defect be discovered which has not been pointed out
spontaneously, avoid the specimen, for the inference is
that artifice has been employed in other respects. Notice
particularly whether any collectors' marks are apparent,
and if so observe their character.
If after these precautions the amateur is deceived, he
may congratulate himself at any rate upon the fact that it is
not for want of care on his part, and that no one, however
expert in his profession, can help being mistaken sometimes.
Dimensions of Prints.-As coins are often tested by
weight, so the genuineness of prints may occasionally be
proved by their dimensions. This, however, is only one
test, and by no means a conclusive one; for although
persons who are unacquainted with practical details may
find it difficult to understand why one impression from a
plate should measure, say, 6in., while another from the
very same plate measures more, yet the reason of the difference
is simple enough. It will be noticed that every print has
what is styled a "plate-mark," which is simply the impress
riade by the edge of the plate when the printing process
4
50
ENGRAVINGS AND THEIR VALUE.
is gone through. The plate being screwed down on a
sheet of damp paper necessarily leaves its mark from edge
to edge, and it is this superficies which is measured when-
ever a suspicion of forgery exists. Now, although wood
and even metal, whether copper or steel, will contract
or expand according to the temperature, such expansion.
or contraction is, under the circumstances we are discussing,
so small as to be quite unnoticeable. It is the paper on
which the impress is taken that varies, and not the metal.
The sheet of paper, to be ready to receive the print from
the block, must be damped, and it will then expand more
or less according to the amount of water absorbed. When,
subsequently, it is dried, the extent of the contraction will
depend upon that of the absorption. The character of the
paper has also a very great deal to do with this result;
it may be thick or thin, may contain size in large or small
quantities, may be rough or smooth, and so on. All these
contingencies have to be provided for, and it by no
means follows that because a print under examination
differs slightly in dimensions from another impression known
to be genuine, or from the measurements given in authori-
tative works and catalogues, such print should be rejected.
A slight difference may be immaterial; but as every evil
doer, no matter how skilled in his nefarious business,
makes a mistake somewhere or somehow, so it frequently
comes to pass that the item of measurement is overlooked
to more than a slight extent, and when this is the case
the print should be put on one side and discarded as
suspicious. All the prints catalogued by Bartsch, in his
"Le Peintre Graveur," have been measured by that inde-
fatigable authority, and the collector cannot go wrong if
he follows the directions given.
Collectors' Marks.--Another test frequently employed,
when for some reason or other the genuineness of a print
is called in question, is known as the "Collectors' Mark
Test," and is thus explained:
ON THE GENUINENESS OF PRINTS.
51
Some persons who make a study of a subject attain to
a higher degree of efficiency and knowledge than others.
This is so in every pursuit and in every business, and
whatever the walk of life may be, there are always
authorities who rank by universal consent above their
fellows. Some print collectors are known to have spent
no end of time and unlimited supplies of money on their
all-absorbing hobby. Their names are a tower of strength
in the eyes of this generation, and therefore, when the
signature or mark of one of these enthusiasts is found
stamped on a print, there is every reason to believe that
it is genuine. The more valuable and extraordinary the
specimen, the more likely it would be to come into the
hands of an eminent connoisseur, and this person, self-reliant
and perfectly satisfied with his skill in the art of discrim-
ination, would forthwith stamp his initials, cipher, or
monogram on the engraving, occasionally in the centre,
perhaps on the very nose of some illustrious personage.
It was the fashion at one time actually to do this; and
hence, although an engraving may be disfigured with
successive collectors' marks, it does not by any means
follow that it is depreciated in value: if anything, the
reverse is the case, and probably if an expert like Hibbert
or Baillie had stamped his name in huge capital letters
over the face of some choice example of Dürer or Prince
Rupert, it would have enhanced the value of the specimen,
even though the collector had obliterated the artist. The
theory, of course, is that good judges having already
possessed the print, there is evidence that it is worth
acquiring, and this is doubtless true. Observe, then, that
the names or initials of Astley, Baillie, Balmanno, Barnard,
Esdaile, Ford, Hibbert, Mariette, Sir J. Reynolds, S. W.
Reynolds, or G. Storck à Milano, add value to a print;
and this is also the case where there is a note on the
back to the effect that the piece is from a noted collec-
tion, such as the Durand, Mark Sykes, Brentano, Hippisley,
52
ENGRAVINGS AND THEIR VALUE.
or Weigel. What Mr. Maberly rightly calls a "barbarous
custom was constantly resorted to, and to have belonged
to any noted collection, "and to have stood the ordeal of
a public sale, to have gone through the general and rigid
examination implied in that ordeal, and to have then
fetched a high price, and to be registered accordingly
in the preserved, marked catalogues which memorialise
these sales, is ever after a passport and recommendation
to an impression thus circumstanced-it gains for it a
reputation and a station." Among coteries of connoisseurs
and dealers it is generally known which is the best or
rarest impression of each of the most important ancient
prints, and in whose cabinet it is; and as the print de-
scends from hand to hand its reputation descends with it,
and brings into notoriety and esteem whatever collection
it may happen to adorn. The marks are, some of them, in
manuscript, others are impressed with a metal stamp,
others with a wooden block, some (as I have said) appear
in the most conspicuous part of the face, others are found
in obscure corners, or out of sight at the back.
The practice of stamping names, monograms, or marks
upon prints, though at one time almost universal and even
now not uncommon, is nevertheless an undesirable one.
The only possible advantage that can arise is confined to
a few exceptional cases, where it is doubtless interesting
and instructive to trace the transmission of a fine print
from hand to hand. If the print is not an exceedingly
good specimen, or the owner a collector of great repute,
it is difficult to see what end can be served by any pro-
cess of identification. A desire for notoriety is probably
at the bottom of the practice, and as there are vandals
who scribble their unimportant signatures over the title-
pages of their books, so there are plenty of persons whose
vanity impels them to mutilate the works of art in their
possession. If Sir Jacob Astley had not become by tradi-
tion a recognised judge of prints, the cinquefoil ermine
ON THE GENUINENESS OF PRINTS.
53
which he was accustomed to stamp right on the face of
his specimens would be an eyesore; and if Pierre Mariette
did not rank even higher than he, his signature would
hardly be an object of interest. We may take it, there-
fore, that a mark of any kind is usually a detriment, and
collectors are advised never to resort to a practice which
is barely decent at its best. If marks must be used, let
them be put on the back of the print and never on the
face, and the nearer the edge of the margin the better.
As previously stated, collectors' marks are sometimes
counterfeited, the theory being that as good judges have
already possessed the print, there is evidence that it is
worth preserving. Now it is obvious that if a good mark
―i.e., the signature, monogram, or device of a well known
collector-is found on an indifferent specimen, such signa-
ture, &c., is more likely than not to be forged, for such
collectors would not have anything to do with inferior
prints, nor would they ruin their reputation in such a
way. Sometimes they were deceived, and hence there are
exceptions to the general rule. If a good mark appears
on a genuine print, then it becomes necessary to guard
against imposture or mistakes, for it is so very easy to
counterfeit initials or a device, or even a signature, that the
dealer may himself be honestly offering a bogus specimen
for sale. In truth, it is sometimes impossible to detect
this kind of fraud. If the paper is genuine, and the print
a good one, marks may be added almost with impunity.
The only method of detecting forged devices is to observe
very closely the character of the stamp and the colour of
the ink. A microscope will at once disclose the slightest
variation in the former, and the ink, unless carefully
prepared, will either remain too highly coloured or too
pale.
Collectors' marks usually consist either of devices, names
at full length, monograms, or initials. Lists of the more
important ones will be found in Maberly's "Print Collec-
54
ENGRAVINGS AND THEIR VALUE.
tor," Willshire's "Introduction to the Study of Ancient
Prints,” vol. ii., p. 257, et seq, and Sotheby's “Principia
Typographica." I cannot now do more than mention a
few which are capable of a written description.
DEVICES.
Count Caylus.-A five-pointed star.
Charles I.-An eight-pointed star.
Lord Clive.-X or two C's back to back; also 3 C's
interlaced surmounted by a coronet, within a circle.
Robert Dumesnil.-R.D. in very small roman, within a
small oval, lengthwise.
J. Gulstone.- Numbered each of his prints at the back,
and generally added the price.
Hone (the portrait painter).-A human eye.
Constantine Jennings.-A crested griffin.
Le Roy.-Italic capital L, within a triangle.
Sir Joshua Reynolds.-S'. I. R., within a square.
Prince Rupert.-Lion rampant, within an oval.
Earl Spencer.-Roman capital S, twining round a staff,
surmounted by a star.
John Telman.-A border of burnished gold.
Thane.-Wrote his name backwards ("Enaht").
Names Found Written on Prints at Full Length.
-D. Abegg. Edward Astley, Dom. Artaria, Robert Bal-
manno (sometimes found with the address and date, thus,
"London, 1828"), John Barnard (who sometimes used his
initials only, J. B., in script), W. Bayntim, Sigm Ber-
mann (who added "m? d'estes Vienne," with a date), H.
Blake, J. A. Boerner, Joseph Camesina, John Chalon,
William Cole, S. Copley, Couverlet, T. Dodd (who sometimes
used his initials only. T. D.), H. W. Diamond, Franck,
Rich Ford (sometimes used initials only in thin roman),
F. Gawet, Harding, T. W. Holburne, Karthstone, Cl. Aug.
Mariette, D. J. Mariette, P. Mariette, J. Mariette, Nandy,
Naudet (signing “Chez Naudet M Destampes au Louvre,"
ON THE GENUINENESS OF PRINTS.
55
with a date), Arthur Pond, Chris. Raveley, Ch. Ransky,
P. Remy, S. W. Reynolds, F. Rechberger, Jan Six, Edw".
Skegg, N. Smith, G. Storck à Milano (usually with a
date), L. pe Terry, De Valois, W. F. Zincke. The Burgo-
master, Jan Six, mentioned above was not the patron and
friend of Rembrandt, but another person of the same name.
Initials. Of Initial Letters used as marks of proprie-
torship the following are important: "B. W." (Benjamin
West), "D" surmounted by a coronet (Duke of Devon-
shire), "G. R." (Gerald Reyntz), "L" within a triangle
(Le Roy), "W. 0." (William Young Ottley), "X" with two
C's joined back to back (Lord Clive), "R. D." in small
roman capitals (Robert Dumesnil), a roman capital "S"
turning round a staff, surmounted by a star (Earl Spencer).
Prints from Noted Collections.-Prints which have
at one time belonged to some famous portfolio, now of
course dispersed, are occasionally met with, bearing the
name of the collection stamped on the back. The most
important of these collections are as follows, the names
being impressed in the characters mentioned within
brackets: Arosarena (Script), Aylesford (Old English), Barnard
(Script), Brentano (Old Italics), Buckingham and Stowe
(Script), Cicognara (Old Ital.), Delbecque (Script), Denon
(Script), Dijonval (Old Ital.; prints from this collection
are usually found with a black edging pasted along each
of the four sides), Dumesnil (Script), Durand (Large Ital.),
Durazzo (Old Ital.), Esdaile (Script), Galichon (Script),
Hippisley (Script). Howard (Large Ital.), Josi (Script),
Maberly (Small Script), Marochetti (Ital.), McIntosh
(Large Script), Marshall (Script), Munro (Script), Ottley
(Ital.), Pole Carew (Script), Rogers (Script), Sir M. M.
Sykes (Script), Weigel (Gothic), Wellesley (Script). Many
other marks are incapable of identification, and some of
these will be found catalogued in the books to which I have
already referred.
Watermarks.-These, or papermarks as they are fre-
56
ENGRAVINGS AND THEIR VALUE.
quently called, are well known to consist of a number
of parallel lines, accompanied by a device readily observed
when the sheet is held up to the light. Every paper-
maker, ancient or modern, employs marks of some kind,
for even should he choose to discard a device or other
special feature, the marks of the cloth with which the
mould," in which the pulp flows, is bottomed, must of
necessity appear. One of the best works on the subject
of watermarks is Herring's "Paper and Paper-Making,"
which, during the course of several editions, has done
much to educate the general reader on the important
branch of industry to which it refers. There are other
more expensive, and perhaps better known books, such, for
instance, as Sotheby's "Principia Typographica," but not
one of them deals with the subject in the only way in
which it can be effectively treated, viz., by chronological
reference, and the observance of minute variations.
It is obvious that one of the tests to be employed when
the authenticity of a print is called in question is to
examine the character of the paper on which the impres-
sion has been taken. The difficulty before the inquirer is
sometimes very great, as may be readily understood from
the following remarks of Sotheby. He says: "In respect
to persons being deceived as to a work of antiquity being
the original or a copy, we do not believe there exists
anyone of such consummate judgment who might not be
deceived, even were the object itself to belong to that
branch of art to which the attention of his whole life
had been directed," and then he goes on to state a case
in which Mr. W. Y. Ottley was so completely deceived
that he mistook a reprint for an original which had been
in his possession for years, and which, on account of its
excessive rarity, he had treasured and studied with more
than ordinary enthusiasm. Mr. Ottley was deceived in
every particular-even the paper, with its watermark, had
been exactly imitated, and considering that it was by
ON THE GENUINENESS OF PRINTS.
57
his order the facsimile had been made, and that he
doubted from the first the possibility of making one, it
is evident that it is not much more difficult to fabricate
paper and watermark than it is to copy a print and pass
it off as original. Both, in practice, are done together,
and it becomes necessary, therefore, to study the subject
of papermarks with care and attention.
In ancient times, when education was at a discount, signs
were often in use where writing would now be employed.
Shops had signs, as public-houses have at the present day,
and these signs were not merely arbitrary but models of
the thing which the sign expressed. We still occasionally
see a spinning-fish over a tacklemaker's shop, and a
tea canister over that of a grocer. Paper-makers employed
devices which took the form of watermarks, and these
becoming common at last gave their names to different
sorts of paper.
In studying papermarks, observe that the width of what
are called the Pontuseaux, or parallel lines, very materially
diminishes after the last three-quarters of the fifteenth
century, say from the year 1480, about which date the
narrow lines of 24in. came into fashion. Before that time
it is common to find the lines 4in. apart; but after the
date referred to seldom or never.
Though documents were rarely written on paper before the
year 1320, there are instances of that medium being used
at an earlier date. Printing or stamping of any kind
was, however, not known until much later, and the year
1423, the date of the Buxheim St. Christopher is perhaps
as convenient a period from which to start as any.
At this time one of the best-known devices was the
'Bull's Head," the favourite mark of the Holbeins, which
is found, it may be incidentally mentioned, on the paper
used by Füst the printer. There would also be the "Clap-
per," or rattle, the distinguishing mark of the paper made
at Ravensburg, a town famous to this day for its paper.
58
ENGRAVINGS AND THEIR VALUE.
The "
Unicorn," and the "P" and "Y," were also common.
The "P" and "Y" were the initials of Philip of Burgundy
and his wife Isabella, whose name would at the time be
spelled with a "Y." The Duke married Isabella in 1430,
and before that date the "P" only is found.
The "Open Hand," was in use in 1483, for Voragine's
"Golden Legend" of that date is printed on paper bearing this
device. The "Bunch of Grapes was a favourite mark, as
also was the "Anchor Enclosed by a Circle" (evidently of
Italian origin), the Jug," and the "Fool's Cap," after
which foolscap paper is called, and which appears, with
other devices, on the paper of the first folio of Shakespeare's
works printed by Jaggard and Blount in 1623. The "Post
Horn," another favourite device, has given the name to a
particular size of paper, namely, "Post," so called at or
about the year 1670, when the General Post Office was first
established, and it became the fashion for the postman to
blow a horn. Other common devices include the Fleur-
de-lys which dates from 1657, and the Cardinal's Hat
which is earlier still in date. The introduction of machine
made paper indicates another change which, though gradual,
may be said to have firmly established itself in 1801.
Rough, coarse, surface-knotted papers were after that
date seldom made, and the sheets became more uniform in
thickness. Bleached papers became common in 1815 and
this too marks another change of great importance. To the
educated eye the very texture of the paper will afford
some indication of its date.
When examining an ancient print one of the tests of
genuineness is that of the watermark, for if it be out of date
very great suspicion is cast on the specimen, a suspicion
which may be confirmed on a further investigation, should
other anomalous appearances be detected. The great dif-
ficulty which faces any would-be collector and cataloguer
of papermarks is not only the quantity that would imme-
diately present themselves to his view, but the immense
ON THE GENUINENESS OF PRINTS.
59
number which after a minute investigation would be found
to possess seemingly trifling, but in reality very important,
differences. These differences are sometimes easily explained,
for although the same watermark, so far as design is
concerned, would be woven or twisted into every "mould”
in the same establishment, it may be easily conceived
that the design might, and very probably would, vary to
some slight extent in each. This is, however, an explana-
tion which will not hold good in every instance, and the
print collector who is not well versed in the subject of
watermarks is so liable to be deceived that if he wishes
to rely upon this test he should obtain the assistance of
an expert or eminent brother collector.
In conclusion, I can only say that the subject of water-
marks is so extensive that there is no other course open
to the reader beyond studying very carefully the pages
of suitable works of reference. He should also seek
frequent opportunities of examining undoubtedly genuine
specimens, and make for himself a little catalogue of
watermarks which he can eventually arrange in order of
their date. This would be useful, not only to himself,
but to many others who are at present terribly confused
whenever this subject is mentioned. They may be good
judges of a print, and skilful in the application of every
known test but one, and this one perhaps the most im-
portant of them all.
A further hint may not be out of place. A forger of
prints will in all probability extract a blank sheet of
paper from some old book of the proper date. The edge
of the sheet which has been severed from the volume
may therefore look suspicious, but in any case a micro-
scope will do wonders in discovering a freshly-torn edge
where the other edges are old in appearance, or a rough
edge where the other three are smooth..
Publishers' Addresses.--As the names and marks
of many collectors frequently afford evidence of the
60
ENGRAVINGS AND THEIR VALUE.
quality of the prints on which they are found, so the
names of some publishers are a guarantee that the print
offered for sale has not been tampered with.
As previously pointed out it was, and indeed is, some-
times the practice to purchase old and worn-out plates,
which, when re-worked, possess the power of producing
impressions which at first sight appear to be much better
than they really are. Though not likely to deceive a
dealer or experienced collector, they are too often passed
off upon beginners. Many portfolios are choked with
impressions from re-touched and cross-hatched plates, and
these, as a rule, have the description and addresses alto-
gether obliterated.
In some instances, however, the publisher has engraved
his name
on the worked-up plate, and when this is the
case, detection is a matter of certainty. For instance,
prints of the Italian School are often found with the
address of Antonio Salamanca, who dated from Rome. It
was the ordinary practice of this publisher to buy up and
re-engrave, so to speak, any old plates he could find, and
when his name appears, the amateur may be almost
certain that the print is of no material value. A similar
remark applies to prints bearing the names of Ant. Lafreri
formis, Nicolas van Aelst, Horatius Pacificus, Giacomo de
Rossi, Nicolo Nelli, Van den Enden, F. Barlacchi, Thomassin,
Gio Marco Paluzzi formis Romæ, Oratio Bertelli, Antonius
Caransenus fo, and others. Although the degree of inferiority
between one impression and another bearing any of these
names may vary, the amateur is advised to avoid them,
since the trouble of ascertaining how far the "improve-
ment" extends in the particular example, is greater than
the specimen is likely to be worth.

CHAPTER VI.
THE CLEANING OF PRINTS-TAKING
COPIES.
Cleaning Processes.-Very valuable prints are rarely
met with casually; as a rule they are handed down from
one collector to another with the most scrupulous regard
for their safety. Still, there are exceptions even to this
rule, and in any case impressions of medium quality,
good, yet out of condition, are continually seen in the
sale rooms or the windows of small shops. It is necessary
to clean such waifs and strays in order to make the
most of them, and a practical knowledge of the various
methods of doing this forms part of the collector's educa-
tion. To clean a print is not by any means so easy a
task as many persons might think; even in the hands of
an expert the mildest of the processes yet discovered
cannot be other than detrimental to the specimen operated
upon. No matter how carefully performed, the print is
almost certain to become fretted; even a mere floating
in cold water will often produce this undesirable result.
Unless, therefore, a print is really dirty, it is better to
let well alone and be satisfied, and should it be valuable
the owner must not attempt to clean it without previous
practice on worthless examples, or he will ruin it alto-
gether.
The word 'Dirt', is commonly held to include everything
61
62
ENGRAVINGS AND THEIR VALUE.
of a foreign nature which discolours or injures the paper;
damp, that most difficult of all eyesores to remove, is
therefore dirt, so is iron-mould; so we may by a stretch
of imagination designate even a worm-hole.
It is folly to try to clean a valuable print without a
thorough and practical knowledge of all the processes;
and not only that, but which process to apply in the
particular case as well. The amateur must be able to
diagnose, so to speak, the symptoms of the print, nor
must he imagine that one general cleaning will suffice to
obliterate all the marks on it. This is a gross error, as
the reader will discover when his specimen is either
"cleaned out" altogether, or ruined in some other way.
A print should have the dirt upon it identified before
any attempt is made to remove it. In the first instance,
the engraving should be rubbed lightly over with a silk
handkerchief, repeated light rubbing being better than a
less number of heavy ones. Bread-crumbs should not be
used, for although this familiar remedy is, perhaps, the first
that will suggest itself, it is, in reality, entirely inadmissible
in all cases of delicate manipulation such as this. Bread-
crumbs only remove the simplest surface marks, and do
much to roughen the surface of the paper. Having whisked
off the dust, hold the print up to a strong light and see
what is the matter with it. For the sake of affording the
fullest information it is assumed that the specimen has
been the prey of every ill, including damp, the worst of all.
Under these circumstances it will be necessary to proceed
by very slow and careful stages.
Removing Grease Spots. In the first place, the
grease spots must be removed, as the presence of grease
will interfere with some of the other processes. For this
purpose the print must be laid face downwards on a sheet
of glass or any other hard and smooth substance. Now take
some clean blotting-paper or cotton wool, and make it into
a smooth pad, which, having dipped in benzine, apply to
THE CLEANING OF PRINTS.
63
·
the grease spots. Do not rub the marks-a print is never
subjected to this process-but pat them, so to speak, very
gently again and again, until the spirit, thoroughly amalga-
mating with the fat, carries it off by evaporation. This
process is simple, and if the amateur remembers not to
touch the face of the print he cannot very well go wrong.
Another way of removing grease marks consists in
covering them with powdered chalk, a piece of paper
over that, and then a hot iron over all. This, however,
will not do for our print, as there are many other stains of
different kinds to remove, and a print must never be touched
with a hot iron until all its imperfections have vanished.
Sulphuric ether, turpentine, ammonia, and naphtha, are
also used by some collectors for the purpose of removing
oil and grease stains, and it is as well to observe that
these liquids should, as before, be applied to the back of
the print, and the stains removed by evaporation. Unless
this be done the fatty matters of the ink of the engraving
are almost certain to be resolved, and the print ruined.
Removing Surface Dirt. When the grease marks
have disappeared the print must be left to dry, and
then given a general cleaning. There are many methods
of doing this, but the milder the remedy the more satis-
factory the result. Place the print, face upwards this
time, in a suitable vessel and pour cold water over it to
the depth of about an eighth of an inch. If it be now
exposed to the sun's rays for a day or two, everything
but fixed stains and dyes will come out, and the print
can then be turned on its face and treated similarly at
the back. The print must then be dried again, though
not in the sun or before a fire, or it will turn yellow.
If the print be now examined through a strong glass it
will be found to be slightly fretted, but this cannot be
helped, and the defect can in a measure be remedied
hereafter. This is the simplest and one of the best
processes for removing surface dirt, though there are several
મ
64
ENGRAVINGS AND THEIR VALUE.
others which may occasionally be employed instead.
The bread-crumb process is, as I have said, very objection-
able, because the rubbing frets the paper, and therefore
if bread (or rather flour) be employed, it ought to be in
the form of paste, which, if applied thickly to the back
and front of the engraving, will, when washed away
again, take with it all the dirt that is not fixed.
Another method of removing surface dirt is by means
of chloride of lime, in the proportion of 1 part lime to
40 of water. The engraving to be operated upon must,
in the first instance, be soaked in cold water and placed
in a shallow china dish. If the mixture, in the above
proportions, be then poured on the face and back of the
print alternately, it will, as a rule, bleach it quite white
and remove all the stains. Should it, however, happen
that some of the stains are obstinate, and altogether or
in part resist this process, the spots left should be touched
with pure liquor calcis chlorate, or else with nitro-hydro-
chloric acid. In very bad cases first one of these remedies
and then the other may have to be tried before success
is finally achieved. The print must then be thoroughly
washed in clear cold water, and to do this effectually it
should be placed on a flat board and held under a gentle
stream until the whole of the chlorine is removed.
restorers employ a mixture of chloride of lime, oxalic acid,
and water, which is ready for use the moment it is properly
proportioned that is to say, when the liquid turns a magenta
colour, which it should do in a day or two. The solution
may be prepared on the basis of 4oz. chloride of lime,
2oz. of oxalic acid and 1 quart of soft water. In this case
also, the print must finally be placed under water and
thoroughly washed.
Some
Another recipe, but one which is not particularly satis-
factory at the best of times, and in very many cases turns
out a complete failure, is as follows: The print to be
operated upon must be placed, face upward, on a board,
THE CLEANING OF PRINTS.
65
and then thinly covered with the finest powdered salt.
Lemon juice should then be squeezed upon the surface,
and the salt dissolved, after which the print is washed
clean with boiling water. The objection to this process is
the difficulty of evenly impregnating the salt and the
use of scalding water, which, as may be imagined, is ex-
ceedingly deleterious. However, if the experiment is adopted,
the print must, as before, be allowed to dry gradually, and
on no account be placed in the sun or before a fire.
Holmes's "Ozone Bleach" is sometimes used for cleaning
prints. A mixture consisting of one part of the bleach to
twelve of water, may be kept ready for use in a stoppered
bottle, and any that is left may be poured back and used
again in other cases. The print should be placed face
upwards in a shallow receptacle, into which a sufficient
quantity of the mixture has been poured, and allowed to
remain there until it turns white. This will, or ought to
take place, in ordinary cases, in about one hour and a half,
but sometimes twice that length of time is required, and
occasionally even more. Every trace of the liquid must
eventually be washed off in clear water as before.
Yet another plan, known as the Eau de Javelle process:
Take loz. of chloride of lime, and dissolve in 15oz. water;
next take 2oz. carbonate of potash, which dissolve in 5oz.
of water; then pour both solutions into a pan, and bring
the whole to a boil, afterwards straining through filter-
paper. When the Eau de Javelle is cold, the print may
be placed in it, and in a short time all the surface stains
will be bleached out. A good washing in running water,
and the process is complete.
It will be seen that most of the recipes here given
depend upon chloride of lime for their efficacy, and though
this chemical is very much less noxious in its effects than
acids, even that must give way to the natural action of
the sun's rays on the face of a print immersed in water,
as previously described.
5
66
ENGRAVINGS AND THEIR VALUE.
Chloride of lime and the other substances named are
quite powerless to remove some stains, and it is better,
consequently, to leave the pure surface-cleaning until
everything obnoxious has been removed. Thus, grease-marks
ought always to be removed at an early stage, in the way
pointed out, and if any Indian ink stains are observable
they should be removed with hot water. Fly marks yield
to soap and water, ordinary ink to a weak solution of
oxalic acid, and lead pencil marks to book-binders paste
thickly laid on.
Lead stains can be got out by means of an application
of peroxide of hydrogen, commonly called oxygenated
water, which, owing to a chemical process hardly necessary
to be explained here, is, in point of fact, a bleacher.
Another bleacher is hydrochloric acid, but while it whitens
and purifies the paper, it rots it to such an extent that
sometimes the print operated on will snap off short, like
a piece of paper which has been baked in an oven.
Removing Fox Marks.-Damp is the great enemy
of prints as well as of books, and if the specimen to be
operated upon has been very badly injured, the case is
practically hopeless. Unlike mere surface dirt, damp
attacks the tissue of the paper itself, rotting it right
through, and practically ruining it. If, however, the injury
has not gone too far, the part affected may first of all be
touched with a slight wash of spirits of wine, and when
dry with a weak solution of oxalic acid. If this remedy
fails, it may be taken for granted that the
"fox spots,"
as they are technically called, have got a firm grip of the
paper, and the only remaining remedy, and that a most
hazardous one, even in the hands of an experienced work-
man, is to punch them in. The spots must be cleanly and
neatly punched, and afterwards pulped in from the back,
and to do this it will be necessary to proceed as follows:
Lay the print, face upwards, on a block of soft wood,
place a punch over the mark to be erased, and give
THE CLEANING OF PRINTS.
67
it a smart blow with a mallet; on taking the print
up again, the paper will naturally be indented at the
spot operated on, and the fractured portion can be pushed
through towards the back; if not, the operation must be
repeated. Now lay the print on its face, this time on a
block of marble or other hard substance, and press the
protruding portions of the paper as firmly back against
the body of the print as possible. A small hole will thus
be left, the size of the "fox spot."
Now prepare some pulped paper-the simplest way is
by chewing-and taking a perfectly soft piece, place it
over the hole at the back; a large piece of pulped paper
should be used, since the portion flattened out can be
subsequently removed. Over the pulp place several pads
of blotting-paper, and then with the mallet weld in the
pulp. The process is precisely similar to that of gold
beating. Over and over again the operator strikes on the
surface of his pads, not heavily, but as gently as the .
circumstances require. In my experience the pulp will
harden as time goes on, until at last it practically forms
part of the sheet into which it is impressed. When quite
dry, the paper which protrudes at the back is cut or
scraped away with a sharp razor. The next thing to be
done is to touch the rim of the circle, both back and
front, with fish size (made by boiling fish bones in water
with a little isinglass), because, unless this is done, when
the print comes to be tinted, as it subsequently must be,
the pigment used will show in the form of little circles.
The size anneals the welded paper at the point of contact,
always the most vulnerable.
Repairing Worm-holes.-Worm-holes are treated in
the same way, though of course there is no occasion in
this instance to use the punch. Of the two, fox marks are
the easier to repair, because the punch makes a foundation
at the back of the print for the pulp. If the fox marks
should have attacked the engraved part of a print, it is
68
ENGRAVINGS AND THEIR VALUE.
better to let it alone; but a worm-hole will have to
be remedied in the way pointed out. This, of course,
will necessitate the printed surface of the paper being
coloured in some way, so that the introduction may not be
noticed. The method of doing this will be pointed out
hereafter.
As will readily be understood, the manipulation of prints
in order to remove fox marks and repair worm-holes is of
the most delicate nature, and is, in practice, seldom resorted
to. The expense is, of course, great, and the remedy
not always successful. A great deal depends upon the
fibre of the paper, and here again no little experience is
necessary.
Staining Prints.-Vampers of prints, having removed
all the marks, are careful to correct the whiteness occa-
sioned by the bleaching process, and for this purpose they
frequently use a weak infusion of coffee berries, with
which they wash the surface of the print. This gives it
an appearance of age, and though effective enough for all
practical purposes, is objectionable because the print has
to be again saturated with water. There is really one way,
and one way only, of imitating age, and this is by means
of smoke. If a fire is made of green wood, and the print
held in the dense smoke that arises from it, the paper
will be smoothly and evenly tinted all over. The longer
the paper is held in the smoke the darker it will become,
and so any degree of age may be imitated. This final
touch is also exceedingly useful for tempering the gloss
produced by the hot iron, for in order to remove the fret
caused by the action of water, acids, or alkalies, it is
customary to place the print between several sheets of
blotting-paper, and to iron the surface with an ordinary
flat iron. This causes an unnatural gloss, and in order to
take it away there is really only one available process,
viz., to smoke the paper. To wash it with any liquid is
simply to fret the paper again, and to necessitate the fur-
TAKING COPIES OF PRINTS.
69
ther application of the hot iron, and so on ad infinitum.
Assuming a print to be carefully cleaned, a wash of
Indian ink over the darker shades will have the effect of
throwing up the print as a whole wonderfully. If an outline
is found to be broken it can be joined again with the pen,
Indian ink being the medium employed. Both these prac-
tises are, however, illegitimate.
Taking Copies of Prints.—One way of taking copies
of prints, so as to dispense altogether with tracing, is as
follows: Take 10gr. of bichromate of potash and 20gr. of
sulphate of copper, and dissolve these in 1oz. of distilled
water. Then take a sheet of strong but not particularly
porous paper-writing-paper is as good as any-and paint
the surface of one side with the liquor; when dry, place
the engraving, face downwards, on the paper, and cover
the whole with a piece of glass. If exposed to the sun's
rays for about an hour, a faint yellow copy of the print
will be observed on the face of the paper, and if this be
washed in a mixture composed of 20gr. of nitrate of silver
with 1oz. of distilled water, it will turn from yellow to red,
and if exposed to a strong light, to brown.
This is, however, a cumbrous and not very satisfactory
method of procedure. A better plan is to expose the print
for a few seconds to the vapour of iodine. Then dip a
sheet of white paper in a weak solution of starch, and
when dry, in a weak solution of oil of vitriol. When
again dry, lay the slip of paper upon the print and place
both for a few minutes under a press. The design will
then be reproduced in all its delicacy and finish.
The process of transferring a design to glass is as fol-
lows:-The glass should be first coated with diluted copal
varnish, the print dipped in warm water, and while the
varnish remains adhesive placed on it, with the print side
down, and then gently pressed till all the parts adhere.
Several folds of paper should be placed over the whole
and slightly weighted in order to keep the print and
70
ENGRAVINGS AND THEIR VALUE.
varnish in contact till dry; then the print, being again moist-
ened with water, may be peeled off, leaving the ink
adhering to the glass. The several parts of the print may
then be painted with appropriate colours on the glass,
and finished with a ground coat all over.

CHAPTER VII
THE PRESERVATION OF PRINTS.
Mounting Prints.-There are, of course, many different
ways of preserving prints, and collectors are not always
agreed as to the best method to adopt. A few persons
"lay down" their specimens, and it may be added, spoil
them in the process; but a collector of any repute at all
would hardly be likely to fly in the face of every known
rule, and practise such a piece of barbarism. "Laying
down," as it is technically termed, is to paste the print
on cardboard or canvas so as to make a thick foundation :
this of course prevents fraying, but it gives rise to much
inconvenience. If the print be torn or dilapidated it may
be laid down in this way, and the defect will to some extent
be hidden. It is no uncommon thing for a purchaser to
take home a new acquisition, picked up probably in a
forgotten thoroughfare, and then to find it a mere thing
of shreds and patches. In other words, the print has been
"laid down," and a good soaking in tepid water will dis-
close the fact that it has been pasted bit by bit to a founda-
tion of millboard. The mere fact of a specimen being laid
down gives rise to a certain amount of suspicion, for it is
very seldom that the owner of a good print is unaware of the
prejudice of all collectors to this course being adopted.
The extreme importance of acquiring a competent know-
ledge of watermarks and collectors' marks as a means of
71
72
ENGRAVINGS AND THEIR VALUE.
identification has already been commented on.
These may
be, and frequently are, forged; but the fabricator generally
overshoots his mark, and is detected by reason of the super-
abundance of his devices. It is obvious that if a print be
laid down it is impossible to ascertain the quality of the
paper, and any collector's marks there may be at the back
will be covered up. Hence this system of mounting is
clearly unsuitable, unless indeed the specimen is in too
ragged a state to hold together much longer of itself.
One of the best systems, and the one adopted by the
majority of collectors, is to lay down the corners of the
print from the back; four triangular pieces of drawing-paper
will suffice, and, if carefully laid on with thick and strong
paste, will last for years, and prevent the corners of the
print from becoming dog-eared or frayed. Sometimes the
edges are very thin throughout, and in this case a narrow
strip of the same kind of paper may be pasted along each
of the four sides. It is perfectly allowable to go thus
far, but broad mounts are undesirable, and a total laying
down not to be thought of for a moment.
Storing Prints.-The next point to be considered is
how to preserve a collection of prints as a whole; and this
question resolves itself into another, namely—what kind
of a collection is it, an entire collection of a single artist
only, or a general one? If the former, it may be advisable
to fasten the prints into a large folio book made of the
very best thick drawing-paper. Spaces may be left for
specimens to be obtained hereafter, and the plan of the
whole collection may be mapped out before a single
piece is inserted, for it follows that if the engraver is
a well-known man all his productions are perfectly well-
known also, and even the measurements are available.
As already explained, measurements vary in some cases,
for the paper may have contracted more or less according
to the amount of moisture absorbed at the time of printing,
but as a general rule they are sufficiently accurate for
THE PRESERVATION OF PRINTS.
73
our present purpose. Blank spaces corresponding in size
to the dimensions of the prints to be inserted may, therefore,
be left with every confidence, and filled up as the collection
approaches completion.
A good way to attach specimens to their places is by
means of a fine muslin hinge at the left-hand side; this
will allow the print to be lifted up and examined from
the back. Thick paste is the medium used. Some persons
cover the face of their prints with tissue-paper as an
additional precaution, but this is not infrequently a positive
source of danger. Let the reader take up a book, the
illustrations in which are protected with tissue-paper, and
he will find that in many cases the tissue has caused a
distinct stain; in fact, it is easy to see where it has
pressed against the paper of the book. As time goes on
the stain gets worse, and at last brownish spots are
scattered about in every direction. These are not caused
by damp, but by the impurities of the tissue-paper, which
is seldom or never free from deleterious foreign matter of
one kind or another. Under the circumstances, therefore,
it is better to use thin drawing-paper or fine lawn.
At the British Museum it is the custom to collect each
artist's prints separately, and to arrange them in solander
cases in proper order. Each print is sunk below the
surface of the mount, but is not protected by any face
covering whatever. It is evident, therefore, that, in the
opinion of the curator, sheets of tissue or other paper
are superfluous.
If the collection in course of formation is a general one,
i.e., if it extend to examples of the work of a number of
different artists, it will not be wise to mount the prints
in a book, unless, indeed, the collection is very extensive, in
which case a separate volume might be kept for each
artist. The ordinary collector can only hope to obtain a
few examples of his favourite masters, time being too short,
and money generally too scarce, to admit of any more
74
ENGRAVINGS AND THEIR VALUE.
extended operations. He will, of course, see that the
specimens he buys are representative ones; and if he keeps
this rule in mind he may be able in a short time to form
a very interesting and instructive assortment. In this case
it would be impracticable to leave spaces, and the best
plan is to hinge each print to a sheet of thick drawing-
paper, as before, and then to cover it with another sheet
of similar paper having a square, a little larger than the
print, cut out of the centre; then hinge both sheets together
at the left-hand side, and the process is complete. The
print is at a lower level than its covering, and may, moreover,
be inspected at the back and front with the greatest ease.
A very good size for a mount is 2ft. by 1ft. 6in.; at least
this is sufficient for nearly all prints dating from before
the eighteenth century.
It is necessary to observe that common cardboard is
not suitable for mounting prints, for it is made in layers,
pasted together until they form the required thickness.
This material is very apt to warp, and eventually the
different layers separate and leave open spaces. The mounts
should consist of the very best hand-wove linen paper, or
of that particular kind known as Bristol board. If a print
is worth having, it is worth mounting properly; and a
little extra expense at first will insure a greater amount
of satisfaction afterwards.
Prints when properly mounted are kept either in port-
folios or solanders; the former are objectionable, as they
have to be made with guards of calico or leather to keep
out the dust. To close a portfolio properly requires
considerable patience, and damage is frequently done by
the string with which it is tied. A solander is a box of
millboard, or other material, which opens horizontally, and
is made to resemble a book. Prints placed in this kind
of box can be taken out one at a time and examined at
pleasure, some system of classification or arrangement
which will render the specimens easy of access being also
THE PRESERVATION OF PRINTS.
75
desirable. The usual practice is to mark on the lower
part of the mount the reference to the book where the
print is catalogued and described. Sometimes, half a dozen
or more different books may be referred to in this way.
Framing Prints.-Many persons while fond of prints
and knowing something about them, do not care to make
a collection: when this is the case their general course is
to frame the specimens that come to their hands from
time to time. The professional way of doing this is not
to paste the print down, but to suspend it by the upper
edge to a mount of thick paper as before. It is techni-
cally the mount which is framed, and not the print. If,
then, the frame is hung up perpendicularly against the
wall, or at a slight angle, the print will hang down, and
to secure it to the mount more firmly the bottom edge
may be lightly touched with paste and fastened. The glass
must on
no account be allowed to touch the face of the
print. By this means a perfectly smooth surface will be
obtained, and as the mount with its attendant print may
be frequently changed, a constant and varied show can
be kept up. Frames should be made with hinged backs
so that they can be opened at any time without incon-
venience.

CHAPTER VIII.
THE PRICES OF PRINTS.
Estimating the Value of Prints.-Authors who treat
the subject of prints seldom or never say anything about
pecuniary value, though they may on occasion refer to
exceptional prices which have been realised at auction.
Prints vary much in quality, and prices are consequently
extremely uncertain and unstable, much more so indeed
than in the case of books. It is, however, quite possible
to reduce the valuation of prints to a system, a fact which
was recognised by Caulfield, in 1814, when he wrote his
book entitled "Calcographiana". This work is in effect a
collector's guide to the knowledge and value of engraved
portraits, and the author, who was a print-seller, says in
his preface that his values are comparative and assessed
by him from thirty years' experience of public sales and
private collections. The quotations given by Caulfield are,
in some instances, even now correct, and his estimate of
the comparative scarcity of the pieces he mentions can
generally be relied on. The book is, however, obsolete
as a whole and could not, so far as the values are concerned,
be followed with any degree of confidence at the present
day. Value is a relative term depending upon a variety
of factors, not the least of which is Fashion-the popular fancy
for collecting prints of a certain kind or class in preference to
others. It is this which regulates the market, causing prices to
fluctuate slightly from year to year, and perhaps materially
76
THE PRICES OF PRINTS.
77
altering them in the space of half a century. It is a
mistake to suppose that prints necessarily increase in value
as time goes on. It is all a question of fashion. Many of
the prints valued by Caulfield are, for example, worth
much less than they were eighty years ago, for there is
not now the same demand for them.
Assuming a print to be genuine, and not a mere copy,
the questions arise: Who is it by? Is it in good condition?
Is it an early impression? Is there any peculiarity of
"state"? What is the present demand for examples of
this artist? Are there any collectors' marks? Upon the
answer to these questions, and some others, the element
of value depends.
It will be observed that nothing is said here about
intrinsic merit, and I have omitted this advisedly, for
although it is true that no one could for long maintain
a reputation without this most important essential, the
primary question with collectors of prints seems to be,
Who is it by? and the answer to this is of very great
assistance in determining its value, though it is not, of course,
final, for some impressions are better than others, and
some engravers worked better at one period of their lives.
than at another or were more successful when reproducing
the work of certain painters. A picture by J. M. W. Turner,
for example, would bring more in the market than an
equally good work by an unknown artist, because a collector
of paintings likes to have a Turner on his walls, and can
frequently detect the presence of that genius which the
artist of to-day might throw vainly into his brush. So it
is, not only with prints, but with nearly everything else
that tempts the collector. Name is a guarantee of quality,
and although of two works by the same artist one may
be considered superior to the other, either may be preferable
to the much better production of an unknown man. A
Mecenas may set the fashion, but until he does so we must
be content to follow the beaten track.
78
ENGRAVINGS AND THEIR VALUE.
Now, in estimating the value of a print, experience is
the surest guide, and therefore until the amateur has
gained some knowledge of his subject, his safest plan is
to repair to some well-known dealer, ask for what prints
are desired, and if suitable pay the price agreed on. This
is the advice given by all the writers who have dealt with
this branch of the subject, and I agree with it. This is
the aristocratic method of making a collection of prints.
The purchaser knowing but little of his subject, puts his
case in the hands of a high class dealer, and is dealt
with fairly. He can make no bargain, but he gets value
for his money.
With respect to current value it is very necessary to
remember that fashion has a great deal to do with the
fluctuations of the market. At one time the works of a
particular engraver may be in high repute, and at another
they may begin to fall away in popular esteem. A few
years ago, for example, there was an almost universal
demand for the stippled prints of Bartolozzi and his school;
there is a large demand now, but it is not so great as it
was and the value of these prints has correspondingly
declined. When the practice of "Grangerizing" was in
fashion, portraits were all the rage, but when the hobby
wore itself out, less interest was manifested in them and
so they fell in price. Not that all portraits are in this
position, far from it. Some, particularly fine mezzotints,
are more expensive now than they ever were, but the
commoner portraits of historical celebrities, which the
Grangerizer" hunted for and did not hesitate to tear
from books, are not of the value they were when the practice
was in common vogue. Grangerizing" was a term in-
vented many years ago to describe the mania which then
existed for extra-illustrating books of all kinds, but more
particularly Granger's "Biographical History of England."
A book was said to be "illustrated" which was
crammed, like a candidate for honours, with all that related
THE PRICES OF PRINTS.
79
to all that the book contained. To this end, portraits of
persons mentioned in the text, views of localities and of
objects, were all pressed into service and searched for high
and low so assiduously, and sometimes at such vast expense,
that one book now in the Bodleian Library is known to
have cost the 'Grangerizer' £12,000.
Auctioneers' Catalogues.-It may be thought that
a small reference library of auctioneers' catalogues, marked
with prices, would be a sufficient guide for the collector,
but this is not so. Take as an example Delaram's portrait
of Will Summers, the jester to Henry VIII. This is a rare
print, and an impression sold by auction some years ago
for nine guineas. At the present time an equally good
impression would be worth more, yet a specimen
sold recently for 15s. The reason of this great disparity
lay in the fact that the former print was in very
much finer condition, and incomparably a better impression
than the latter. The catalogues do not, as a rule, say
much about quality, unless it be to the advantage of the
vendor to do so: hence it would be the height of folly
to go to a sale-room and bid any considerable sum without
being possessed of at least a tolerable judgment as to
quality. Sale catalogues are, however, exceedingly valuable
as a means of acquiring knowledge, and one of the best
exercises is to carefully study and mark them for one's
self, attending the sales and listening to the remarks of
the dealers as the prints are put up for auction. In time
the eye will become educated, and many, if not most,
amateurs have had to learn, at one time or other, in this
slow and painful manner.
Attending Sales.-The reader will now be able to
understand that the value of a print depends upon a large
number of subsidiary rules, formulated for the most part
on no settled principle, and exceedingly difficult to com-
prehend. A watchful eye must of necessity be kept on
the market, and the only way of doing this is to study
80
ENGRAVINGS AND THEIR VALUE.
the catalogues and to attend all the sales within reach. If
this is done conscientiously the amateur will soon be in
the enviable position of being able to estimate the value
of any ordinary specimen he sees, sufficiently near for any
practical purpose, and can then commence his collection
with some guarantee that he will do justice to it. To
collect first and to learn afterwards is a reversal of the
natural order which cannot but end in disappointment; yet
curiously enough it is a practice more frequently followed
than not.
Buying "Parcels."-For the purpose of instruction it
is a very good plan to buy what is called a "parcel "-that
is to say, a bundle of prints none of which are considered
to be of sufficient importance to be placed in a lot by
themselves. These are, of course, rubbish, although occa-
sionally a rare print may be discovered, having found its
way in accidentally, like a needle into a bundle of hay.
When the amateur gets his "parcel" home, let him sort
the specimens and look them up in the books, so as to
acquire a thorough knowledge of the engravers; in fact,
to learn all about his specimens. This done, let him pay
a visit to the British Museum, and look at the duplicates
there. The contents of his parcel will seem so mean in
comparison, that he will no longer wonder at the fluctuation
of prices, and will begin to understand that quality is
more to be desired than quantity, and that the difference
in value between a first-rate impression and a poor
one is immense. In this way he will gradually acquire
experience, and if he has a friend or two of the same
tastes to consult with, will learn all the more rapidly.

CHAPTER IX.
TECHNICAL TERMS.
THE following list of technical terms used by collectors
will be found useful for occasional reference. There are,
as might be expected, a large number of others; but as
they, for the most part, concern the practice of engraving,
it has not been thought necessary to include them.
After. This word is used when speaking of any print which,
however excellent, is not an original composition, but after
the design of some painter or engraver whose name is stated.
Thus, "Master Lambton, by S. Cousins after Sir T. Lawrence",
means the portrait of Master Lambton engraved by Cousins
after a painting by Lawrence.
Aquatint.-A method of engraving by the use of aquafortis,
by which an effect is produced resembling a drawing in water-
colours or Indian ink.
Block. A mass of wood upon which designs are engraved.
Brief-maler.-A card painter. A name given to the playing-
card makers of Germany, who are considered to have been
the first engravers on wood.
Burin.-An engraver's tool of tempered steel, with one end
ground off obliquely, so as form a fine cutting point. A graver.
Burr. The rough edge or ridge left by a tool in cutting or
engraving a metal plate, particularly of copper.
Burnisher -A tool used by engravers to soften the effect
of a harsh line.
Cameo. The projecture or prominence of a figure above the
common ground; a design in Relief. The reverse of intaglio.
Chalcography. The art of engraving on metal plates. See
Xylograph.
6
82
ENGRAVINGS AND THEIR VALUE.
Chiaroscuro.-A system of engraving accomplished by the
use of two or more blocks or plates, by which the different
effects of light and shade are produced independently of each
other.
Collector's Mark.-A signature, mark, or device, stamped
on a print by the owner.
Counter-proof.-An impression taken, not from a plate, but
from a proof on paper just worked off. The design is conse-
quently always turned the reverse way.
Cradle. An instrument used in preparing plates for mezzo-
tintos. It consists of a flat piece of tempered steel, properly
prepared with teeth and fitted to a handle, which, by a rocking
motion, produces burrs on the surface of the plate, so laying
the ground.
Cross-hatch.-To engrave lines across former lines for the
purpose of producing a better effect.
Dotted Prints.-A peculiar kind of print, combining in ap-
pearance the character of work in relief and in intaglio. A
good fac-simile of a dotted print will be found in the Illustrated
London News for the 20th April, 1844.
Dry point.—A sharp needle used in copper-plate engraving
to draw fine lines, and to make fine dots in stippling and
shading. When used simply as a burin to produce the intended
effect without the aid of acid it is called a dry point. Other-
wise it is known as an etching needle.
Etching.-A process of engraving on metal, glass, &c., by
or strokes eaten in or corroded by some
means of lines
of lines
strong acid.
Etching Ground.-A coating of varnish
metal surface intended to be etched upon.
in" wherever there is no varnish.
smeared over a
The acid "bites
Fond Sale.-A French term applied to a kind of inky smear
which is the consequence of an imperfectly polished plate of
copper having been used by the engraver.
Foxed.-Spotted, usually with damp.
Graver.—An engraver's tool. See Burin.
Heliograph.-A print taken by means of the sun and a camera
obscura. A kind of photograph.
India Paper.-A peculiar kind of tinted paper possessing a
silky texture and capable of absorbing ink to a much greater
extent than the ordinary papers.
Intaglio. A cutting or engraving; hence, any figure cut into
metal so as to form a depression or hollow. The reverse
of cameo.
TECHNICAL TERMS.
83
વધુ
Laying Down.-Lining with paper or other material. Prints
are said to be "laid down," when they are pasted on cardboard,
canvas, &c.
Line Engraving.-A system of engraving which depends
for its efficacy on a series of parallel lines engraved on a
plate or block in such a way as to create the required
representation.
Lithograph.-To trace on stone and transfer to paper by
printing.
Mezzotinto.-A process of engraving on copper, in imitation
of drawing in Indian ink.
Needle. See Dry Point.
Niello. A fusible substance (called Nigellum) composed of
silver, lead, copper, sulphur and borax, being melted, and
poured into lines engraved on a metal plate, presented, when
scraped and burnished, the effect of a drawing in black. This
was called working in "Niello".
Nigellum.-See Niello.
Papermark.-See Watermark.
Parcels.-Job lots of prints sold by auction in the mass,
usually for small sums.
Pax. A small plate of gold, silver, &c., bearing the image of
the Crucifixion.
Plate.-A sheet of metal on which the design is cut or bitten.
Plate Mark. The impress made by the edge of the plate
when the printing process is gone through.
Pontuseaux.-Parallel lines forming the whole or part of a
watermark.
Proof.-A trial impressed from an engraved plate, taken for
purposes of correction. This is the original meaning of the
word though it is now frequently applied to a print taken
from a perfectly engraved plate, but prior to the publication
of the ordinary lettered impressions.
Proof, Artist's.-A proof usually bearing the written signa-
ture or monogram of the artist.
Proof before Letters.-Prints which do not bear any
inscription, artist's name, or initials.
Proof Impression.-An early impression of an engraving;
considered the best owing to its being taken at an early period,
and before the plate is worn.
Proof with Open Letters.-Prints with an inscription in
faint lines not inked in.
Remarque Proof.-A proof (usually from an etched plate)
84
ENGRAVINGS AND THEIR VALUE.
bearing in the lower margin a miniature etching distinct from,
but appropriate to, the subject.
Re-touch.-The re-application of an artist's hand to a worn
out plate.
Relief. See Cameo.
1
Roughing.—A term used in wood engraving to denote the
ground formed for the drawing. A mixture of Bath brick
and water is smeared on the block, and when dry removed
with the palm of the hand.
Ruler. An instrument used in line engraving for the purpose
of producing the flat tints.
School. The followers or disciples of a certain master.
Scraper. An engraver's tool, which, as the name implies, is
used for scraping away the metal, and so forming the required
design.
Shake. A movement under the action of the press, causing
the appearance of double printing.
Solander Case.--A box of millboard or other material which
opens horizontally, and is made to resemble a book.
State. A generic term, denoting the condition in which an
unfinished plate stands or exists. Prints taken from such a
plate are strictly proofs.
Stopping Out.-A process which consists in protecting such
part of the plate as has not at the moment to be operated
on from the corrosive action of acid.
Vamp. To renovate; to repair.
Watermark.-A number of parallel lines, usually accompanied
by a device, which are to be observed when a sheet of paper
is held up to the light. See Pontuseaux.
Xylograph.—An engraving on wood, or an impression from
such an engraving. See Chalcography.

CHAPTER X.
WORKS OF REFERENCE USEFUL TO
COLLECTORS.
HOWEVER experienced a collector of prints may be he cannot
entirely rely on his memory. Books of reference are a
necessity and, as might be expected, exceedingly numerous.
Hardly an engraver of eminence who has not his biographer
and cataloguer whose work or works will have to be consulted
before any adequate idea of his manner can be formed.
These special works of reference, even if only quoted by
their bare titles, would of themselves fill a large volume
and it has not been possible to do more than to mention
a few treatises of this kind which, for one reason or another,
but chiefly on account of the frequent demands made for
them, may be regarded as of exceptional interest. The
following works are mainly of a general character; they
refer to the subject of engraving, at large, rather than to
any particular branch of it, and to the art of the schools
rather than to that of individual artists.
Aquatinter (The), "Being the whole process of Etching
and Engraving in Aquatinta, the use of Aquafortis, and all the
Tools Necessary" (London, 4to).
Bartsch (Adam), "Catalogue raisonné de toutes les estampes
qui forment l'œuvre de Rembrandt" (Vienne, 1797, 2 vols., 8vo).—
There is another work by Charles Blanc, bearing an almost
similar title, the last edition of which was published in Paris in
85
86
ENGRAVINGS AND THEIR VALUE.
1880. It is, however, scarce. See also Burnet (John), Wilson
(Thomas), Daulby (D.). post.
Bartsch (Adam), "Le Peintre Graveur" (Vienne, 1803-21,
21 vols., in 8vo, and atlas in 4to).-No collector of prints could
dispense with this book, which is found as a matter of course
on the shelves of every art library. The plan of the author is
to give short biographies of engravers classed in schools. After
this he minutely describes their prints, giving measurements and
an accurate account of the copies which are known to have been
made from time to time, pointing out how to detect them from
the originals.
Basan (F.)," Dictionnaire des Graveurs, Anciens et Modernes "
(Paris, 1789, 2 vols., 8vo).
Bromley (Henry), "Catalogue of Engraved British Por-
traits" (Lond., 4to, 1793).—The portraits are arranged in classes,
chronologically, and not under the names of the engravers, as is
usually the case.
Brown (W. N.), "Manual of Wood Engraving" (London,
1886, 12mo).
Brulliot (François), "Dictionnaire des Monogrammes,"
&c. (Munich, 1832, 3 parts, 4to).
Bryan (M.), "Dictionary of Painters and Engravers" (2 vols.,
Roy. 8vo, 1889).-A good modern work containing biographical
details respecting each artist named and a list of his best works.
Burnet (John), "Rembrandt and his Works" (London, 4to,
1859). - A useful monograph. It is customary, however, for
cataloguers to refer to Wilson's "Catalogue of the Works of
Rembrandt," and also to Blanc's "L'Euvre Complet de Rembrandt."
The references are usually identified by numbers corresponding
with those made use of in the text-books.
Caulfield (Jas.), "Calcographiana, the Printsellers' Chronicle
and Collectors' Guide to the Knowledge and Value of Engraved
British Portraits" (Lond., 8vo, 1814).
Chatto (W. A.), “A Treatise on Wood Engraving, Historical
and Practical" (London, 1881, 8vo).-This, the best work on the
particular branch of engraving to which it refers, contains excellent
chapters on the antiquity of engraving, and the progress of
wood engraving considered with reference to the invention of
typography. There is appended a full description of the practice
of wood engraving. To be perfect, this edition should have
starred pages (561 to 600).
Chattock (R. S.), "Practical Notes on Etching" (Sampson
Low and Co., 7s.6d.). A good practical work, containing full
directions for choosing and cleaning the plate, the etching ground,
laying the ground, colouring it, the needle, needlework, methods
of working, mordants, after processes, printing, &c.
WORKS OF REFERENCE USEFUL TO COLLECTORS. 87
Chelsum (James), "A History of the Art of Engraving in
Mezzotinto" Winchester, 1786.-This work treats of the nature
of the art of mezzotint, its supposed origin and invention, and
the several successive artists who have practised it, including
the famous Prince Rupert, who is supposed by some to have
been the actual inventor of the process, though no doubt he
learnt it from a German source. Since the days of Chelsum no
appreciable improvement has taken place in this branch of the art.
Combe (Charles), "A Catalogue of his Collection of Prints,
formed with a view to elucidate and improve the history of
engraving, from the earliest period of the art to the year 1700."
This work, which was printed in London in the year 1803, though
by no means indispensable, is still useful, as the author's collection
of prints was varied, and well illustrates the history of the
subject.
Craig (William), "A Course of Lectures on Drawing,
Painting, and Engraving, considered as Branches of Elegant
Education" (London, 1821, 8vo).-These Lectures were delivered
in the saloon of the Royal Institution.
Cruikshank (Geo.). See Reid (G. W.)
Daulby (Dan.). "Descriptive Catalogue of the Works of
Rembrandt" (1736, 8vo).-Wilson's catalogue is better, and is
the one usually quotod by cataloguers.
Davenport (S. T.), "On the Art of Engraving."-The author
was an amateur engraver of very considerable experience. The
work forms part of the series known as the "British Manufacturing
Industries," edited by G. P. Bevan.
Delaborde (Viscomte), "La Gravure en Italie avant
Marc-Antoine," 1452-1505 (Paris, 1883, 4to).-Illustrated.
Delaborde (Viscomte), "Engraving; its Origin, Processes
and History."-Translated by R. A. M. Stevenson (1886, 8vo).
Delaborde (Viscomte), "Marc-Antoine Raimondi " (Paris,
1888, 4to).-An historical and critical study of the works of Marc-
Antonio with a catalogue of the same. Illustrated.
Deleschamps (Pierre), "Des Mordants, des Vernis, et
des Planches dans l'Art du Graveur : ou, Traité Complet de la
Gravure" (Paris, 1836, 8vo).-This is a practical work on engraving,
and embraces every branch of the art, in addition to explaining
a large number of curious processes.
Donlevy (John), "The Rise and Progress of the Graphic
Arts." including notices of illumination, wood engraving, &c.
(New York, 1854, 4to).-Mr. Maberly, in his well-known treatise
"The Print Collector," says that this work gives a rapid but
interesting sketch of the origin of the several graphic arts, although
it appears to have been written to introduce some new processes
of printing which the author had invented. The work itself is
88
ENGRAVINGS AND THEIR VALUE.
more or less an advertisement of what the author calls the
Antagonistic Union," that is, a chemical medium in which acids,
alkalies, greasy and resinous substances which previously repelled
each other, are compelled to unite and change their character
and their union in a peculiar manner, constituting a solvent by
which the artist is enabled to transfer and print manuscript
written on ordinary paper, woodcuts, engravings, new and old
books, and printed matter of every description.
Duchesne (J.). "Essai sur les Nielles, Gravures des
Orfèvres Florentins du XV Siècle" (Paris, 1826).—This is the
authority on works in Niello. At the same time much informa-
tion is given on engraving in wood, stone, and metal. It is,
par excellence, the book for the antiquarian print collector, as
the author's remarks have reference to the very earliest processes
in vogue among the nations of antiquity. The history of the
art is traced, step by step, from the printing of playing-cards
to the first books printed in movable characters.
Dumesnil (Robert), "Le Peintre-Graveur Français" (Paris,
1835-71, 11 vols., 8vo).-A catalogue of all the more important
works by the painters and engravers of the French school. It
is of great value as a work of reference, as it not only gives a
list of the productions of the modern French masters of en-
graving, but also memoirs. It was intended as a sequel to
M. Bartsch's work.
Dürer (Albrecht).-With regard to the works of this
artist, see Emile Galichon's "Albert Dürer, sa Vie et ses Œuvres"
(Paris, 1861), and Thausing's "Albert Dürer: his Life and Work'
(London, 1882, 8vo), and Scott (W. B.) post. A complete catalogue
of Dürer's engravings on copper, and etchings, with a list of
the copies, is to be found in Appendix No. 1 of Maberly's
Print Collector."
Evelyn (John), "Sculptura; or, the History and Art of
Chalcography and Engraving on Copper."-This is a very old
work, originally published in 1662. There are,
There are, however, several
later editions. The chief value of this work centres in the fact
that it contains an engraved plate (frequently wanted) by Prince
Rupert himself. It speaks for the first time of engraving in
mezzotinto and gives a list of works engraved by the prince.
Faithorne (William),"The Art of Engraving and Etching."
-An old book, published in London, in 1662. The author was
the well-known engraver William Faithorne, the pupil of Peak.
Fielding (T. H.), "The Art of Engraving, with the Various
Modes of Operation" (London, 8vo, 1841).-This book, the title
of which explains itself, is illustrated with specimens of the
different styles of engraving.
Galichon (Emile).-See Dürer (Albrecht).
Gilks (Thomas), "A Practical Handbook of the Art of
WORKS OF REFERENCE USEFUL TO COLLECTORS.
89
Wood Engraving" (London, 8vo, 1866).-The author was a practical
wood engraver. The above forms one of a series of works on
art published by Winsor and Newton, of Rathbone Place. It
describes the various processes adopted by wood engravers, the
tools and materials used, &c.
Gilks (Thomas). "A Sketch of the Origin and Progress
of the Art of Wood Engraving" (London, Svo, 1868).—This is a
short résumé of the history of wood engraving from its origin
to date. The illustrations are good, and the information reliable.
Gilpin (William), "An Essay upon Prints" (London, 8vo).
-There are several editions of this book, the first of which was
published in 1802. Although the information given relates more
to the antique aspects of the art than to the modern, it is still
a most valuable work in its place.
Hamerton (P. G.), "Etching and Etchers" (London, Third
Ed. 1880, 4to).-This is a most comprehensive treatise, practical
as well as historical, on the art of etching, by one of the most
distinguished English masters.
Hamerton (P. G.), "The Etcher's Handbook" (London,
1871, 12mo).-The second edition is dated 1875. The same author
is credited with a very reliable and useful work, known as
"The Graphic Arts," a treatise on the varieties of drawing
painting, and engraving, in comparison with each other and with
nature. The latest edition is dated 1882.
"Handmaid to the Arts.”—This is an old book usually
found in 2 vols., 8vo, 1758, and later. It is devoted to the
Art of engraving, etching, and scraping mezzotintos, with the
preparations of the aquafortis, varnishes, or other grounds, in
the best manner now practised by the French; as also the best
manner of printing copper plates; an improved method of pro-
ducing washed prints, and of printing in chiaro-oscuro, and with
colours in the way practised by M. Le Blon."
Heinecken (K H.), "Idée Générale d'une Collection Com-
plette d'Estampes, (Leipsic, 1771, 8vo).
Hodgkin (J. E.), "Monograms, Ancient and Modern" (Lon-
don, 1866, 12mo).—A useful little book.
Hogarth (William).-See Nichols (J.) and Stee-
vens (G.).
Huber (M.) "Notices Générales des Graveurs" (Dresden,
1787, Svo).
Jackson (John).-See Chatto (W. A.).
Jackson (J. B.), "An Essay on the Invention of Engraving
and Printing in Chiaro-oscuro, as practised by Albert Dürer,
Hugo di Carpi, &c."-According to Maberly, this book is an
advertisement to eulogise the "invention of Mr. Jackson, of
Battersea," which seems to have been a kind of colour printing
90
ENGRAVINGS AND THEIR VALUE.
from wood blocks. It is stated that Albert Dürer, as well as
Titian, Salviati, and other Italian painters, who drew their own
works on blocks of wood to be cut by the engraver, practised
the art in its rudiments. It is claimed that this is an art
"recovered," and that the prints are unchangeable by damp.
The copy in the British Museum, however, belies this statement,
as every leaf is stained and mildewed, some of the prints having
turned to a copper colour.
Laborde (L.), "Histoire de la Gravure en Manière Noire "
(Paris, 1839, 8vo) -Only 300 copies of this work were printed,
and the volume itself is the fifth and only one issued out of a
projected series of eight. The work consists of biographical
notices of engravers in mezzotinto, with fac-similes of their
marks,
nd an account of their chief works.
Le Blon (J. G.).—See “Handmaid to the Arts."
Linton (W. J.), "The Masters of Wood Engraving" (Lond.,
1889, folio).
Linton (W. J.), "Wood Engraving in America
1882, folio).
(Boston,
Lippmann (F.), "The Art of Wood Engraving in Italy in
the 15th Century" (London, 1888, 8vo).
Maberly (J.), "The Print Collector" (New York, 1880).—
Frequent reference has been made to this very excellent book.
The author, an American, has given a better general account of
ancient prints than any other modern writer, Willshire, perhaps,
only excepted. The work is essentially practical, and intended for
the use of persons about to form a collection of ancient prints.
Marc Antonio. See Delaborde (Viscomte).
Nagler (G. K.), "Neues Allgemeines Künstler-Lexicon " (22
vols., 8vo, 1835-52).
Nagler (G. K.), “Die Monogrammisten, &c." (Munich, 1858-78,
8vo). This invaluable work is complete in 5 vols., 8vo, and is
written in German. It is the most complete treatise of its kind
yet published. The arrangement is peculiar, the author having
taken the initial letter of the Christian and surname of each
artist, and then arranged the whole in alphabetical order. For
instance, Thomas Bewick is placed under the letters T. B.
Nichols (J.) and Steevens (G.), “The Genuine Works of
William Hogarth" (3 vols., 4to, 1808-17).
Ottley (W. Y.), “An Inquiry into the Origin and Early
History of Engraving upon Copper and Wood" (2 vols., 4to,
1816). A good book, which includes an account of engravers
and their works, from Maso Finiguerra to the era of Marc Antonio.
Accompanying this is another work in folio by the same author:
"A collection of 129 fac-similes of scarce and curious prints "
(London, 1828).
WORKS OF REFERENCE USEFUL TO COLLECTORS.
91
Papillon (J. M.), "Traité Historique et Pratique de la
Gravure en Bois" (Paris, 3 vols., 8vo, 1766).
Passavant (J. D.), “Le Peintre Graveur" (Leipsic, 1860-64,
6 vols., 8vo).-This is, in effect, a supplement to Bartsch's "Le
Peintre Graveur." Like that work, it is indispensible.
Ris-Paquot (O. E.), “ Dictionnaire Encyclopédique des
Marques et Monogrammes" (Paris, 2 vols., 4to, 1893). A Dictionary
of marks and monograms found on prints and a variety of
other works, including pictures and pottery.
Redgrave (S.), "Dictionary of Artists of the English
School," 1873.
Reid (G. W.), "A Descriptive Catologue of the Works of
George Cruikshank," 2 vols. of plates and 1 of text, 4to, 1871.
Only 135 copies were printed.
Renouvier (J.), "Histoire de l'Origine et des Progrès de la
Gravure dans les Pays-Bas et en Allemagne" (Brussels, 8vo, 1860).
Rembrandt.-See Bartsch (Adam).
Scott (W.B.), "Albert Dürer: his Life and Works" (London,
1869, Svo).
Smith (J. Chaloner), "British Mezzotinto Portraits
(London, 4 vols., 8vo, 1883).-A descriptive catalogue of mezzotinto
portraits from the introduction of the art to the early part of
the present century.
Strutt (Joseph), "A Biographical Dictionary” (London,
1785-86, 2 vols., 4to).-This work is valuable on account of the
preliminary essays and the fac-similes of prints; but for a cata-
logue of engravers, Bryan is better as being more recent.
Thausing (M.).—See Dürer (Albrecht).
Vertue (Geo.).-See Walpole (H.).
Walpole (H.), "Anecdotes of Painting in England" (3 vols.,
1888, 8vo).-Contains Vertue's Catalogue of English Engravers.
Wilson (Thomas), "A Descriptive Catalogue of the Prints
of Rembrandt" (London, 1836, 8vo).—This work is the one usually
consulted by cataloguers whenever any of Rembrandt's works are
brought to the hammer. The author has numbered his pieces,
and the numbers are quoted in the catalogues.
Willshire (W. H.), “An Introduction to the Study and
Collection of Ancient Prints," second edition (2 vols., 8vo, 1877).—
There can be no doubt that this treatise has instilled first
principles into the minds of more young English collectors than
any other work published. The author commences with a dis-
sertation on engraving in ancient times, and follows with a
chapter on engravings in general, from the beginning of the
thirteenth to the fifteenth century. The reference to the various
processes of engraving is full enough, if ancient prints only are.
92
ENGRAVINGS AND THEIR VALUE.
considered. The best chapters of all in the eyes of a student
will be those on "Commencing the Study and Collection of
Ancient Prints," which include remarks on the various schools of
engraving, the examination and purchase of prints, as well as
on their conservation and arrangement. The table of monograms,
marks, and cyphers, and of names and marks of collectors and
dealers in prints is, however, weak.
Wood (H. T.), "Modern Methods of Illustrating Books
(London, 1887).
In leaving the first section of the subject, which, when
everything is said and done, cannot be other than theo-
retical for it is impossible to acquire practical experience.
otherwise than in a practical manner-I would repeat the
advice given in the earlier Chapters, viz., to take every
opportunity of seeing good specimens. The eye will by
degrees acquire artistic skill, to such an extent that
the amateur will often be able to estimate the worth of
a print, even although he has not previously seen an im-
pression from the same block or plate. The great points
to be considered are: (1) Is the specimen an early impres-
sion? If not, it will seldom be of much value, even
although from the hand of a great master.
good condition? If not, it may be repaired; and, as to
this, the inviolable rule may be noted again - it is better
to have an early impression of a print in bad condition
than a well-conditioned specimen from a worn plate. The
former may be improved; the latter never, for no power
on earth can restore a coarse and broken piece. Artifice
may disguise the defect, and successfully deceive for a
time, but ultimate detection is certain.
(2) Is it in
One other point (3) remains to be noted, viz.: Is the
impression genuine? I have already said enough on this
subject to put the most incautious and reckless purchaser
on his guard. The power of assault is always greater
than that of resistance, and however clever a person may
be, he will be no match for an accomplished forger who
WORKS OF REFERENCE USEFUL TO COLLECTORS. 93
is determined to profit by his villainy. Defeated in one
point, he will, with a pertinacity that would be commend-
able were it not disgraceful, appear at another, again
and again.

PART II.
A DICTIONARY
OF
ENGRAVERS AND THEIR WORKS.
BEING AN
ALPHABETICAL LIST OF THE PRINCIPAL ENGravers,
WITH THE
THE PRICES REALISED AT AUCTION
FOR A SELECTION OF THEIR WORKS.
Part II.
ENGRAVERS AND THEIR WORKS.
Abbé (Hendrik).-An engraver and painter born at
Antwerp in 1639; date of death not known. A few prints
by this artist are extant, but they are not much sought after.
Most of these were published at Amsterdam in 1670.
Adam (John).-Living in 1794, in which year the first
edition of Caulfield's "Portraits of Remarkable Characters "
was published. This artist engraved many of the plates
to be found in the book; also two portraits, one of Queen
Elizabeth and the other of the Earl of Leicester. These
latter examples are fair specimens of the artist's skill.
The value is, as a rule, unimportant.
Aeken (H. van).-See Bosch or Bosche (Jerom).
Agar (John Samuel).— A portrait painter and engraver,
born about the year 1770. Most of this artist's engraved
works are in stipple. The two mentioned below are in that
style.
1. Lady Heathcote, after Cosway, good old impression £2 12s.
2. Mrs. Duff, after the same, fine, £2.
Aken (Jan van).—Born in Holland in 1614. This artist
must not be confounded with Johann von Aachen, born in
1552, who was a painter and not an engraver. His etchings,
about twenty-five in number, are slight, but have excellent
7
98
ENGRAVINGS AND THEIR VALUE.
style (see Bartsch, vol. i., p. 283, for list). The set of six
horses is good, and an average series may sometimes be
met with for a guinea. Another series, known as "Views
of the Rhine," consisting of four pieces, sells as a rule
for less, though a set from the Maberley collection
recently realised £2 10s. Some of his other landscapes
can, occasionally, be got for a shilling or two each. A
print marked "I van Aken, fec," representing a horse
saddled, with a man lying down beside it, is of considerable
rarity.
Akersloot (Willem).—Born at Haarlem in 1600; living
in 1651. This engraver was possessed of considerable skill.
His portrait of Frederic Henry of Nassau, whole-length in
armour, is rare; but for all that does not appear to sell
for as high a price as would, perhaps, be imagined. A
fair impression has brought as little as 4s. by auction:
about a guinea, however, would appear to be the average
price. Other prints are: "Christ Seized in the Garden,"
“Christ Bound," and "Peter Denying Christ" (average value
of the three from 15s. to 20s.); "The Sorceress" (good);
"Amelia, Princess of Orange, with her Two Daughters"
(rare).
Akrel ((Fredrik).—Born in Sweden in 1748; died there
in 1804. This engraver is credited with a series of ten
portraits of Swedish notables. His work is not much
sought after.
Alberti (Cherubino).-Born at Borgo San Sepolcro in
1552; died at Rome in 1615. This eminent artist, one
of a large family of painters and engravers, excelled in
both branches of the art. His prints are said by Bryan
to be 180 in number, 75 of which are from his own designs.
Bartsch (vol. xvii., p. 49) gives a list of 172 plates.
1. The Coronation of the Virgin after Zucchero, good, with
margin, 18s.
ENGRAVERS AND THEIR WORKS.
99
2. The Flight into Egypt; the Angel with Tobit, the two,
fair, 14s.
3. The Dead Body of Christ, good, £1 6s.
4. The Holy Family, after Raffaelle, fair, Ss., again, proof before
letters, £1.
5. The Conversion of St. Paul; St. Catharine of Siena; St.
Mary Magdalene-the three, fair, 12s.
6. The Vases, after Polidoro, ten plates, a good set, £2 5s.
7. Portrait of Pietro Angelo di Barga, good, 19s.
8. Prometheus, after Michelangelo, proof with large margin
before the dedication, rare in this state, £2 15s.
9. A good spirit mounting to heaven, good, 18s.
10. The Nativity, after Zucchero, fair, 4s., again, fine, with
margin, £1 3s.
11. Venus with Cupid, fair, Ss.
12. The Rape of the Sabines, fair, 6s.
13. The Prophets and Sibyls, after Michelangelo, seven plates,
good, £1 12s.
14. The Virgin and Child in the Clouds, good, 12s.
15. Portrait of Henri IV. of France, good, 18s.
16. Miracle of St. Philip Benizzo. The artist's best print,
fine with margin, £2 4s.
17. The Crucifixion, after Michelangelo, fair, 7s. 6d.
18. St. Catharine of Siena in ecstasy, first state before the
address, good, 10s.
Aldegrever (Heinrich).-Born at Zoust, in West-
phalia, 1502; died in 1558. Aldegrever belonged to the
school known as that of the "little masters," the reason
of the appellation lying in the fact that the engravers
belonging to this school, and particularly those of Germany,
applied themselves chiefly to the engraving of small plates.
This artist's prints exceed 300, of which Bartsch (vol. viii.,
p. 362) describes 289 and Passavant (vol. iv., 105) seven
additional ones exclusive of four wood cuts. The engraver's
work is extremely neat, executed entirely with the graver,
and in a style founded upon that of Albrecht Dürer, under
whom he probably learned the rudiments of his art. It is
in this instance especially necessary to see that any specimen
offered for sale is a good impression. If retouched or badly
printed (which is very often the case), the impression should
be rejected. The scarcest prints of this artist are portraits
of Bernard Knipperdolling, the fanatic, and Jan van Leyden.
100
ENGRAVINGS AND THEIR VALUE.
Aldegrever's only etching represents Orpheus playing on a
lute, with Eurydice seated (See infra nº. 18).
1. Adam and Eve. The set of six prints, good, £2 18s, again
£1 12.
2. The History of Lot. Four in the set, £1 10s; again £1.
3. The History of Tamar and Absolom. Seven in the set,
fair 16s, again, fine, £2 12s.
;
4. Portrait of Aldegrever at the age of thirty-five, fine,
£2 8s. Another portrait at the age of twenty-eight, and
dated 1530, good, £1 12s.
5. Samson and Delilah, rare and good, £1 12s.
6. Sophonisba, fair, 8s. 6d.
7. Intemperance, fair, 4s.
8. A collection of various ornaments (13), good, £1 14s.
9. Portrait of Van der Helle, scarce, good, £1 14s.
10. The Labours of Hercules, thirteen in the set. Fine and
scarce, £3 7s. 6d.
11. Portrait of Jan van Leyden, fine, rare, £1 6s, again,
very fine, from the Mariette collection, £30.
12. The set of the Seven Cardinal Virtues and Vices, fourteen
plates in all, good, £2 10s.
13. Thirty-six friezes, ornaments, alphabets, &c., fair, £1 7s.
14. Twenty-two historical and mythological subjects, fair, £3 2s..
15. The Story of Susanna, (4); fine, £2 2s.
16. Five of the set of the Planets, and The Judgment of Paris,
(6) fair, 7s. 6d.
17. Panel of ornament with mask 1553, fine, £1 16.
18. Orpheus and Eurydice, an etching, 1528, good, £2.
19. Portrait of Bernard Knipperdolling, from the Mariette
collection, fine, £10 15s.
20. Night, 1553, very rare and fine, £2 2s.
Alessandri (Innocenzio).-An artist of tolerable merit,
who is said to have been one of the pupils of Bartolozzi
when living at Venice. Whether this was so or not is at
least doubtful. Alessandri was born at Venice in or about
the year 1740; the time or place of his death is not known.
Among his prints (many of which are in aquatint) may be
noted the following.
1. The Annunciation, after Le Moine.
2. Two series of landscapes, after Ricci (there should be
twelve prints in each series).
8. Two landscapes, after the same, fair, 8s.
The Flight into Egypt, after Le Moine.
5: A series representing Astronomy, Geometry, Music, and
Painting, (4), good, £1 4s.
ENGRAVERS AND THEIR WORKS.
101
Algardi (Alessandro).-Born at Bologna in 1602; died
in 1654. This artist was a sculptor and an architect as
well as an engraver; in fact, he shows to greater advan-
tage in the former capacities than in the latter. Bartsch
(vol. xix., p. 77) mentions two prints by Algardi: a frontis-
piece to a book, and a portrait of Annibale Carracci; but
there are several others extant, notably the series of eighty
plates after Annibale Carracci, entitled "The Cries of
Bologna." "The Crucifixion," from a large upright plate,
is fairly good; so is "The Blind Beggar;" an oval re-
presenting the "Delivery of Souls from Purgatory" is,
however, indifferent. The style of the artist is closely
imitative of that of Agostino Carracci, and he worked
entirely with the graver.
Aliamet (Jean Jacques).-Born at Abbeville, in
France, in 1726; died at Paris in 1788. This artist was a
pupil of Le Bas, and confined his attention chiefly, though
not entirely, to sea pieces and landscapes. In these he ex-
celled, far surpassing his younger brother, François. He
worked with the graver and dry point. The auction prices
realised are usually small.
1. A series of four prints, entitled "The Times of the Day,"
after Vernet, fair 8s, again, very fine with full margins,
£1 6s.
2. The rising of the moon, good, 14s.
3. The Stag Hunt, after Berghem, fair, 6s.
4. The Birth of Venus, after Jeaurat, good, 14s.
Aliamet (François Germain).-Born at Abbeville in
1734; died in 1790. A younger brother of the preceding.
This artist was at one time a pupil of Sir Robert Strange.
His best prints are perhaps the four portraits of the Earl
of Carlisle, the Countess of Desmond, Mrs. Pritchard as
"Hermione," and Dr. Sharp. Other prints include "St.
Ignatius, kneeling," "The Sacrifice to Pan," two of "The
Bathers," after Watteau, and a fine plate representing the
surrender of Calais to Edward III., after Pine.
Alix (Pierre Michel).-This engraver, who was one
102
ENGRAVINGS AND THEIR VALUE.
of the pupils of Le Bas was born at Honfleur in 1752,
and, according to the "Nouveau Biographie Générale,"
died at Paris in 1809. He engraved the portraits of several
eminent personages, among them that of Napoleon in his
robes at his coronation, mentioned below. This is by far
his best print.
1. Napoleon 1st. on Throne, after Garneray, in colours, fine
and rare, £10.
Alken (Henry).—A talented painter and engraver of
sporting subjects who flourished between 1816 and 1831.
He illustrated many well-known and desirable books, his
earliest productions being published anonymously under
the signature of 'Ben Tallyho.' This artist's hunting sub-
jects are highly esteemed by collectors of that class of
engravings. The following are after as well as by Alken.
1. Going to Cover and Getting Away, after Alken, in colours.
(2), 16s.
2. Courtship in High Life and Low Life, after Wigstead,
(2), 10s.
3. Cock-fighting, the four small plates, by Reeve, after Alken,
in colours, 8s.
4. The High-mettled Racer, by Alken and Sutherland, after
Alken, in colours (6), £2 12s.
5. The Miller's Mare, by Sutherland, in colours, fair, 7s. 6d.
6. Sporting anecdotes, after Alken, in colours (6), £3 3s.
7. Hunting and steeple-chasing, after Alken, both in colours,
good, £3.
8. Hunting, or Six Hours Sport by three real good ones,
1823, coloured, oblong folio, in wrapper (6), £6 10s.
9. The Meet, Breaking Cover, Full Cry, The Death, four
long coloured plates by Alken, £11 5s.
10. The Steeple Chase, 6 coloured plates by Alken, 4to. £4 10s.
11. A series of Driving Discoveries, in seven coloured plates,
1817, oblong folio, £5 10s.
12. Shooting, or one day's sport of three Real Good ones, six
large coloured plates, 1823, oblong folio, £6 10s.
13. Shakespeare's Seven Ages, 7 coloured plates, 1824, oblong
4to., £2 2s.
14. Specimens of Riding near London, 18 coloured plates, 1823,
folio, £6 10s.
15. Hunting accomplishments, 6 plates, coloured by hand,
1850, folio, £3 10s.
16. Hunting Casualties, 6 plates, coloured by hand, 1850, folio,
£3 12s.
ENGRAVERS AND THEIR WORKS.
103
17. Hunting Sketches, 6 plates, coloured by hand, 1859, folio,
£4 12s.
18. Steeple Chase scenes, 6 plates, coloured by hand, 1848,
folio, £4 12s.
Allais (Jean Alexandre).-The son of Louis Jean
Allais, himself are engraver of very considerable merit.
Jean Alexandre was born at Paris in 1792 and died there
in 1850. He is justly celebrated for his aquatints which
are perhaps the finest works of the kind extant. His best
plates are after Leonardo da Vinci.
Allard (Huych).-A Dutch engraver who was living
in 1690. He generally marked his plates "Allard" only,
and as this description might apply to Abraham Allard or
Carel Allard, who also used the same surname, the prints
of the three are generally classed together. The large
oval portrait of Oliver Cromwell and the portrait of Lord
Fairfax in armour are both scarce. The "Flight of King
James after the Battle of the Boyne" is very good. There
is also a desirable portrait of David Gloxin, and another
of Adrianus Paw. Each of these is signed with Christian
and surname, so that there is no doubt who they are by.
Prints signed "Allard" are, however, very numerous, and
many of them are to be met with repeatedly in "parcels,"
when they are knocked down with others in a batch for
a mere nominal figure.
Allegrini (Giuseppe).—An Italian engraver, who was
living in 1750. But little is known of this artist, and his
prints are not held in much estimation. Among them may
be noted a large operatic scene after Chamant, and the
Stoning of St. Stephen," also a half figure of the Virgin
Mary with Infant, inscribed “Egredietur virgo de Radice," &c.
Allet (Jean Charles).-Born at Paris in 1668; died
at Rome in 1732. This artist, who is supposed to have
worked in Italy for many years of his life, imitated the
style of Cornelis Bloemaert. He had a firm grip of the
graver, with which he usually worked, but, unfortunately,
104
ENGRAVINGS AND THEIR VALUE.
little taste. His prints appear laboured, as if he had drawn
a number of figures and then posed them afterwards, after
the manner of lay models. The best specimens of his
skill are
"St. Paul and Ananias" and the "Vision of St.
Paul." These are both after Pietro da Cortona. Among
the artist's other prints are:
1. Portrait of Pope Alexander VIII., dated 1695, good, 12s.
2. Portrait of St. Ignatius, oval, fair, 8s.
3. St. Rosa Crowned by Angels, after himself, fair, 6s.
4. Christ before Pilate, after Pietri, fair, 7s. 6d.
5. A series representing the life of Christ, after Passeri
(twelve prints), fair 16s, again, very fine, with margins
£2 8s.
6. Portrait of Cardinal Alvisio Amadei, after J. M. Morandi,
folio, 1690, good, 8s.
Almeloveen (Jan).-Born near Utrecht about the year
1640. Bartsch (vol. i., p. 289) gives a list of thirty-seven
etchings by this artist of whose private life hardly any-
thing is known. In the print room of the British Museum
there is almost a complete collection of his works, seven-
teen of which are original and twenty after H. Saftleven.
These consist of landscape, sea and other views with shipping
and portraits. As a rule the value is small.
Altdorfer (Albrecht).—Born at Altdorff, in Bavaria,
about 1480; died in 1538. This artist, who ranks exceed-
ingly high as one of the "little masters," was a pupil of
Albrecht Dürer. Bartsch (vol. viii., p. 42) catalogues ninety-
six engravings on copper and sixty-three on wood; to which
Passavant adds thirteen plates and two cuts. "Le Petit
Albert," as Altdorfer is called by French collectors, engraved
his own portrait, but his pieces are chiefly representations
of scriptural and mythical subjects. A complete series of
woodcuts by him consisting of forty small plates, illustrating
the "
History of the Fall and Redemption of Man," was
republished at Zurich in 1604 by one 'G. L. F.,' who not
only erroneously stated that they were then published for
the first time but declared that they were the work of
ENGRAVERS AND THEIR WORKS.
105
Dürer. Some of these reprints are from original blocks
but most are mere copies. This artist's prints are nearly
all very small.
1. The Crucifixion; The Cup-bearer; Judith, fair (3) 19s. The
Crucifixion, very fine, £2 9s.
2. The Passion, part of the set of small woodcuts (12), 18s.
3. Lucretia stabbing herself, very fine, £2 2s.
4. Naked woman standing on a star, very fine, £4 48.
Amato (Francesco).-An Italian engraver, noted for
his etchings, which he executed somewhat in the style of
Biscaino. Nothing is known of the private life of the
artist, and it is even a matter of surmise whether he was
a professional engraver or an amateur. He seems to have
flourished during the latter part of the seventeenth century.
Bartsch (vol. xxi., p. 204) gives a list of five prints by
Amato:
1. St. Joseph, reading a book, a small upright plate, signed.
2. St. Jerome, seated in a landscape, uniform with the
preceding.
3. The Prodigal Son, an upright piece.
4. The Holy Family.
5. St. Christopher.
The first two prints are marked "Franciscus Amatus, in ";
the rest have no inscription. The value is usually small.
แ
Amici (Francesco).-Born at Florence about 1780.
His prints are not of much value, nor are they particularly
well executed. Bryan mentions the following:
1. Christ on the Mount of Olives.
2. Christ before Pilate.
3. Christ Bearing His Cross.
4. The Entombment of Christ.
Amiconi (Jacopo).-Born at Venice in 1675; died at
Madrid in 1752, or, according to some authorities, in 1758.
This artist's prints are inferior and few in number. The
best comprise a set of four pieces known as the "Four
Elements," "Salvator Mundi," "Jupiter and Calisto,"
'Zephyrus and Flora," and the "Virgin and Child." The
value of average impressions is small.
106
ENGRAVINGS AND THEIR VALUE.
Amling (Carl Gustav).-Born at Nuremberg in 1651;
died in 1703. This artist learned the art of engraving
from François de Poilly, whose style he followed, although
he never equalled or even approached the genius of his
master. He excelled in portraits, some of which have
great merit; but failed in historical subjects. Of the
latter, "The History of the Emperor Otho," from the
tapestries at the Palace of Munich (thirteen plates of
different sizes), is perhaps the best. His rarest and best
print is however an oval portrait, after Macolinus, of
Maximilian Emmanuel, Elector of Bavaria, dated 1670.
There is also an upright plate of the same, after Champagne,
which is a little inferior. The Equestrian Statue of the
same, after Ableitner, is, comparatively speaking, crude.
Other prints are:
1. The Four Seasons, from the Tapestries at the Palace at
Munich, after Candids, good, 12s.
2. Portrait of Count von Berlo de Brus, large oval, fair, 8s. 6d.
3. St. Nicholas of Tolentino, good, 12s.
4. The Virgin and Child, large plate, after Wolff, fair, 6s.
5. Ten plates in folio of a triumphal arch in honour of the
Elector Maximilian Emmanuel, good, with margins, £1 14s.
6. Petrus Marinus Sormannus, a medallion, fair, 2s. 6d.
Amman (Jost).-Born at Zurich in June, 1539; died
at Nuremberg, 15th March, 1591. This artist, who is ranked
high among the "little masters," and whose prints are
much esteemed by collectors, was an excellent designer
and perfecter of stained glass, which he worked in the
richest and most brilliant colours. His engravings are chiefly
on wood, and although a few are executed on copper, they
are, as a rule, inferior. Bartsch (vol. ix., p. 352) catalogues
twenty-three engravings by Amman on copper, and (p. 365)
twenty-seven on wood. It must be remembered. however,
that many of his works are found in sets, which are only
calculated as one engraving by Bartsch. As a matter of
fact, the designs made by Amman and the plates he engraved
number close on six hundred, a list of which will be found
in Meyer's "Künstler Lexicon." Ordinary specimens of the
ENGRAVERS AND THEIR WORKS.
107
artist's skill may frequently be met with in sale rooms
for a small sum, but a few are scarce, e.g.
1. The Bombardment of a Town, large oblong plate, fine,
with margin, £1.
2. Gaspard de Coligny, the Admiral (copper), oval, half length,
in armour, £1 4s.; again, very fine, £5 10s.
3. The Marriage at Cana, (wood), good, 12s.
Amsler (Samuel).-Born in Switzerland in 1791; died
in 1849. Among other prints this artist engraved "The
Entombment," "The Holy Family," and the "Madonna di
Casa Tempi," all after Raffaelle. Amsler had a classical
though simple style resembling in many respects that of
Marc Antonio. Specimens of his work, of average quality,
are often met with. Their value is small.
Amstel (Cornelis Ploos van).-Born at Amsterdam
in 1726; died there in 1798. An amateur engraver of
great merit. Nearly all his plates are signed “P. van
Amstel fecit," and are generally dated.
1. Twenty-nine imitations of original drawings by masters of
the Dutch school, fair, £1 2s.
2. A woman looking out of a door, after Rembrandt, 1764,
good, 17s. 6d.
3. A young lady with a book, after Goltzius, 1770, fair, 6s.
4. A lady seated at a harpsichord, after Gerard Dow, 1767,
very fine, with margin, £1 3s.
5. A Spanish Concert, after Van Mander, 1772, fair, 6s.
6. Three peasants, one with a bottle, 8s.
7. Two sea pieces, after Bakhuysen, 9s.
8. The Judgment of Solomon, after Van Leyden, 1782, fair, 6s.
9. The Attorney and his Clerk, 1672, after J. Steen, fair,
4s. 6d.
10. The Carpenter and his Wife, after J. Saenredam, very fine,
margins perfect, £1 5s.
11. The Chemist, after Langhans, 1771, fair, 8s.
12. A Landscape, after Van der Does, fair, 5s.
Anchor (Master of the).-See Master of the
Anchor.
Ancinelli. See Torre (Flaminio).
Anderloni (Pietro).-Born near Brescia in 1784, died
at Milan in 1849. This artist was the younger brother of
Faustino Anderloni (1766-1847), who, like himself, was an
108
ENGRAVINGS AND THEIR VALUE.
engraver of great merit. Pietro was a pupil of Giuseppe
Longhi, the celebrated Italian painter and engraver. The
following prints by him have been sold recently:
1. The Woman taken in Adultery, after Titian, proof, 18s.
2. Moses at the Well, after Poussin, proof, £1.
3. St. John, after Luini, fair average impresson, 5s.
4. The Judgment of Solomon, after Raffaelle, fine proof, with
margin, £1 5s.
5. A head, turned to the right, 12s. 6d.
6. Joseph Longhi, bust in medallion, turned to the left,
good proof, £1.
7. Leonardo da Vinci, head in an oval, fair, 7s.
8. The Adoration of the Shepherds, after Titian, fine proof
with full margin, £2 10s.
Andrea (Zoan).—Of this artist so little is known that
even his name is a matter of uncertainty. Bartsch (vol.
xiii., p. 293) calls him Zoan Andrea, while other autho-
rities style him Vavassori, and some others Valvassori.
The place or date of birth of Andrea is not known, nor
is the date of his death: he is supposed, however, to have
worked at Venice from 1497 to 1520. His prints are highly
esteemed by collectors, and many of them are valuable
when in anything like condition. The artist's best print
is known as The Four Dancing Nymphs," after Mantegna.
Other good prints are:
1. The Bacchanalians with the Wine Press, after Mantegna,
fine, with margins, £1 17s.
2. Hercules and Dejanira, good, £2 2s.
3. The Madonna and Child, with two angels in a landscape
(probably by Andrea), very fine, £7 10s.
4. Christ before Pilate, good, £1 12s.
5. St. Geneviève, after Dürer, fair, 14s.
6. The Seven Cupids, with the two rams, good, £1 12s.
7. The Entombing of Christ, after Mantegna, fair, 11s.
8. Virgin and Child, with monkey, good, £2.
9. A set of 12 Arabesques, probably after the designs of
Mantegna, good with margins, rare in this state, £9 9s.
10. Portrait of Charles V., three quarter length, looking to the
left, a rich cap on his head, good, £1 8s.
11. The Dance of four Maidens, very fine, from several noted
collections, £32 10s.
ENGRAVERS AND THEIR WORKS.
109
Andreani (Andrea).—Born at Mantua, between 1540
and 1564; died either there or at Rome in 1623. A very
celebrated engraver, who is, however, open to the charge
of having purchased blocks by other hands and then inserted
his own signature after effacing that of the real engraver.
The number of prints rightly or wrongly attributed to this
artist is consequently very great. The adaptations have
been chiefly from Ugo da Carpi, Antonio da Trento, and
Niccolo Vicentino, one print, entitled "The Death of Ajax,"
actually bearing the name of the last-named artist and
the date (1608), to reappear later on with the cipher of
Andreani. Andrea Andreani is more widely
widely known,
perhaps, as a chiaro-scurist than any other Italian engraver
in that style.
1. Christ before Pilate, chiaro-scuro, good, £1 2s., again,
fine, £2 15s.
2. The Triumph of Cæsar, 1598, complete, with the title.
There should be ten plates, the average value being
between £2 and £3. A set, however, has sold for as
much as £15. Each plate is in chiaro-scuro from four
blocks.
3. The Presentation to the Temple, after Salviati, chiaro-
scuro, £1 5s.
4. St. Sebastian, 1608, good, with margin, £1 7s.
5. St. Cecilia, chiaro-oscuro, fair, £1 1s.
6. Surprise (really by Da Carpi), with the mark of Andreani,
chiaro-scuro, fair, £1 15s.
7. Eve, after Beccafumi, chiaro scuro, good, £2 2s.
8. The Adoration of the Magi, after Parmigiano, 1585, chiaro-
scuro, fair, 14s.
9. The Virgin and Child, with a bishop, chiaro-scuro, 1591,
after Parmigiano, second state, fine, with margin £5 10s.;
the same, with saint, after Ligozzi, £1 11s.
10. The Rape of the Sabines, after Bologna, £1 12s.; the
same, engraved on a larger scale, £2 15s. There should
be three plates in each complete set. Both works are
in chiaro-scuro from three blocks.
11. Clelia and her Companions in the Camp of Porsenna,
chiaro scuro after Maturino, first state, before the date
1608, and the monogram, fine £7 7s.; second state of
the same, good, £4 18s.
12. Mutius Scevola, after Peruzzi, chiaro-scuro, first state,
good, £4 4s.
13. Circe Presenting Drink to the Companions of Ulysses,
110
ENGRAVINGS AND THEIR VALUE.
Г
after Parmigiano, chiaro-scuro, second state, with the
monogram of Andreani, and the date, 1602, good, £3 15s.
14. The Christian Heroes, after Franco, chiaro-scuro, £1 8s.
15. A man seated, seen from behind, after Parmigiano, chiaro
scuro, fair, 18s.
16. A female in meditation, after Casolano, chiaro-scuro, good,
£3 15s.
Ansdell (Richard), R.A.—A celebrated artist, born at
Liverpool in 1814; died in 1885. Ansdell etched, but he
was more celebrated as a painter, his "Stag at Bay" and
the companion picture "The Combat" being among the
best-known canvasses of the present century.
1. A stag standing listening, etching, good, £1.
2. A group of three donkeys, etching, good, 12s.
Antonio (Marc).-See Raimondi (Marc Antonio).
Aquila (Francesco Faraone).—Born at Palermo about
1676; date of death not known, but after 1740. The engravings
by this artist are numerous, and some of them are highly
esteemed, though his ability was not equal to that of his
uncle, Pietro, whose style, though rougher, was much
superior both in effect and expression. Among the artist's
prints may be noted:
1. The Assumption of the Virgin, good, £1.
2. A set of nineteen large plates, entitled, "Picturæ Sanctij
Urbinatis exaula et Conclavibus Palatii Vaticani," good,
£7 15s.
3. Mars, with his armour hung on a tree, fair, 12s. 6d.
4. The Repose in Egypt, 1691, fair, 18s.
5. The Triumph of Constantine, good, £1.
6. The Battle of Constantine with Maxentius, good, £1 2s.
7. The First Vault of the Vatican, 1696, 10s.
8. The Last Supper, after Albani, 1711, 15s.
Aquila (Pietro).—An uncle of Francesco Faraone Aquila,
born at Palermo about 1645; died towards the close of the
century. The best prints executed by this artist are those
after the Carracci and Pietro da Cortona.
1. Christ dead in the lap of the Virgin, after Annibale Carracci,
good impression, 12s.
2. Portrait of Livio Odeschalchi, fair, 8s. 6d.
ENGRAVERS AND THEIR WORKS.
111
3. Fourteen plates containing medallions of Roman Emperors,
from the medals in the cabinet of Queen Christina of
Sweden, good, £1 12s.
4. The Sacrifice of Polyxena, after Cortona, fair, 8s.
5. The Rape of the Sabines, after Cortona, fair, 6s.
6. The Triumph of Bacchus, after the same, good, £1.
7. Moses Striking the Rock, after Ferri, fair, 5s.
Ardell (James Mac).-Born at Dublin in 1710; died
at London in 1765. One of the ablest mezzotinto engravers
this country has produced. His historical subjects after
Murillo and Vandyck are excellent, though there can be
little doubt that he excelled in portraits, which when in
early states or proof impressions invariably command high
prices. A descriptive list of the numerous works of Mac-
Ardell will be found in the second part of Smith's “British
Mezzotinto Portraits,” p. 836.
1. Rubens' Children, with nurse, fair, 13s.
2. Time Clipping the Wings of Love, proof before letters, 18s.
3. Girl with a top, after Mercier, good, 14s.
4. Sherlock, Bishop of London, good, £1 4s.
5. Charles, Duke of Richmond, fine, £1 16s.
6. Francis Douce, fine, £1 7s.
7. James Gibbs, 5s.; the same, first state, before "price 13s.
6d.," £1 8s.
8. Countess of Hyndford, after Reynolds, fair, 17s, 6d.
9. Jacob, Earl of Radnor, after Reynolds, fine proof before
letters, very rare, £14 14s.
10. Mary, Duchess of Ancaster, fair, 12s.
11. Lady Fenhoulet, after Reynolds, fine, £2.
12. Flora McDonald, fair, 12s.
13. Sir John Moore, after Closterman, fine and scarce, £2 5s.
14. Lords John and Bernard Stuart, Earls of Lichfield, proof,
before the plate was cleaned, and before all letters,
£7 10s.
15. Rachel, Countess of Southampton, after Vandyck, proof,
£1 12s.; the same, fourth state, £1 5s.
16. Mrs. Crewe and her Brother, proof, £1 2s.
17. George, Duke of Buckingham, with his brother Francis,
after Vandyck, fine, third state, £5.; again, ordinary
impression, £1 14s.
18. The Wife and Children of Sir B. Gerbier, after Rubens,
fair, 7s. 6d.
19. Lady Middleton, after Sir P. Lely, proof, before the
address of Fisher in Leicester Square, £15 10s.
20. Mr. Pine, after Hogarth, good, 16s.
21. Sir Horace Walpole, after Reynolds, good, £1.
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ENGRAVINGS AND THEIR VALUE.
22. Helena Forman, second wife of Rubens, after Vandyck,
proof before letters, £3 10s.
23. Mr. Garrick in "Hamlet," after B. Wilson, good, £1 10s.
24. Griselda Hamilton, Countess of Stanhope, after Allan
Ramsay, fair, 16s.
25. Lady Mary Campbell, afterwards Coke, proof, good, £2 5s.
26. Miss Greville and her Brother as Hebe and Cupid, after
Reynolds, proof, before any letters, £8 10s.
27. Lady Grammont, after Sir P. Lely, proof before letters,
full margin, £16 10s., again, lettered, good, £2 18s.
28. Queen Charlotte, second state, before the alterations in
the plate, 7s.
29. George, Lord Townshend, after Hudson, proof before
letters and before the alterations in the coat of arms,
£2 4s.
30. Admiral Charles Saunders, after Reynolds, proof before
letters, large margin, £1 2s.
Armessin.-See Larmessin.
Armstrong (Cosmo).-Born at Birmingham in 1781;
living in 1821. An engraver of some repute, known chiefly
as having illustrated Chalmer's edition of Shakespeare,
published in 9 vols. 8vo. 1805.
Arnoult (Nicolas).-A French engraver, living at Paris
in 1684. His best productions are a set of six figures in
folio, published in 1673 and 1674, and a portrait of Madame
la Marquise d'Angeau at her toilet. His works are described
by Strutt as being engraved in a poor, coarse manner,
without any taste. Their value is small.
Asam (Cosmas Damian).-Born in Bavaria in 1686;
died in 1742. Chiefly noted as a painter. Bryan mentions
two prints by him, viz.: "A Franciscan Monk, kneeling,"
and "St. Joseph Presenting a Book to a Bishop." An
ordinary and fair impression of either of these prints
should be got for a few shillings.
Assen (Johann Walther van).-An engraver on
wood, born in Holland about 1480; living in Amsterdam
in 1553. This artist's productions are highly esteemed by
collectors. Among the early prints on wood we find few
superior to those attributed to this master. They are very
boldly cut, with great spirit, and show a vast fertility of
ENGRAVERS AND THEIR WORKS.
113
invention. It must be mentioned, however, that of late
years
all the wood-cuts once attributed to this master have been
placed to the credit of Jacob Cornelisz of Oostsanen, on
the authority of a work published at Brussels in 1651,
bearing the title, Historia Christi patientis et morientis
iconibus artificiosissimis delineata per Jacobum Cornelisz" &c.
The names of the two engravers must therefore be taken
together.
1. Six scenes from the life of Christ, about 7 ins. by 4 ins,
fair, Ss.
2. The virtues and the chief sins, a set of seven large plates,
a virtue and its opposite on each, a good set, with
margins, £1 15s.
3. Christ disputing with the Doctors, a small plate, about
4, ins. by 2 ins, good, 12s.
Aubert (Michel).-Born in Paris in 1700; died there
in 1757. An artist who followed the style of Gérard
Audran. He worked with the graver in a light and free
style. Not many of his prints have been sold by auction
recently, nor are they of much pecuniary value as a
rule. The following prints are among the best examples
of this master's skill.
1. Mars Disarmed by Venus, good, with margins, 12s.
2. Mars and Venus Bound by Love, after Paolo Veronese,
fair, 6s.
3. The Death of Adonis, after Boucher, fine impression with
large margin, 8s.
4. Laban seeking for his Gods, after the same, good, 6s.
5. The Promenade, after Watteau, fair, 4s.
6. Pan Instructed by Cupid, after Annibale Carracci, good,
7s. 6d.
In addition to the above mythological and biblical
subjects, the artist engraved a number of portraits, the
best of which are:
7. Elizabeth, Queen of England, in 4to.
8. James I., King of England.
9. La Marquise de Montespan.
10. Louis XV., on horseback, after Le Sueur.
11. Charles Stuart, oval, after La Tour, good, 9s.
Aubin (Augustin de St.).—Born in Paris in 1736,
8
114
ENGRAVINGS AND THEIR VALUE.
where he died in November 1807. This artist engraved
a great number of plates. He was
He was a pupil of Laurent
Cars, and his work is described as interesting, not only
from the merit of the prints, but by reason of their
variety.
1. Adriène Sophie, Marquise de Breteine, bust in an illus-
trated oval, fine £1 12s.
2. Benjamin Franklin, bust in small oval, good, with margin,
scarce, £1 1s.
3. M. Necker, three-quarter length in oval, fine, £1 5s.
4. Venus with a shell, fair, 5s. 6d.
5. Leda and the Swan, after Paolo Veronese, a scarce print,
good, £1 4s.
Aubin (Gabriel Jacques de St.)—A painter and
engraver (brother of the preceding artist), born at Paris
in 1724, where he died in February, 1780.
a pupil of Jeaurat and latterly of Boucher.
about forty in number, only two are from
and none are of much monetary value.
1. Six statues of the Virtues on one plate.
This artist was
Of his etchings,
his own designs
2. View of the Exhibition of Pictures in the Louvre.
Audenaerd or Oudenaerde (Robert van).-Born
at Ghent in 1663; died there in 1743. This engraver
studied at first under Hans van Cleef and several other
masters, and, going to Rome, was received by Carlo Maratti,
the painter, after whose designs he engraved no fewer
than twenty-four plates. Some of the artist's prints were
executed with the graver only, but these are not considered
equal to those in which he sought the aid of the point.
1. Portrait of Cardinal Sacripante, 1695, fair, 8s. 6d.
2. Portrait of Cardinal Barberini, after Maratti, good, 12s.
3. Portrait of Cardinal Andrea di Santa Croce, after Passeri,
good, 11s.
4. Hippomenes and Atalanta, after Bernini, good proof, £1.
5. The Birth of the Virgin, after Annibale Carracci, fair, 5s.
6. Apollo and Daphne, after Maratti, on two sheets, good,
12s. 6d.
Audran (Benoit).-Born at Lyons in 1661; died in
1721. The second son of Germain Audran and nephew of
ENGRAVERS AND THEIR WORKS.
115
Gérard Audran, whose style he imitated but never equalled.
He executed a large number of works, chiefly portraits
and historical subjects, some of which are highly esteemed.
1. Lot and his Daughters.
2. The Baptism of Christ, after Albani.
3. The Rape of Dejanira, after Guido.
4. A subject called "Disgust," after Paolo Veronese.
5. The Espousals of Moses and Zipporah, after Le Brun,
good, with margins, 12s.
6. Moses and the Brazen Serpent.
7. The Purification, fair, 5s.
8. The Elevation and the Descent from the Cross, both after
Le Brun, (2) average impressions, 13s.
9. Zephyrus and Flora, after Coypel, fine, with margin, 7s. 6d.
10. St. Paul Preaching at Ephesus.
11. David with the Head of Goliath, two plates, dated 1716
and 1717.
12. Alexander drinking, after Le Sueur, fair, 6s. 6d.
13. Equestrian Statue of Louis XIV., after Desjardins, by
Benoit and Jean Audran, scarce, good impression, £1 3s.
Audran (Charles).-Born at Paris in 1594; died there
in 1674. This artist was the founder of the family which after-
wards became so eminent in the art of engraving. It is
not known under what master this artist studied, though
his style is very like that of Cornelis Bloemaert. About
one hundred and thirty prints are attributed to this master.
1. Portrait of Jacques Gallemant, fair, 4s. 6d.
2. Portrait of Henri of Bourbon, proof, 12s.
3. Portrait of André Laurent, oval, proof, 14s.
4. The Conception, after Stella, good, 8s.
5. Portrait of Peter Legier, oval, with ornaments.
6. The Annunciation, upright plate, fine impression, £1 1s.
7. The Holy Family, good and perfect, £1.
8. The Assumption of the Virgin, fine, circular, £1 5s. ; again,
very good impression with full margin, £1 8s
Audran (Gérard).-Born at Lyons in 1640; died at
Paris in 1703. A first-rate engraver, who executed a large
number of portraits and subjects from his own designs as
well as from those of various Italian and French masters.
The works of Gérard Audran are very numerous, and their
importance lies in the fact that though himself an admirable
artist, he adopted no manner or style of his own, but
116
ENGRAVINGS AND THEIR VALUE.
followed that of the artist whose work he happened to be
engraving at the time.
1. The Plague, after Mignard, first state before the peacock
was erased, rare, £2 5s.
2. The Seven Sacraments, fine, 12s. 6d.
3. Pyrrhus when a Child pursued by his Enemies, on two
sheets, proof before letters, very rare, £3 Ss.
4. Time Discovering Truth, after Poussin, first state, before
the drapery on the figure of Truth, fine and rare, £6 14s.
5. The Woman Taken in Adultery, proof before letters, £1 1s.
6. The Large Battles of Alexander, after Le Brun, (the
artist's masterpiece; a good set with the name of Goyton)
£8 10s.
7. The Martyrdom of St. Lawrence, fair £1.
8. Two of Raffaelle's Cartoons, good, 10s.
9. Statues after Raffaelle, fair, (9), 8s. 6d.
10. Moses and the Burning Bush, after Raffaelle, proof before
letters, good, £1 8s.
11. The Empire of Flora, after Poussin, fair, 12s.
12. Portrait of Pope Clement IX., one of the artist's best
prints, good impression, £1 2s.
Audran (Jean).-Born at Lyons in 1667: died in 1756.
This artist, who studied under his uncle, Gérard Audran,
engraved until he was upwards of eighty years of age,
and left a large quantity of prints, among them a number
of portraits and subjects after various masters. Strutt
observes: "The most masterly and best prints of this artist
are, in my opinion, those which are not so pleasing to
the eye at first sight. In these the etching constitutes a
great part, and he has finished them in a bold, rough
style. The scientific hand of the master appears in them
on examination."
1. Portrait of François Pierre Gillet, after Tortebat, good, 9s.
2. Psyche consoled by Cupid, after Coypel, fair, 5s
3. The Resurrection of Lazarus, after Jouvenet.
4. Christ in the Ship, Preaching, after Raffaelle, very fine, 18s.
5. The Good Samaritan, after Annibale Carracci, proof, fine,
£1 1s.
6. St. Andrew led to Crucifixion, fair, 4s.
7. Christ Bearing His Cross.
8. The French Parnassus, after Garnier, fair, 3s. 6d.
9. Acis and Galatea, good, with margin, 12s.
10. The Rape of the Sabines, after Poussin, his best print,
fair impression 6s.; again, good, £1 4s.
ENGRAVERS AND THEIR WORKS.
117
Avibus (Gaspar ab), sometimes called Gaspar Pata-
vinus or Gaspar Osello. Born at Padua about 1530; living
in 1580. The chief work of this artist appears to have
been the large folio volume, in five parts, containing sixty-
six portraits of emperors, archdukes, princes, &c., of the
Austrian family. Each portrait is a whole-length figure,
and the plates are embellished with ornamental borders.
He signs himself "Gaspar Patavinus, incisor, 1569." This
artist appears to have studied under Giorgio Ghisi, many
of whose prints he copied, and whose manner he entirely
adopted, though not successfully.
1. Copy of Ghisi's Last Supper, good, 8s.
2. The Woman Taken in Adultery, after Paolo Veronese,
fair, 7s. 6d.
3. The Marriage of the Virgin, after the same, good, 14s.
4. Christ Crowned with Thorns, 1566, fair, 7s.
5. Venus and Adonis, after Penni, 1563, good, 11s.
6. Venus Bathing, after the same, 1564, good, 11s.
7. Portrait of Andreas Mattiolus Sinensis, good, with margin,
12s. 6d.
Avont (Pieter van).-Born at Mechlin in 1600; died
at Antwerp in 1652. This artist executed a few etchings,
rarely met with and often of considerable value.
1. The Magdalene ascending to Heaven, after his own design,
good, with large margin, £1 3s.
2. The Virgin and Infant in the Clouds, inscribed "Regina
Coeli," good impression, £1.
3. Bacchus in his Car, after the artist himself, fair, 8s.
4. Bacchus Carried by Four Children, after the same, fair, 6s.
Avril (Jean Jacques).-Born at Paris in 1744: died
in 1832. Avril was a pupil of J. G. Wille. His plates
are, for the most part, correctly and carefully worked,
and many of his prints are greatly admired. They number
considerably over 500.
1. Mars Going to Battle, after Rubens, fair, 5s. 6d.
2. Diana and Actæon, after Albani, fair, 4s.
3. St. Geneviève, after Vanloo, fair, 8s.
4. The Taking of Courtrai, after Vandermeulen, 1782, good
impression with margins, 14s.
5. The Shipwreck, after Vernet, 1775, good, 8s.
118
ENGRAVINGS AND THEIR VALUE.
6. Travellers
in a storm, after the same, very fine, full
margins, 15s.
7. La Vierge au linge, after Raffaelle, fair, 4s.
Babylone (Francis de), called the "Master of the
Caduceus," and also known as Jacopo de Barbarj or Jacob
Walch.-Flourished about the year 1500. Prints by this
artist are exceedingly rare and highly valued. He was a
painter as well as an engraver, but he is known chiefly
in the latter capacity. Babylone is called the “Master of
the Caduceus" because such of the prints as are inscribed
to him bear the mark of the Caduceus: Mercury's wand
entwined by two serpents and surmounted by wings.
It has been asserted, though with no convincing authority,
that Michael Wolgemut, Albrecht Dürer, Lucas van Leyden,
and Aldegrever, were pupils of this master, a list of whose
works, thirty-three in number, is given by Bartsch (vol.
vii., p. 516), and Passavant (vol. iii., p. 134). Of these thirty
are from copper and the remainder from wood blocks.
1. The Woman with a Distaff, good, £6 6s.
2. Apollo and Diana, fair, 16s.
3. The Sacrifice to Priapus. The Statue of Priapus, sur-
rounded by women, fine, with margin, £15 15s., again,
very fine, £36
4. The Triton and the Siren, good, £7 10s.
5. St. Sebastian, tied to a tree, fine impression with margin,
£18 18s.
6. Cleopatra, £5, again, very fine, £22, again, fair, £1.
7. Pegasus, very fine, £16. The copy by Nicolas Wilborn,
with the words "El Tempo over the head of the
animals, good, £3 8s.
8. Perspective View of Venice in the year 1500, on six blocks;
second issue with the Pyramid on St. Mark's Tower,
very rare, and fine, £63.
9. The Holy Family, rare, good, £2 2s.
10. The Madonna and Child, very fine, from the Bromley
Collection, £39.
11. The Guardian Angel, from the Sykes and other noted
sales, £6 6s.
12. Two old men reading, very fine, from the Bromley Col-
lection, £12.
Bacheley (Jacques).-Born at Pont-l'Evéque in 1710;
died in 1781. An engraver of average merit. One of his
ENGRAVERS AND THEIR WORKS.
119
prints, A Storm off the Coast of Greenland," after J.
Peters, is good; and mention may also be made of the
View of the Château de Ryswick," after Ruysdael and the
"View of the Environs of Utrecht," after the same.
Backhuysen (Ludolf).-A celebrated painter of sea
pieces and storms. Born at Embden in 1631; died at
Amsterdam in 1709. Backhuysen's first instruction in paint-
ing is said to have been received from Allart van Ever-
dingen, but he perfected himself chiefly by his own obser-
vation of other masters. As an engraver we have only a
few etchings by him-the views of the Y, a small arm of
the sea near Amsterdam, perhaps being the best.
1. The set of sea views, with portrait and
£1 11s. 6d.
title (12),
2. A set of ten views on the River Y, good clear impressions,
£1 4s.
3. Set of marine views, with the title, very fine old impres-
sions (11), £3 12s.; marine views, fine (8), £1 8s. ; ditto,
fine (5), £1 5s.
Badalocchio (Sisto), called Sisto Rosa.-Born at Parma
in 1581. Died at Bologna, or perhaps Rome, in 1647.
This artist who was one of the pupils of Annibale Carracci
is more celebrated as a painter than an engraver, but he
etched several plates in good style. Badalocchio's ordi-
nary mark was "S.B., f." Bartsch (vol. xviii., p. 354)
enumerates thirty-four plates by this artist, of which
twenty-three compose what is called "Raffaelle's Bible,"
from the frescoes of Raffaelle in the Loggie of the Vatican.
1. Prophets, after Correggio, from the dome at Parma (6),
fair, 15s.
2. The Holy Family, with St. John, after Schidone, good,
with margin, 12s.
3. The Marriage of St. Catherine, fine, with large margin,
£1 6s.
4. The Laocoon, from the antique marble, the best work of
the engraver, fine, with margin, £2 15s.
Badiale (Allessandro).—Born at Bologna in 1623;
died there in 1668. This artist marked his plates with
the monogram "AB," the letters being joined together.
120
ENGRAVINGS AND THEIR VALUE.
He was more celebrated as a painter than an engraver,
having produced only a few etchings, of which those men-
tioned below are the chief examples.
1. Madonna and Child, half length, fair, 5s.
2. The Descent from the Cross, after F. Torre, fair, 3s.
3. The Repose in Egypt, fine impression, with margin, 12s.
4. The Holy Family, after F. Torre.
Baillie (Captain William).-An amateur engraver and
etcher, born at Kilbride in Ireland in 1723; died at
Paddington in 1810. He executed about a hundred plates,
the most admired of which are those in the style of, or
after, Rembrandt. Some of his works are signed with his
name, others with his initials in cipher. Captain Baillie
was a good judge of prints, and when his name or initials
are found on a specimen it may be taken as valuable
testimony to the character and worth of the print.
Nearly all Baillie's prints, were collected and issued in
two folio volumes by Boydell in 1792 and re-issued in 1803.
1. William, Prince of Orange, and his Equerry, on horse-
back. fine, with margin, £1 7s.
2. Sofonisba Angusciola, good, 16s.
3. Beggars at the door of a house, after Rembrandt's print,
proof, £2 2s.
4. The Goldweigher, after the same, proof, £5.
5. The Three Trees, after the same, good, £1 17s.
6. The Pencutter, after Gerard Douw, fair, 12s.
7. The Lace Maker, after the same, fair, 10s.
8. The Mother of G. Douw, after the same, fine impression
with margin, £1 10s.
9. James, Duke of Monmouth trial proof, £4 4s.
10. Christ Healing the Sick, from the original plate by Rem-
brandt, but retouched by Baillie, good, £5 10s.
11. Jesus disputing with the Doctors, mezzotint, after Rem-
brandt's etching, good, £2 2s.
Bailliu (Pieter de).-Born at Antwerp in 1614, living
in 1660. This artist engraved several of the works of the
most celebrated of the Flemish masters. He affected the
style of Paul Pontius but was not very successful. The
following are a few of his best prints:
ENGRAVERS AND THEIR WORKS.
121
1. Albert, Count, Arenberg, in armour, on horseback, after
Vandyck, fair, 68.
2. Pope Urban VIII., good, with margin, 12s, 6d.
3. Jan Bylert, painter, of Utrecht, after himself, good, 8s.
4. Lucy, Countess of Carlisle, after Vandyck, good impression
with full margin, 15s.
5. Anthony of Bourbon, after the same, good, 10s.
6. The Reconciliation of Jacob and Esau, before the address
of Hollander, very fine impression with full margins,
£1 12s.
7. Heliodorus driven from the Temple, rare, good, £1.
8. St. Anastasius, reading, after Rembrandt, fair, 6s.
9. Lodovico Pereira de Castro, one of the Envoys at the
Peace of Munster, good, 85.
10. The dead Christ in the lap of the Virgin, a large upright
plate after Annibale Carracchi, good impression, with
margin, 18s.
Baldini (Baccio).—Said to be a pupil of Maso Fini-
guerra. Born about 1436; died at Florence about 1515.
He engraved nineteen plates for Dante's "Inferno," (Flo-
rence, 1481) after the designs of Botticelli. Baldini was a
goldsmith, to whom it is said Maso Finiguerra communi-
cated the invention of engraving. Not, however, being able
to make the designs for his engravings, he revealed the
secret to Botticelli, and they worked conjointly. The story
to this effect seems dubious, although it is probable that
Baldini was the first in Italy to engrave copper plates
with the express object of giving off a series of impressions
from them.
Bartsch (vol. xiii., p. 164) gives a list of this artist's
productions, but as few of his works are catalogued by
any of the early writers, nor any distinction mark found
upon those ascribed to him, it is difficult to say which, if
any, are really his work. In practice the prints of Baldini
and Botticelli are classed together owing to the impos-
sibility of discriminating between them. Good impres-
sions are scarce and valuable.
1. The Prophets, twenty-four in number.
2. The copies of the above, according to Bartsch (24).
3. The Ship, good, with slight margin, £12.
4. Two circular pieces, representing Cupid riding on a dolphin,
122
ENGRAVINGS AND THEIR VALUE.
and Cupid with his eyes bandaged (perhaps by this
artist) (2), £5.
5. Representation of Hell, after the fresco of Orcagna, fair,
cut close, £1 5s.
6. The seven planets, and their influence on man, a set of
seven plates, very rare. Two of the series (Saturn and
Venus), good, £9 9s.
Baldung (Hans). Sometimes called Baldung Grien or
Grün. This artist is said to have been born in Swabia
before 1480, and to have died in 1552. His engravings
on copper are inferior, but those on wood are highly
esteemed. The number of his productions is said to reach
eighty-six. His prints are usually found marked with the
letters "HB" interwoven.
1. Christ supported by an Angel, a woodcut, fair, 13s.
2. Bacchus Drunk, near a tun, fair, 13s.
3. An Incantation, 1510 (chiaro-scuro), good impression, £2 5s.
4. Two landscapes, very scarce, good, £3.
5. Two prints of horses in a forest, 1534, fair, 14s.
6. Adam and Eve in Paradise, Eve Plucking the Apple, 13s.;
again, good, £1 6s.
7. Portrait of Pope Paul IV., profile turned to the right, 1557,
probably not by this engraver but often attributed to
him, chiaro-scuro from three blocks, good impression,
scarce, £3 10s
Baléchou (Jean Joseph).—A French engraver. He
was born at Arles in 1719, and died at Avignon in 1764.
This artist worked entirely with the graver, and was a
perfect master of that instrument. The clearness of the
strokes and the depth of colour which he produced are
far beyond any work of the kind prior to his own. The
two large plates after Vernet-one representing a storm
and the other a calm-are usually regarded as his most
successful productions.
1. Augustus III., King of Poland, whole length, after Rigaud,
before the date and title of Rigaud, good, £2 2s.
2. The Storm and The Calm, before the lines over the in-
scription, proof before all letters, 7s. (The Dent Sale).
£5 10s.
3. The Bathers, after Vernet, good, 18s.
4. Henry Comte de Brühl, proof before letters and before
alteration of face, £1 3s.
ENGRAVERS AND THEIR WORKS.
123
5. St. Geneviève, after Vanloo, proof before letters, good,
£5 5s.
6. Portrait of De Jullienne holding that of Watteau, proof
before letters, good, £2 12s.
7. The set of five fancy subjects after Jeaurat, all fair
impressions, £1 1s.
8. Portrait of Louise Elizabeth of France, called "La Terre, "
after Nattier, fine, with full margin, £1 6s.
Bamboccio.- See Laer (Peter de).
Banck (Pieter van der).-Born in Paris in 1649;
died in England in 1697. A pupil of François de Poilly,
under whose instruction he became a very eminent artist.
He is chiefly noticeable as an engraver of portraits. The
style of this engraver is significant in the laboured neat-
ness and mechanical part of the art, and his portraits,
though they cannot rank with the superior productions of
Edelinck, Nanteuil, and other eminent masters, have their
share of merit and will always be esteemed as preserving
the best resemblance of many eminent persons who were
living at the time.
1. John Smith, Writing Master in London, bust, in oval of
laurel, after Faithorne, fine, 18s.; the same cut, with
others, 13s.; the same, proof before letters, good, £5.
2. Thomas Tenison, Archbishop of Canterbury, fair. 8s.
3. The Reverend and Valiant Mr. George Walker,
Kneller, engraved in 1689, very fine, £4 4s.
after
4. Statue of Charles II. (by Grinling Gibbons), Sir Thomas
Allin, the Lady Lychfelde, and others (6), £2 15s.
5. Sir Thomas Allin, after Kneller, fine, £1 10s.; the same,
fair, 7s. 6d,
6. Sir William Temple, after Lely, good, £1 1s.; the same,
fair, 12s.
7. Duke of Lauderdale, "Maitland," fine proof before letters,
£3 18s.
Bannerman (Alexander).-Born at Cambridge about
1730; living in 1770. This artist engraved a number of
portraits for Walpole's "Anecdotes of Painting." He also
worked for Boydell, the publisher, and is regarded as an
engraver of tolerable merit. It is seldom, however, that
any of his prints sell for more than a few shillings each.
1. A number of portraits for Walpole's "Anecdotes" (26) fair,
5s. 6d.
124
ENGRAVINGS AND THEIR VALUE.
2. The Death of St. Joseph, after Velasquez, good, 9s.
3. Children Dancing, after Le Nain, fair, 4s.
4. Joseph Interpreting Pharaoh's Dream, after Spagnoletto,
fine, 10s.
Barbarj (Jacopo de).-See Babylone (Francis de).
Barbatelli.-See Poccetti (Bernardino).
Barbé (Jan Baptista).—Born at Antwerp in 1578;
died there in 1649. This artist seems to have worked with
great precision and accuracy in the style of Wierix. His
prints number about 150. Their value as a rule is small.
1. The Virgin on a throne, after Franck, good, 8s.
2. Christ on the Mount of Olives, after the artist himself,
3s. 6d. again, good, 6s.
;
3. The Crucifixion, after the same, proof, very fine with
margin, 11s.
4. The Nativity, after the same, clear impression, lettered, 5s.
5. Ignatius Loyola Kneeling before an altar, good, 6s.
Barbiere (Domenico del).-A painter and engraver,
born at Florence in 1506; died at Troyes after 1563. His
plates, some of which are etched and others engraved, are
occasionally signed in full but more often with the
cipher "DB" interwoven. Barbiere is perhaps better
known by the name of Domenico Fiorentino, or Ricoveri.
Bartsch (vol. xvi., p. 355) mentions nine plates by this
artist, who was one of Rosso's best pupils. He must not
be confounded with Dominique Barriére, who was born
about 1622 at Marseilles. The ciphers of the two artists
are precisely similar, but the style is different.
1. The Repose in Egypt, 12s.; again, 15s. 6d.
2. The Stoning of Stephen, good, 18s.
3. Christ Taken Down from the Cross, after Salviati, fine
and rare, £2 5s.
4. Venus, Mars, and Cupid, after Rosso, £1 2s.
5. Groups from Michelangelo's Last Judgment, The Punish-
ment of Amphiaraus, and Mars and Venus, both after
Rosso (4), good, £1 12s.
6. The Banquet, Figure of Glory, Skeletons and academical
figures, after Rosso, Nymphs dancing, after Primatticio
(4), good, £1 5s.
Barbieri (Giovanni Francesco).-See Guercino.
ENGRAVERS AND THEIR WORKS.
125
Bargas (Alphonse).-A Flemish engraver, who lived
in the early part of the eighteenth century. He is chiefly
noted for a set of four landscapes after Pieter Bout, and
a set of six others after his own designs. The etchings
of this artist are worked slightly, but in a free and
masterly style. The pecuniary value is, however, small
as a rule.
Barlow (Francis).—An eminent English engraver, born
in Lincolnshire, about 1626. Died in Drury Lane, London,
in 1702. He excelled in the representation of natural
history subjects, and in 1666 published a translation of
Æsop's Fables," with one hundred and ten plates after
his own designs. Benlowe's Poems, published in 1652
under the title of "Theophila," has two plates engraved
by this artist. Francis Barlow usually signed his plates
with his monogram, "F. B.," occasionally found enclosed
in a circle. Among his productions may be noted:
1. St. George Slaying the Dragon, good, £1 1s.
2. The Last Horse Race Run before Charles II., very rare
and curious, £9 10s.
3. Edward Benlowe, in oval of laurel, rare and good, £5 5s.
4. George Monck, Duke of Albemarle, half length, after his
own painting, fine, £1 6s.
5. The Eagle with the Cat, rare, a fine impression of this
print, £6 10s.
Barney (William Whiston). - A mezzotinto engraver
who studied under S. W. Reynolds. His best-known works
comprise portraits of the Duchess of Devonshire, after
Gainsborough, and Sir Arthur Wellesley, after Hoppner.
It is uncertain when or where Barney was born, but in
1805 he bought a commission in the army and afterwards
served throughout the Peninsular war.
1. The Duchess of Devonshire, after Gainsborough, whole
length, fine early impression, framed, £46 4s.
2. The Happy Cottagers, after Hamilton, printed in colours,
£1 2s.
3. The Fisherman's Departure, The Fisherman's Return, both
after Wheatley, printed in colours, fine, £3 7s 6d.
Baroccio (Federigo). — Born at Urbino in 1528; died
126
ENGRAVINGS AND THEIR VALUE.
there in 1612. Chiefly celebrated as a painter. His en-
gravings are, however, admired for their correctness of
design and beauty of expression. Among the best of his
works are a large arched plate representing the Virgin
and Christ appearing to St. Francis, and St. Francis re-
ceiving the stigmata or marks said to have been super-
naturally impressed upon the bodies of certain persons in
imitation of the wounds on the crucified body of Christ.
Among the prints of Baroccio (or Barocci, as he is in-
differently called) may be noted:
1. The Madonna, and the little St. Francis, £1; the same,
fair, 10s.
2. The Annunciation, 18s.; the same, and the Virgin seated
on a cloud (2), good, 16s.
3. The Great St. Francis, plate arched at the top, good. £1 12s.
4. The Annunciation, fine, £1 8s.
5. The Virgin and Child, (the lower portion of this plate was
never finished), fair, 8s; again, fine with margin, £1 1s.
Baron (Bernard). - A French engraver, born at Paris
in 1700; died in Panton Square, Piccadilly, Jan. 24, 1762.
This artist's engravings, which are numerous, and not
destitute of merit, are executed in a coarse and rough
manner. His style
His style of engraving appears to have been
founded on that of Nicolas Dorigny. Among his best
plates may be reckoned the Jupiter and Antiope, a large
plate lengthwise, infra. A number of the artist's prints
are to be found in Boydell's "Collection of Prints" London,
9 vols, atlas folio, 1769.
1. Henry VIII. Granting a Diploma to the College of Sur-
geons (after Holbein, original painting in the Guildhall
Library), good, £1 14s.
2. William III., on horseback, after Kneller, fair, 8s.
3. John, Count of Nassau, his Wife and Children, after Van-
dyck, fine, £1 5s.
4. Philip, Earl of Pembroke, and Family, after Vandyck,
fine, £1 3s. 6d.
5. Jupiter, transformed into a Satyr, in Love with Antiope,
after Titian, fine, large margin, £2 10s.
6. C. Julius Cæsar, large head crowned with laurel, fair, 14s.
7. The Temptation of St. Anthony, after Teniers, fine, £1 12s.
8. The raid on a Village, after Watteau, fair, 11s.
ENGRAVERS AND THEIR WORKS.
127
Baron (Jean), sometimes called Baronius and occasionally
"Tolosano."-Born at Toulouse, 1631. This artist is stated
by Strutt to have "executed his plates entirely with the
graver in a servile, dry manner, very neatly, but exceedingly
defective in drawing, expression, and effect." He chiefly
resided at Rome, where he worked for some years in con-
junction with Cornelis Bloemaert.
1. The Cardinal Aquaviva, fine, 12s.
2. Marc Antonio Raimondi, fair, 6s.
3. Raffaelle d'Urbino, good, 12s.
4. Leonardo da Vinci, fine, 14s.
5. The Stoning of Stephen, after Abbate, fair, 5s.
6. The Virgin in Adoration, after Guido, good, 10s.
7. St. Romualdus and Monks, after Sacchi, fair impression, 4s.
8. Judith and Holofernes, after Domenichino, good, with
margin, 7s. 6d.
Baronius.-See Baron (Jean).
Barras (Sébastien).—A mezzotinto engraver, born at
Aix in Provence, about 1670, or, according to Bryan, in
1653. Sébastien Barras cannot, by any stretch of imagi-
nation, be called a great artist; in fact, his drawing is
frequently very defective, and his transition from light to
shadow or vice versa too sudden and marked. The twenty-
seven mezzotintos in the first edition of the collection of
M. Boyer d'Aguilles (Folio, n. d., published by Basan) are,
however, distinctly in advance of his other productions, and,
being very scarce, are sought for by collectors. His portrait
of Maharkysus, an Antwerp physician, after Vandyck, is also
good.
Barrière (Dominique).-Born at Marseilles, about the
year 1622. This artist often signed his plates with the
cipher "DB." (interlaced), the mark used by Domenico del
Barbiere. The styles of the two artists are, however, quite
different, and, when once compared, there can be no
possibility of a mistake. Some of his plates are found
signed in full, "Dominicus Barrière Massiliensis," but this
is not often the case. Barrière died at Rome in 1678.
128
ENGRAVINGS AND THEIR VALUE.
1. The Villa Aldobrandini, seven views of the Gardens, &c.
(7) fair, 15s.; again, very good, with margins, £3 3s.
2. Portrait of Jean de la Valette, scarce, and fine, £1 Ss.
3. A view of Frascati, fair, 4s.
4. Eighty-four views and statues of the Villa Pamphili; a
fair set brings from £2 to £3.
5. The monument of Plumbini, signed by the engraver, fair,
5s. 6d.
6. A group of Saints after Michelangelo, good, 13s.
Bartoli (Pietro Santi), called Il Perugino.-Born at
Perugia about the year 1635, died at Rome in 1700. The
plates left by this artist are usually found marked with
the initials “P. B. F." His great excellency lay in his
power of copying bas-reliefs and other works of the an-
cients. He drew in a correct style with great originality,
and his plates, which are mostly etched, are executed in a
masterly manner, free from any appearance of labour or effort.
1. Adoration of the Magi, after Annibale Carracci's print
after Raffaelle, good, with margin, £1 4s.
2. Sophonisba before Masinissa, after Romano, fair, 6s. ; again.
good impression, 14s.
3. The Continence of Scipio, after the same, fair, 8s.
4. The Birth of the Virgin, after Albani, fine, £1 2s.
5. The Marriage of the Virgin, after Berrettoni, fair, 8s.
6. Daniel in the Lions' Den, after Cortona, good, 12s.
7. A set of friezes (12), after Raffaelle, £1 4s.
8. A set of friezes (15), after the same, £1 4s
9. A set of friezes (15), after the same, inscribed "Leonis
X.," &c., £1 4s.
10. Four plates of Jupiter, Mars, Diana, and Mercury, fair, 13s.
Bartolommeo.-See Breemberg (Bartolommeo).
Bartolozzi (Francesco).-A very celebrated designer
and engraver, who was born at Florence in 1725. He died
at Lisbon in 1815. This artist engraved a large number
of plates, many of which are after his own designs, others
after those of Cipriani, Angelica Kauffman, Guercino and
other well-known artists. The list of his works given by
Mr. Andrew Tuer in "Bartolozzi and his Works" numbers
no fewer than 2200 examples, including, however, certain
specimens which, though of excellent workmanship, can
hardly be called engravings, such, for example, as tickets
ENGRAVERS AND THEIR WORKS.
129
for concerts and masquerades. Prints by Bartolozzi were
in greater favour a few years ago than they are now,
though even yet some of his portraits and finer subjects
bring large sums of money when in proof or early states.
It must be borne in mind that many impressions offered
for sale are almost, if not entirely, worthless, being taken
from old and worn-out plates. This is so with regard to
the works of other engravers, though perhaps not to the
same extent. The large number of prints attributed to
this artist, and the popular demand for them, led to a
general search, in the course of which inferior impressions
came to be looked upon as better than none, though, from
a collector's point of view, the truth of this axiom might
very well be questioned.
Bartolozzi treated subjects of most kinds, chief among
which may be reckoned (a) portraits, (b) the fanciful, (c)
the allegorical, (d) classical, (e) historical. The popular
fancy centres on these in the order named. Engravings
in colours are the most highly esteemed, then come
those in red, brown and black respectively. Plates after
Guercino and prints of the Marlborough gems are, as a
rule, unimportant.
The prices given below were all realised at auction.
within the last few months.
1. Venus Chiding Cupid, after Reynolds, fine, 10s.; again, 7s.
2. Whole-length portrait of Miss Farren, after Lawrence, pub.
Jan 1, 1792, good, £2 18s.
3. The Misses Beauclerk and the Duchess of Devonshire (2),
£2 5s.; The Misses Beauclerk, in brown, good, £1 3s.
4. Cupid Making his Bow, after Correggio, proof, in colours, 15s.
5. "He was wounded for our transgressions," after Guido,
fair, 8s.
6. Music, after Cipriani, in colours, full margins, fine, £2 12.
7. Tancred and Clorinda, after Angelica Kauffman, £1 3s.,
again, open letter proof, 8s.
8. Telemachus and Mentor in the Island of Calypso, £1
14s., ditto, fair, 11s.
9. The Months, after W. Hamilton R. A., ten engraved by
Bartalozzi and two by Gardner, ovals, fine impressions,
six being open letter proofs, very rare, £70.
9
130
ENGRAVINGS AND THEIR VALUE.
10. A Sacrifice to Cupid, after Cipriani, in colours, fine, £28s.
11. The Three Fine Arts, in red, fine, £1 2s.
12. St. Cecilia, after Cipriani, small oval in red, 12s.; the same,
reversed, in black, 2s.
13. Rural Sports, after A. Kauffman, 11s.
14. Innocence, after Cipriani, in red, 10s.
15. Filial affection, after Cipriani, in red, worn, 6s.; again, fine
impression, £5 5s.
16. The Death of Cora, 10s.
17. Lodona, after R. Cosway, open letter proof, 7s.
18. Veillez Amants si l'Amour dort, after A. Kauffman, 8s.
19. The Triumph of Beauty and Love, after Cipriani, in colours,
fine, £2 8s.
20. Venus and two Cupids, after Cipriani, proof before letters,
£1 12s.
21. Emily Pott as Thäis, open letter proof, £17 17s., again, in
brown, fine, £8.
22. Lady Smyth and Children, after Reynolds, fair, £1 8s. ; again,
fine impression in brown £10 10s.; again, in colours very
fine, £54.
23. Louis XVII. and the Princess Royal, throwing themselves
into the arms of Hope, after De Rigny, in colours, fine,
£2 18s.
24. Marie Christine of Austria, after Roslin, in red, scarce, £4 8s.
25. The Princesses Mary, Sophia and Amelia, after Copley,
fair, £1 5s.
26. Countess Spencer; after Reynolds, good old impression, £4;
again, fine, £7.
27. Elizabeth Vernon, Countess of Harcourt, after A. Kauffman,
in red, fair, £1.
28. Miss Farren (Countess of Derby), after Sir T. Laurence,
very fine and rare, £14 3s. 6d.
29. The Princess Amelia, after the same, proof, good, £3.
30. Venus and Adonis, after R. Cosway, in red, fair, 15s.
31. La Signora Rosalba, after herself, in red, fine, £1 8s.
32. Summer, after Wheatley, printed in colours, fine and rare,
£17 10s.
33. Winter, after the same, printed in colours, fine and rare, £17.
34. The Four seasons, complete, after Wheatley, good, £10;
again, £11 10s.
35. Mrs. Abingdon, as Thalia, after Cosway, fine impression
in colours, £9.
36. The Rt. Honble. Harriet Viscountess Bulkeley, after Cos-
way, fine impression in colours, £10.
37. Scene from Gray's Elegy, after Hamilton, in colours, £1.
38. Angelica Kauffman, in colours, very fine, £5 5s.; again,
fair, £2.
39. The Birth of Shakespeare, after Angelica Kauffman, oval,
fine artist's proof in red, £4 6s.
40. The Countess of Harrington with her children, after Rey-
nolds, fine, in brown, £7 15s.; again, in brown, £6 15s.
ENGRAVERS AND THEIR WORKS.
131
41. The Affectionate Brothers, after Reynolds, good £3; again,
proof, very fine £12 16s.
42. Simplicity (Miss Gwatkin), after Reynolds, good, £4 15s.·
43. The Duchess of Devonshire, after Lady Diana Beauclerc,
proof; the same after Nixon, lettered impression (2),
£6 6s.
44. The Gipsies, an oval, after Emma Crewe, in colours, fine,
£5 5s.
45. The Fortune Teller, an oval, after the same, in colours,
fine, £5 5s.
46. Beautiful Rhodope in love with Esop, after Angelica Kauff-
man, in red, good, £1 13s.
Some of the original plates engraved by Bartolozzi still
exist and impressions from a number of them were taken
off some years ago by Field and Tuer at the prices quoted
below. It will, of course, be understood that these are
merely "reprints"-that is to say, impressions taken
from the original plates, but not by or under the super-
intendence of the engraver. Collectors are of opinion that
"reprints" are not of the same importance as original im-
pressions and the reason probably is that most reprints
are necessarily taken from worn-out plates, and the excep-
tions have to give way to the general rule. The pieces.
mentioned below are, however, fine, and infinitely preferable
to original but indifferent impressions from much used
plates.
Clytie, after A. Carracci, £1 5s.
Spring (after Westall), Summer (after Wheatley), Autumn
(after Westall), Winter (after Wheatley), set of four,
each 12s. 6d.
Loves (oval), after Howes, 1791, 12s. 6d.
Alexander III., King of Scotland, Rescued from the Fury
of a Stag by the Intrepidity of Colin Fitzgerald, after
Sir Benj. West, 1788, £2 2s.
Lady Smyth and Family, after Sir J. Reynolds, £1 11s. 6d.
St. James' Beauty, after Benwell, 1783, 12s. 6d.
St. Giles' Beauty, after Benwell, 1783, 12s. 6d.
Love and Fortune, after Cipriani, 3s. 6d.
Mansion House Ball Ticket, after Cipriani, 1775, 5s.
Marie Antoinette, after Violet, 1790, 5s.
Paris and Enone, after Ang. Kaufman, 12s. 6d.
Spirit of a Child Arrived in the Presence of the Almighty,
after Peters, 1801, £1 11s. 6d.
132
ENGRAVINGS AND THEIR VALUE.
Bartsch (Adam).—A German engraver, born at Vienna
in 1757. Bartsch was the keeper of the imperial collection
of prints at Vienna, and the author of that well known
work "Le Peintre-Graveur," for which he etched a series
of works after Dutch and Flemish artists. Bartsch died at
Hietzing, near Vienna, in 1821.
1. The works of Adam Bartsch in upwards of 130 pieces,
amongst which were many proofs and variations, presumed
to have been purchased by the then late proprietor, at
Vienna, from the artist himself (130), £9. This sum
was realised more than twenty years ago; at the present
day such a collection would sell for considerably more.
2. Portrait of himself, proof, good, £1.
3. Johann Christian Brand, painter, fair, 12s.
4. Michael Wolgemut, painter.
5. Madam Tscida.
6. The Marriage of Alexander and Roxana, after Parmigiano.
Bary (Hendrik).-Born in Holland about the year
1626. The date of his death is unknown, but he was
working at Amsterdam in 1659. Plates by this artist are
sometimes found marked "H. Bary," and sometimes, and
more frequently, "H. B.," while his style closely resembles
that of Cornelis Visscher. This is especially noticeable in
the case of his portraits, except that though for the most
part finely and neatly finished, they cannot compare with
the prints of Visscher in point of talent. Bary's "Summer
and Autumn,” represented by two children, is, however,
an exceptionally fine piece of work.
1. Jacobus Batiliere, three-quarter length, fair, 5s.
2. Jerome van Bererningki, oval bust, very fine, 18s.
3. Admiral Vlugh, half length, fine, 10s.
4. Cornelius Ketel, four lines in Dutch, good, 10s.
5. Summer and Autumn, very fine, with full margin, £1 7s. 6d.
6. A peasant family, after Aertsen, fair, 6s.
7. An allegorical figure of Neptune, after his own design,
fair, 4s.
Bas (Jacques Philippe le).-This celebrated engraver
was born at Paris in 1707, and died there in 1783. He
was a pupil of Tardieu. The artist's great force is stated
by Strutt to lie in landscapes and small figures. "His
ENGRAVERS AND THEIR WORKS.
133
style of engraving is extremely neat, but yet he proves
the freedom of the etching, and harmonises the whole
with the graver and dry point." Specimens of vignettes
by Le Bas may be seen in the 1754 edition of Rollin's
"Ancient History," and his prints being very numerous,
there is seldom any difficulty in obtaining a number of
fair examples of his skill.
1. Landscapes, views in Flanders, after Breughel (8), fair, 12s.
2. Landscapes, after Vandervelde (6), average series, £1 4s.
3. Landscapes, after Wouverman (10), 18s.
4. Halt of Cavalry, Wild Boar Hunting, &c., after Wouver-
man (5), 19s.
5. Various animals, after Oudry (14), indifferent, 9s.
6. The Adoration of the Kings, after Veronese, fine, large
margin, £1 3s.
7. The Chemist, Boors Regaling, the Larder, &c. (5), fair, 18s.
8. The Miseries of War, the Rainbow, the Bowl Players,
&c. (6), fair 18s.
9. Village Merrymakings, the large plates, very fine, (4),
£1 13s.
10. The Milk-pot, after Wouverman, large plate, lengthways,
fair, 5s.
Basan (Pierre François).-Born at Paris in 1723;
died in 1797. This engraver is chiefly noted as one of
the authors of the "Dictionnaire des Graveurs," first pub-
lished in 1767, which became the foundation of now
better-known books of reference of the same kind. His
“Collection de 120 Estampes gravées d'après les Tableaux
et Dessins qui Composoient le Cabinet de M. Poullain,"
Paris, 1781, 4to, and the Choiseul Cabinet of the same
date, are both fine works of art. The artist's single prints
comprise a portrait of the Cardinal Prince de Rohan;
"The Card-players," after Teniers; "The Incantation," after
the same;
"Bacchus and Ariadne," after Jordaens; and
some others of less merit.
Basire (James).-Born in London in 1730; died there
in 1802. Though there were several members of this
family who practised the art of engraving, the only one
with whom the world of art is likely to concern itself in
134
ENGRAVINGS AND THFIR VALUE.
the future is this James Basire, the master of William
Blake. Some of his plates are excellent, particularly that
representing "The Field of the Cloth of Gold," after
the picture at Hampton Court.
1. Sir James Burrow, whole length, fair, 5s.
2. The Embarkation of Henry VIII. at Dover; good with
margin, 13s.
3. Le Champ de Drap d'Or, fine, with large margin, £1 5s.
4. View of the Ancient Royal Palace, called Placentia, fair,
4s. 6d.
5. View of Richmond Palace, fair, 3s.
6. Arabella Stuart, good, with margin, 18s.
7. Lord Mansfield, æt. 28, fine, with large margin, 16s.
Baudet (Etienne).—A French engraver, who was born
at Vineuil about 1636; died at Paris in 1711. This artist's
prints are, in general, exceedingly neat; but their effect
is cold and silvery, and the extremities of the figures are
heavy and not well defined. When he called in the assist-
ance of the point his work was bolder, and somewhat
resembled that of J. B. de Poilly.
1. Set of large landscapes, fine proofs before letters, with
full margins (4), £6 68.
2. The Elements, after Albani, fine old impressions (4), 17s.
3. Louise, Duchess of Portsmouth, after Gascar, very fine,
£2 15s.
4. The Martyrdom of Stephen, after Annibale Carracci, 1677,
good, 7s. 6d.
Bauduin (Anton Frans).-Born at Brussels in 1644;
died at Paris in 1700. The artist's best plates are land-
scapes, after the designs of Vandermeulen. They have, in
general, a good effect, produced by a bold, free style,
not unlike that afterwards adopted by Chatelain. The
pecuniary value is small as a rule.
Baur (Johann Wilhelm).-Born at Strasburg in 1600;
died at Vienna in 1640. This artist's plates are usually
found marked with his name, but sometimes with the
letters "WB" interwoven. He engraved a large number
of plates from his own designs, the total number of his
productions probably exceeding 500. The engravings for
ENGRAVERS AND THEIR WORKS.
135
the "Metamorphoses" of Ovid, published at Vienna in 1641,
are generally preferred to his other works; they are complete
in 150 pieces, slightly etched and retouched with the
graver, the figures for the most part small and of inferior
design, the backgrounds dark and heavy, but the perspective
finely preserved and the general designs good.
1. A number of etchings (26), fair, 8s.
2. A set of subjects of battles (15), good, 18s.
3. A number of small theatrical representations, habits of
various nations, &c. (32), 14s.
4. A set of illustrations to the "Metamorphoses" of Ovid,
before any inscriptions, very fine (150), £2 17s.
Bause (Johann Friedrich).-Born at Halle in Saxony
in 1738; died at Weimar in 1814. A self-taught artist of
considerable repute. His style greatly resembles that of
J. G. Wille and was probably modelled upon it.
1. Sir Francis More, in an illustrated oval, fair, 5s.
2. Frederick II., King of Prussia, oval bust, good, 9s.
3. La Petite Rusée (called "The Laughing Girl"), after
Reynolds, proof before Letters, £1.
4. Peter the Great, oval bust, in armour, fine, 10s.
5. Artemisia, after Guido Reni, fair, 5s.
Baxter (George).—This artist was celebrated for a novel
method of printing in oil colours which he invented and
patented about the year 1830. His process, though involved
in considerable obscurity, was in effect a species of chiaro-
scuro work, with this difference, that the first block or
plate was fully engraved, the subsequent plates or blocks
being used for the sole purpose of introducing the various
colours necessary to build up the picture on which he was
engaged. Baxter's work is fine and for the most part full
of minute detail, while his designs are excellent and
colouring brilliant. Notwithstanding these distinguishing
features it is only comparatively recently that much in-
terest has been taken in his productions. A society for
the collection and study of his works was formed in 1895
and at the close of the year an exhibition was held at
Birmingham under its auspices. Baxter's prints number
136
ENGRAVINGS AND THEIR VALUE.
probably about 400, though if minute variations resulting
from the irregular or partial manipulation of the successive
blocks necessary to form a perfect picture are taken
into account, they cannot fall short of several thousands.
The pecuniary value of these prints has, of late, greatly in-
creased. George Baxter was born at Lewes in 1806; he
died at Sydenham in 1867.
Bazin (Nicolas).-Born at Troyes in 1633; died there
in 1710. This artist was a pupil of Claude Mellan, though
he never arrived at any great proficiency in the art of
engraving. His best print is, perhaps, that of "Saint
Marguerite," after Raffaelle.
1. Madame Guyon, a visionary, fair, 5s.
2. Father Anthony Verjus, a Jesuit, proof, 9s.
3. St. Francis Xavier, fair, 5s.
4. St. Ignatius de Loyola, 9s.
5. Louis XIV., on horseback, 1682, good, 9s. 6d.
6. Louis, Dauphin of France, 1686, fair, 7s.
7. Equestrian portraits of Elizabeth Charlotte de Baviere and
Maria Thérèse d'Autriche (2); both fine, £1 14s.
Beard (Thomas).-Born in Ireland about 1680; living in
1728. A mezzotinto engraver, chiefly of portraits. He does not
appear to have scraped many plates. Smith, in his work
on "British Mezzotinto Portraits" (part i. p. 17), only
mentions seven. There is, however, a print entitled "Li-
berality and Modesty," after Guido, which does not seem
to have been catalogued by Smith.
1. John Sterne, Bishop of Clogher, fair, 5s. 6d.
2. The Archbishop of Armagh, after Ashton, 1728, fine proof
before letters, £2 5s.
3. The Countess of Clarendon, after Kneller, fine, with
margin, £1 4s.
4. William Conolly, good, 14s.
5. Thomas Wyndham, good, 12s.; again, proof, names and
inscription etched in, £1 12s.
Beatrici (Nicolo), sometimes called Beatricetto, or
Beatrizet.-Born in Lorraine about 1500; died at Rome in
1560. This artist executed a large number of plates,
which are marked either "N. B.," "N. B. L.," or "N. B. L. F."
ENGRAVERS AND THEIR WORKS.
137
A list of his works is given by Bartsch, (vol. xv., p. 240),
and in Passavant's work (vol. vi., p. 117).
1. Henri II. of France, oval bust, fine proof, with margin, £22.
2. Hippolyta, daughter of Ferdinand de Gonzaga, large oval
bust, good, with margin, £1 12s. 6d.
3. St. Peter Walking on the Sea, after Giotto, fair, 10s.
4. Christ and the Samaritan at the Well, fine, £1 1s.
5. The Last Supper, after Marc Antonio, after Raffaelle,
fair, 12s.
6. The Execution of Eighteen Carthusians, fair, £1.
7. Equestrian Statue of Marcus Aurelias, good, 16s.
8. Joseph Relating his Dream, after Raffaelle, £1 12s.
9. The Virgin at the Foot of the Cross, after Michelangelo,
fine, with margin, 18s.
10. The Fall of Phaeton, after Michelangelo, fine, £1; the
same, first state before the address of Losi, very fine, £3.
11. The Combat of the Amazons, on two sheets, very fine
with large margins, £1 6s.
12. The Annunciation, first address; with the name of Michel-
angelo, good, 188.
13. Death of Meleager; Sacrifice of Iphigenia, before the
address; both good, £1 1s.
14. Christ Raising the Daughter of Jairus, very fine, with
large margin, £1 1s.
15. The Temple of Fortune, after Raffaelle, fair, 6s.
Beatricius.-See Master of the Die.
Beatrizet. See Beatrici (Nicolo).
Beauvais (Nicolas de).-Born at Paris about 1690;
died there about 1763. This artist, though a pupil of
Jean Audran, does not seem to have made exceptional
headway, and his prints are not in much request unless
very fine. Among the best are: "St. Jerome," after Van-
dyck; "Bacchus and Ariadne," after Poussin; "The Burning
of the Fleet of Æneas," after Coypel and several subjects
after Le Brun.
Beauvarlet (Jacques Firmin).-Born at Abbeville in
1731; died at Paris in 1798. The style adopted by this
excellent engraver is of a dual nature. When first prac-
tising his profession he worked with a bold and free grip,
but afterwards his style grew neater, and his productions
appear more highly finished. His earlier prints are, how-
138
ENGRAVINGS AND THEIR VALUE.
ever, more highly esteemed. Specimens of Beauvarlet's
work always sell well:
1. Portrait of Molière, after Sebastien Bourdon, half length,
seated at his secretaire, good, £1 1s.
2. Fishing and Bird Catching; the Departure and Arrival of
the Carrier Pigeon; Crocodile Hunting: all after Boucher
(3), fair, 12s.
3. Les Couseuses, after Guido, proof before letters, fine, £3;
again, first state before all letters, £3 3s.
4. La Sultane, after Van Loo, proof before letters, good, £1 1s.
5. The History of Esther, after De Troy, proofs before letters
(7), £1 5s.
6. Children of the Duc de Bethune, after Drouais, good, 13s.
7. Venus and Adonis, after Alessandro Turchi, good, with
margin, 12s.
Beccafumi (Domenico).-This artist, sometimes called
Il Mecarino, was born at Siena in 1486; died at Genoa in
1551. Mecarino is celebrated as a painter and for his exe-
cution in mosaics of the pavement of the cathedral at
Siena: a piece of work afterwards engraved by Andrea
Andreani. As an engraver he worked excellently, both in
wood and metal. His plates are usually found marked
with his initial, and sometimes "Micarino fe." Passavant
describes four etchings and nineteen wood-cuts attributed
to this master.
Like many other famous artists, Beccafumi contended
against great difficulties. Obscurity and poverty were his
only sponsors, but so well did his natural talent turn the
tables on these disadvantages-if such indeed they were
under the circumstances that he rose from being a sheep-
boy, and eventually took his place among the most famous
artists of his own or any other age.
1. A study of two naked figures (1), proof before the name,
good, £1 12s.
2. St. Philip and St. Peter, whole-length figures (2), good,
£1 8s.
3. The Death of Abel, fine and rare, £1 4s.
4. The Vintagers, very fine and rare, £1 10s.
5. Procession of marine monsters, first state before the
background, rare, £2 12 6.
6. St. Andrew (chiaro-scuro), fine, £1 15s.
7. St. Peter (chiaro-scuro), good, £1 8s.
ENGRAVERS AND THEIR WOrks.
139
8. St. Philip with a book and cross (chiaro-scuro) fine, with
good margin, £3 10s.
Beckett (Isaac).—Born in Kent, 1653; living in 1719.
This artist, who was a pupil of Lutterel, is entitled to be
considered as one of the first native Englishmen who
extensively practised, and in a measure founded, the school of
mezzotinto engraving. Beckett executed several scriptural
and allegorical subjects as well as a few landscapes, but
by far the greater number of his plates are portraits, of
which Chaloner Smith in his "British Mezzotinto Por-
traits" describes 107.
1. Hadrian Beverland, after Dubois, good, 10s.
2. Henry Compton, after Riley, before the date, fine, £l 10s.
3. Count Ferdinand d'Ada, second state, before the name
Savage was altered to Smith, good impression, £5 10s.
4. Duchess of Grafton, after Wissing, fine, £7 7s.
5. Madam Ann Kirk, proof before Cooper's address, £2 12s.;
again, fine proof, £8 10s.
6. Sir Godfrey Kneller, first state, before Smith's address,
very fine, £10 10s.
7. John, Duke of Lauderdale, after Riley, before Smith's
address, good, £2 2s.
8. Richard Low, after Hays, rare, fine, £1 15s.
9. Madame Soams, after Kneller, second state, before the
name altered from Sooms, very rare in this state, £9 12s.
10. Peter van der Meulen, second state, good, 18s.
11. Dorothy, Countess of Westmoreland, after Riley, proof,
good, £2 10s.
12. The Lady Williams, after Wissing, second state, before
the words, "Cum Privilegio Regis," very fine, £2 18s.
13. The Confession, after Heemskerk, good, 13s.
14. Venus and Cupid, after Titian, good, 12s. 6d.
15. Pan and Syrinx, rare, 14s.
16. Mrs. Yarborough, after Kneller, fine lettered impression,
£6 10s.
17. John, Lord Sheffield, Earl of Mulgrave, after Kneller,
fine lettered impression, £5 15s.
18. The Earl of Melfort, after Kneller, good lettered impression,
£3 10s.
19. Christopher, Duke of Albemarle, second state, with mar-
gin, 15s.
20. Countess of Dorchester and Mrs. Turnor, fair (2), 17s.;
The Countess of Dorchester, fine lettered impression,
£7 7s.
21. Thomas Cartwright, Bishop of Chester, after Zoest, lettered,
very rare, £12.
140
ENGRAVINGS AND THEIR VALUE.
22. Beau Fielding, after Wissing, oval, proof before the in.
scription Collonel Robert Fielding", £2.
23. Edward Wetenhall, Bishop of Cork, proof before the name
of Beckett, very fine, £6 15.
24. Lady Mary Fielding, lettered impression, fair, 16s.
25. William III., lettered impression, fair, 12s.
26. Lady Turner, first inscription, fair, 16s.; again, fair, 7s.
27. Elizabeth, Countess of Chesterfield, after Lely, good lettered
impression, £3 3s.
28. Amelia, Countess of Ossory, very fine, £7 7s.
29. George, (second) Duke of Buckingham, after Vanelst, fine
proof, very rare, £13.
30. Henry, Duke of Norfolk, in armour, fine proof, very rare,
£12 18s.
31. The Duchess of Portsmouth,' playing on a guitar, after
Laroon, lettered impression, good, £2 10s.
(C
Bega (Cornelis Pietersz).-Born at Haarlem in 1620;
died there in 1664. His etchings, which are executed
with much spirit, are under forty in number, and it is
worthy of note that thirty-six of them, described as very
fine, with variations," sold by auction some years ago
for £3 1s. This was very little, and there is no doubt
that at the present day a similar set would bring more.
One of his prints, an assemblage of eight peasants, two
of whom are playing cards, was not included in this
set; it is exceedingly scarce, and worth in itself two or
three guineas if in anything like condition. (See Bartsch,
vol. v., p. 240.) Most of Bega's etchings represent interior
or ale-house scenes, with the latter of which he was very
familiar. It is said he would only work when driven to
do so by the direst necessity. His natural abilities were
of the first order, but they were seldom called into play,
and never in their full force save in the solitary instance
of the "Eight Peasants" mentioned above. Bega was
the best pupil of Ostade.
Beham (Barthel).-Born at Nuremberg about the
year 1496; died in 1540. This artist is supposed to have
been a pupil of Marc Antonio, whose style of engraving
he imitated with great success. His drawing is correct
ENGRAVERS AND THEIR WORKS.
141
and masterly, his heads are characteristic, and the extrem-
ities of his figures well defined. Some of his plates are
marked "B. B.," but the majority do not bear any distin-
guishing reference. Plates marked "B" on one of the
sides of a cube were at one time supposed to be by this
artist, but the idea is now exploded.
1. Two friezes, fair, 8s.
2. Combats of naked men, &c. (5), fine, £7 7s.
3. The Emperor Ferdinand, first state, rare, and very fine,
£14 14s.; again, fair, 10s.; again, good lettered impression,
£1 14s.
4. Portrait of Charles V., fine and rare, £1; again, fair, 6s.;
again, first state before the monogram, £8 5s.
5. Bust of Leonard van Eck, fine, £1 6s.
6. Bust of Erasmus Balderman, 1535, good lettered impres-
sion, 18s. 6d.
7. The Death of Cleopatra, good, 7s. 6d.
8. The Madonna and Child at a window, very fine, from the
Willett collection, £6 10s.
Beham (Hans Sebald).—A distinguished German en-
graver, born at Nuremberg in 1500, died at Frankfort in
1550. He was the brother of Barthel Beham, whom he
surpassed in skill. Such of his plates as are marked “ISP"
interwoven, were engraved at Nuremberg between 1519
and 1530; those marked "ISB" interwoven, were engraved
at Frankfort between 1531 and 1549. Some of the prints
by this artist are very scarce. Hans Sebald Beham is
ranked among that class of engravers known as the "little
masters." He worked both on wood and metal, the total
number of his pieces amounting to nearly 500.
1. Christ and the Twelve Apostles, even set (13), £5 14s.;
the Apostles, fine (4), £3; again (10), £1 10s.
2. The Labours of Hercules, fine (12), £l 1s.
3. The Seven Planets, with the frontispiece (8), £1 1s.
4. The Village Festivals, very fine (10), £2 2s.
5. Judith with the Head of Holofernes, good, 12s.
6. The Triumph, very fine, first state, £2 5s.
7. An officer holding his colours, fine, 14s.
8. A bagpipe player and a flageolet player, accompanied by
a woman, fine and very rare, £3.
9. Two vases, fine and extremely rare, £8 10s.
10. Leda, dated 1548, good, 17s. 6d.
11. Battle of Centaurs, good, £1 4s.
142
ENGRAVINGS AND THEIR VALUE.
12. The Three Soldiers (Bartsch 196), first state, fine, £1 10s.
13. The Soldiers (Bartsch 197), first state, £1 8s.
14. The Buffoon and the Bathing Woman, fine, £1 6s.
15. Cleopatra Standing, rare, 16s.
16. A collection of 18 Biblical Subjects, fair, £2 10s.
17. St. Matthew; The Guard, the latter rare (2), £1 3s.
18. Cimon Fed by his Daughter, good, 16s.
19. Ornament with the Alphabet; Ornament with a Mask,
and ornament with genii supporting a shield, all fine,
(3), £2 17s.
20. Death seizing a Woman, good, £1 5s.
21. Joseph and Potiphar's wife, first state, fine, £1 15s.
22. Death and the two Sorcerers, good, 12s.
23. The Amorous Soldier, very rare, good, £3.
24. The Temptation, large woodcut in chiaroscuro, very rare
and fine, from the De Fries collection, £3 17s. 6d.
Bell (Edward).-An engraver in mezzotint who is
chiefly known for his plates after George Morland. His
set of foxhunting scenes mentioned below is very fine.
Bell was living in 1800.
1. Fox Hunting, after Morland, the set of four mezzotints in
colours, 1 Going out, 2 Into Cover, 3 The Check, 4 The
Death, very fine and rare, £52; again, good, £22 10s
2. Sheep, after Morland, good, £1 18s.
3. The Rustic Hovel-The Cottage Sty, both after Morland
(2), good, £2 12s.
Beljambe (Pierre).-Born at Rouen in 1759; died in
1822. The few plates engraved by this artist are of little
importance or value. Reference may be made to his por-
trait of Jean Sylvain Bailly, after Monet, and "The Adora-
tion of the Magi," after Cagliari.
Bella Della (Stefano), generally called Della Bella.
Born at Florence in 1610; died there in 1664. This artist,
who was the son of a goldsmith, was a pupil of Canta
Gallina, the master of Callot. He drew correctly and
with great taste, his works also manifesting much genius
and vast fertility of invention. The number of his prints.
reaches nearly 1500.
1. Bernardo Ricci, on horseback, 1637, fine, with margin, 18s.
2. View of Paris from the Pont Neuf, before the Weather-
cock, good, 12s. 6d.
3. St. Prospero Descending from Heaven, first state, very
fine, £2 12s. 6d.
ENGRAVERS AND THEIR WORKS.
143
4. An altar, early undescribed state before the scratch in
the distance, rare, £2 15s.
5. Raccolta di Vasi Diversi, the set (6), fair, 12s.
6. The Five Deaths, in ovals, good, £1 4s.
7. Plan of the Siege of Arras in the year 1641, first state,
rare, £1.
8. Views of Leghorn, 1655, the set (6), good, 18s.
9. The set of circular landscapes, 1656, (6), good, 12s.
10. The set of marine views, in the style of Callot (8), 14s.
11. The set of shipping pieces, in the same style (8), fair, 12s.
Bellange (Jacques).—Born at Nancy about the year
1600. This artist was an engraver of tolerable merit,
though Basan in his "Dictionnaire des Graveurs" says of
him that he was a bad painter and a worse engraver and
that in his etchings which are his own composition we
find much fire, more caprice than judgment, little correction,
and a very bad taste in the engraving." His best plate
is that numbered 2 below.
1. The Magi, Virgin and Child, Pilgrim, and Enraged Musi-
cian (4), 5s. 6d.
2. The Virgin and Child, surrounded with saints, very fine,
with large margin, £1 8s.
3. The Holy Family, fair, 3s. 6d.
4. Christ bearing his cross, a large plate, lengthways, fair,
7s. 6d.
5. The Resurrection of Lazarus, fair, 4s.
Bellotto (Bernardo).-Born at Venice about 1724;
died at Warsaw in 1780. This artist's etchings, which are
slight in character and all from his own designs, consist
of views of Dresden, Warsaw, Vienna and other continental
cities. His style is bold but neat, and he had an ex-
tremely picturesque way of grouping his objects. The
value of the artist's etchings is, however, small.
Benedetto.-See Castiglione (Giovanni Benedetto).
Benoist or Benoit (Guillaume Philippe).-Born in
Normandy in 1725; died at London about 1780. This
artist was principally an engraver of portraits, of which the
following are a selection; he also engraved some repre-
sentations of battles after his own designs, and a few book
plates, all of little value.
144
ENGRAVINGS AND THEIR VALUE.
1. Alexander Pope.
2. Sir Isaac Newton, proof, good, £1 6s.
3. Malle. Clairon, an Actress, fair, 6s.
4. Blaise Pascal.
5. Galileo Galilei, after Villamena, good, 10s. ; again, fair, 4s. 6d.
6. Cricket in 1743, good, in colours, very scarce, £2 10s.
Berghem (Nicolaas).-Born at Haarlem in 1624; died
there in 1683. A pupil of Van Goyen and Jan Baptist
Weeninx. A descriptive catalogue of this artist's etchings
was compiled by Hendrik de Winter, and published at
Amsterdam in 1767. Bartsch (vol. v., p. 253) also gives a
descriptive list of fifty-six etchings. The "Man's Book
and the 'Woman's Book," mentioned below, consist of
two sets of eight prints each, representing goats and
sheep. They are so called from the circumstance of the
first print in one of the sets representing a male, and in
the other a female, peasant. Berghem etched six of these
prints on one copper plate, which was afterwards cut,
making each print a separate piece. One impression,
however, exists, taken from the uncut copper, with all
the six prints upon it. This unique specimen sold at the
Annesley sale, in 1809, for £12 15s., and was afterwards
purchased by the British Museum for £120. The etchings
of this master are finished in a fine bold style which is
very determined and characteristic.
1. The Cow at the Watering Place, second state, fine, £2 8s. ;
again, first described state, before the address of N. Vis-
scher, very fine, £13 5.
2. Cows drinking, first state, very fine, £4; the same, before
the name of Berghem, superb impression, £8 14s.
3. Three cows reposing, proof, £3 8s.; again, lettered, 13s.
4. A man mounted on a mule, proof before the sky, very
rare in this state, £13 10s.
5. Set of six cows and sheep, called "The Milk Pails," good.
6. The Woman's Book (7, there should be 8 plates), £4 4s.
7. The Man's Book, proofs (7, there should be 8 plates), £3;
the same, proofs before the numbers (6), £3 3s.;
another set, £6 6s.
8.
Four sheep, two standing, proof, £1 4s.; again, average
lettered impression, 8s. 6d.
9. Set of upright subjects with figures and animals, and the
additional plate, fine (6), £1 12s.
ENGRAVERS AND THEIR WORKS.
145
10. Four oblong subjects of animals, proofs before letters, fine
and rare (4), £5.
11. The Bagpiper, good clear impression, with full margin
£1 1s.; again, first state, before the name of N. Bergliem,
fine, £23.
12. The herdsman playing the flute, first state, fine, £3.
13. The set called the Milk Maid, proofs before additional
work (6), very fine, £4 10s.
Bergmüller (Johann Georg).-Born at Dirckheim in
Bavaria, 1687; died at Augsburg in 1762. This artist was
a painter as well as an engraver, and many of his produc-
tions are still to be seen in the private houses of Augsburg.
The value of his prints is, however, not great, although,
as in nearly every other instance, specimens of extraor-
dinary quality always command their price. His plates,
sometimes signed with his name, sometimes with the
initials "I. G. B.," consist chiefly of Scriptural subjects.
1. S. Catharina Victrix, fair, 3s.
2. The Four Seasons, 1730.
3. The Misfortunes of the Times, inscribed "Tumultum adduxit
tempus," good impression with margin, 12s. 6d.
4. The Signs of the Zodiac (only four plates).
5. Five figures of women, emblematical of the virtues.
Bernard (Samuel).-Born at Paris in 1615; died
there in 1687. This artist engraved a number of plates
with the point, and a few in mezzotinto, none of which
have any great merit. The value is commensurate with
the quality. Among the best examples of the work of
this master may be noticed the portraits of Louis du
Guernier, a small upright plate, "The Flight into Egypt,"
after Guido, a mezzotinto, "The Ox Market," after Castig-
lione and another, "The Nativity," after Rembrandt.
Bernard (Salomon), generally known as "Little Ber-
nard."-This artist is supposed to have been born at
Lyons in 1512, and is known to have been living in 1590.
The reason why the prefix "Little" should be used in
connection with his name is uncertain. Strutt supposes it
was "because his engravings are usually very small;
other authorities, however, think that Bernard himself
"
10
146
ENGRAVINGS AND THEIR VALUE.
answered that description. The artist, who worked entirely
upon wood, was almost entirely employed by the
booksellers, and it is consequently in bound books that
the collector must look for specimens of his handiwork.
Reference may be made to the "Metamorphoses" of Apuleius,
published at Lyons in 1558, and to the French edition of
the Bible, published several times at the same place
between the years 1550 and 1580. For each of these as
well as many other works, "Little Bernard" executed a
large number of cuts.
Bertelli (Cristofano).-Born at Rimini, in the Duchy
of Modena, about 1500; date of death unknown. An en-
graver of indifferent merit. Among his prints, all of which
are formal and stiff, may be mentioned:
1. The Conversion of St. Paul, after Pordenone, good impres
sion, with margin, 14s.
2. The Virgin and Infant, with other figures, after Correggio,
fair, 8s.
3. The Different Ages of Man, fair, 6s.
Bertelli (Ferrando).—Born at Venice about the year
1525; living in 1569. This artist's prints are not of much
value either from a pecuniary or from any other point of
view, nor are they numerous. One of the best collections
was published in folio at Venice in 1569 under the title
"Omnium fere gentium nostræ ætatis habitus;" his best print
is perhaps a representation of the Crucifixion after Romano.
Bertelli (Luca).-Born at Paris about 1526; date of
death doubtful, but probably about 1570. Some of this
artist's prints are scarce, but none possess much merit.
He worked entirely with the graver in a manner much
resembling that of Cornelius Cort.
1. The Israelites Wounded by the Fiery Serpents, after Michel-
angelo, scarce, good impression, 12s.
2. The Holy Family, in a landscape; the Shepherd's Offer-
ing, after Titian, and three others, £1.
3. "Render unto Cæsar," after Campagnola, scarce, fair im-
pression, 8s.
4. The Annunciation, after Titian, fine and rare, £1 2s.
ENGRAVERS AND THEIR WORKS.
147
5. Hippolita Gonzaga, daughter of the Emperor Ferdinand,
name signed in full, good, very rare, £1 8s.
Bervic (Charles).-Born at Paris in 1756; died in
1822. One of the most eminent French engravers of the
century. Bervic was a pupil of Johann Georg Wille and
at least equalled the genius of his master. Fine impres-
sions from almost any of the plates of this engraver in-
variably commend high prices.
1. The Education of Achilles, after Regnault, proof before
letters, £2 2s.
2. The Laocoon, antique group, good lettered impression, 16s.;
again, very fine, £2 10s.
3. The Rape of Dejanira, after Guido, fair, £2 2s.
Bettelini (Pietro). – An Italian engraver, born at Lugano
in 1763; died at Rome in 1828. This artist was a pupil
of Bartolozzi, though his later style resembles that of
Raphael Morghen. His plates are executed in the dotted
manner, and some of his finer works are much sought
after by collectors (see Tuer's "Bartolozzi and his Works,"
vol. ii., p. 47). The engraving of the "Entombment,” after
Andrea del Sarto, is especially fine.
1. Galileo seated, with telescope, proof before letters, very
fine, £2 14s.; again, after letters, 7s.
2. The Queen of Edward IV., fine proof, £2 17s.; again, fair
impression in brown, 18s.
3. Belisarius Begging, inscription "Date obolum Belisario,"
proof, very fine, £3 10s.
4. The Duchess C
good, 12s.
Deliverance, after Rigaud, in brown,
Bewick(Thomas).—Born at Cherryburn, near Newcastle-
on-Tyne, in 1753; died at Gateshead on the 8th of November,
1828. This famous artist has justly been regarded as the
reviver of wood-engraving in England, and the resuscitator
of an almost lost art. As a wood-engraver he was equal
to any of the ancient masters, and so immeasurably
superior to his contemporaries that it may be said of him
that he was the founder of a new art based upon all that
was correspondingly excellent in the old.
Bewick was apprenticed at the age of fourteen years
148
ENGRAVINGS AND THEIR VALUE.
to Beilby, an engraver, of Newcastle, and while in that
service engraved a series of diagrams illustrating Dr.
Hutton's Treatise on Mensuration." The execution of
this piece of work showed such marked indications of
genius that Beilby advised his pupil to devote himself
entirely to wood-engraving. This Bewick did, and in 1784
published the first book which brought him prominently
before the public, viz., Esop's Fables", the cuts in
which, though far surpassed by his later productions, are
nevertheless incomparably superior to anything previously
attempted in that line. The " Quadrupeds" appeared in
1790, and his great achievement, that with which his name
is inseparably associated, the "British Birds,” in 1797-
1804. It must be remembered that in those days there
were no Zoological Gardens where the habits of animals,
birds, and reptiles, could be studied, for only about seventy
years have elapsed since the Zoological Society of London,
to which we are now indebted for what the late John
Timbs called "the finest public vivarium in the world,”
was instituted under the auspices of Sir Stamford Raffles,
Sir Humphry Davy, Lord Darnley, and other distinguished
naturalists. Bewick, therefore, brought in a familiar form,
to the homes of the people, correct representations of
numerous animals which they had never seen, and about
which they had, for the most part, entirely false notions.
Of the engraver's other productions, the cuts for Gold-
smith's “Traveller" and "Deserted Village,” Parnell's “Her-
mit," and Somerville's “Chase," may be specially mentioned.
Of Thomas Bewick's separate engravings, his chef d'oeuvre
is known as the "Chillingham Wild Bull," a woodcut
9 in. by 71in., published at Newcastle in 1789. Ten im-
pressions were taken off on thin vellum and these are ex-
ceedingly scarce and valuable; at a comparatively recent
sale one of them realised £26 and as much as £50 has
been obtained. The "Chillingham Wild Bull" is, however,
scarce under any circumstances, as the block split and was
ENGRAVERS AND THEIR WORKS.
149
ruined after only a few impressions had been taken off.
These impressions are met with in several states".
A short time ago a third state, with the engraver's name,
date and title surrounded by fine lines instead of the usual
ornamental border, sold by auction for £4. 10s., a by no
means excessive amount. Collectors of single cuts by
Thomas Bewick should look out for impressions having
the representation of a piece of sea weed in red, some-
times found in the upper margin. The presence of this
mark shews that Bewick issued the print himself, his object
being to put a stop to peculation on the part of his work-
men, who were suspected of taking impressions out of the
office and selling them.
The "Remarkable Kyloe Ox," a copper plate, 13in. by
10in., is another desirable cut sometimes met with.
"The Cadger's Trot, sketched by T. B., at Edinburgh,
21 Augt., 1823," is Thomas Bewick's solitary specimen of
lithography; not more than twenty-five copies were taken,
and the drawing was then washed off the stone.
John Bewick, the younger brother of Thomas, died at
the early age of thirty-five, his last designs being some
of those in Somerville's "Chase" (1796). It is said that
in many respects he was the better artist, and that
in time he would have proved himself superior to his
brother. It is, however, useless to speculate on what
might have been, though the probability is that his pre-
mature death added, in popular estimation, to the genius
he undoubtedly possessed. For a full and complete list
of the works illustrated by the Bewicks, the reader is
referred to Hugo's "Descriptive Catalogue" (London, 1866),
and also to the supplement, published by the same author
two years later.
The number of wood blocks engraved by Thomas Bewick
for books and pamphlets, public companies, exhibitions,
races, newspapers, shop cards, invoice heads, and so forth,
is simply legion. The following are, however, som · of
150
ENGRAVINGS AND THEIR VALUE.
his principal productions to be met with as illustrations to
printed books. The prices appended are auction prices,
extracted from recent reports. These, however, fluctuate
considerably, according to the condition and binding of
the volumes.
1. Rhymes of Northern Bards, edited by Bell, one of 50
copies on fine paper, Newcastle, 1812, £2 2s. (mor. ex.)
2. The New Robinson Crusoe, 4 vols., 1788, 8vo, £1 6s. (calf).
3. A Pretty Book of Pictures for Little Masters and Misses,
Newcastle, 1779; reprinted at Newcastle, in 4to, 1868,
£1 5s. (well bound).
4. Esop's Fables, Newcastle, 8vo, 1818, £2 4s. (original boards,
uncut); large paper, £7 (cf. gilt). Another edition, New-
castle, 1823.
5. Select Fables, Newcastle, 1784, an excessively scarce book,
£5 (hf. mor. imperfect). Another edition, Newcastle,
1820, £1 18s.; the same on large paper, £4 (half morocco);
the same on largest paper, £10 (mor. ex.) Another
edition, London, 1871, a reprint of the edition of 1784
on largest paper, £2; only fifty copies printed.
6. Hutchinson's History and Antiquities of the County Palatine
of Durham, Newcastle, 1785, and Carlisle, 1794, 3 vols.,
4to, £2 11s. (half calf extra).
7. A General History of Quadrupeds, 1790, demy 8vo, £2
(old calf gilt), £5 5s. (original boards); royal 8vo, very
rare, only 100 copies printed, £13 (calf extra). Another
edition, Newcastle, 1791, demy 8vo, £1 10s. (mor. ex.);
royal 8vo, £12 5s. Another edition, Newcastle, 1792,
demy 8vo, about £1 (half bound); royal 8vo, £2 10s.
Another edition, Newcastle, 1800, demy 8vo, £1; royal
8vo, £1 18s. (original boards, uncut); imperial 8vo, £7
(boards, uncut). Another edition, Newcastle, 1807, demy
8vo, about £1 5s.; royal 8vo, £2 10s. (original boards,
uncut). Another edition, Newcastle, 1811, demy 8vo,
about £1; royal 8vo, about £1 10s.: imperial 8vo, about
£2. Another edition, Newcastle, 1820, demy 8vo, £1 8s.;
royal 8vo, about £2 10s.; imperial 8vo, about £3 10s.
The eighth and last edition published during Bewick's
lifetime, Newcastle, 1824; values about the same as
those of the 1820 edition (all in original boards and uncut).
8. Somerville's Chase, London, 1796, royal 4to, £3 10s. (orig-
inal boards). Another edition, royal 8vo, 1802.
9. History of British Birds, Newcastle, 1797. The second
volume of this edition did not appear until 1804, the 2
vols., demy 8vo, £3 (cf. extra); royal 8vo, £18 (original
boards, uncut); imperial 8vo, £43 (russia). Another
edition, Newcastle, 2 vols., 1805, royal 8vo, £5 (hf. mor.
ex.); imperial 8vo, £20 (cf. extra by Bedford). Another
edition, Newcastle, 2 vols., 1809, demy 8vo, £1 10s. (cf.
ENGRAVERS AND THEIR WORKS.
151
ex.). Another edition, Newcastle, 2 vols., 1816, demy
8vo; royal 8vo. Another edition (and the last published
during Bewick's lifetime), Newcastle, 2 vols., 1821, demy
8vo, about £2; the same, imperial paper, £17 10s. (uncut,
original boards).
10. A supplement to the History of British Birds, Newcastle
(no date), demy 8vo, in a paper cover. Another edition,
Newcastle, 1821, both parts, imperial paper, £5 15s.
(original boards, uncut).
11. The Sportsman's Cabinet, 2 vols., 1803, 4to, £5 (boards,
uncut).
12. Emblems of Mortality, 1st ed. 1789, 8vo., £2 8s. (original
boards, uncut).
13. The Letters of Junius, 2 vols, 1797, vignettes, £1 4s.
(uncut).
For many other works illustrated by Bewick, see Hugo's
"Bewick Collector," Slater's Library Manual" and the
same author's "Book Prices Current;
Book Prices Current;" and look particu-
larly under the names Garner, Goldsmith, Bloomfield, Blair,
Burns, Percy, Somerville, Thomson, Beattie, and Robert
Ferguson.
Bickham (George-father and son).-These engravers,
the elder of whom died in 1769, and the younger in 1758
(Bryan says 1849-which is wrong), were artists of inferior
merit, but, strangely or not, specimens of their work
occasionally bring high prices. Bickham junior engraved
the portraits of his father and himself, and these are
looked upon as the best examples of his skill.
1. George Bickham, the elder, life size, fine and rare, £4 4s.
2. John Clarke, after Fisher, fine, £2 8s.
3. George Shelley, proof, good, £1 18s.
4. A study of trees (etching), good, 12s.
5. Elizabeth of York, proof, very fine, £2 8s.; again, fair, 16s.
6. The Whigs' Medley, fine, £1 4s.
Binck (Jakob).-A German engraver, born at Cologne
about 1490. This artist is said to have been a pupil of
Albrecht Dürer and afterwards of Marc Antonio. He worked
almost entirely on metal, and his prints, which number
nearly 150, are generally marked either with the letters
“I.B.,” or with the cipher "ICB" interwoven. This artist
ranks high in the class of engravers known as the "little
152
ENGRAVINGS AND THEIR VALUE.
masters." His productions are very neat, and possess
much merit, though his style of engraving is not always
the same.
Bartsch (vol. viii., p. 249) thus classes his works:
Biblical subjects, sixteen prints; the Virgin and saints,
nine prints; fabulous subjects, thirty-two prints; subjects
of soldiers, villagers, &c., twenty-nine prints: portraits,
eight prints, and to those Passavant has added extensively.
1. St. Jerome, in a landscape, good, £1.
2. Christian II. of Denmark, fine, £2 8s.
3. Christian III. of Denmark, bust in an archway, fine, £1 18s.
4. Child playing with a dog, counterpart copy of a print by
H. S. Beham, fair, 6s.
5. David and Goliath of Gath, 1530, fine impression with
margin 17s. 6d.
6. The Drummer, with two soldiers, good, 12s.
7. The Adoration of the Magi, very fine and extremely rare,
£22 (from the Dent sale).
8. The Descent from the Cross, very fine and extremely rare,
£30 (from the Dent Sale).
9. The Virgin and Child with St. Elizabeth, undescribed fine
impression, £35 10s. (from the Dent sale).
10. Portrait of Jakob Binck, very fine, £5.
•
Birch (William).-Enamel painter and engraver, born
at Warwich about 1760; died at Philadelphia about 1794.
This artist was a fairly good engraver as is shown by his
published work "Les Délices de la Grande Bretagne," which
contains some of the principal seats and chief places of
interest in England.
1. Cottage Children, after Gainsborough, good, £1 12s.
2. Boys and Dogs, after the same, good, £1 9s.
3. Mrs. Robinson, after Reynolds, full margin, rare, 18s.
4. The Porcupine Inn Yard, Rushmore Hill, (etching), fine, £2 5s.
5. View from Mr. Cosway's room in Pall Mall, good, £1 5s.
Bird - (Master with the).-See Porta (Giovanni
Battista del).
Biscaino (Bartolommeo).-Born at Genoa in 1632;
died there in 1657. This artist left behind him some few
etchings, which are executed in a style somewhat resembling
that of Benedetto Castiglione, but more finished and
determined. He sometimes marked his plates with his
initials, “B. B."
ENGRAVERS AND THEIR WORKS.
153
1. The Nativity; same subject, with counterproof: and the
Padre Eterno, a half-length figure in the clouds (4), £1 7s.;
the Nativity; the Finding of Mozes (2), good, 12s.; the
Nativity; the Circumcision (2), 13s.
2. Holy Family; Galatea (2), fair, 12s.
3. Holy Family and reverse, Adoration of the Magi and
reverse, the Finding of Moses (5), £1.
4. The Holy Family, Virgin and Child, St. Christopher (3),
fine, £2 4s.
5. The Finding of Moses, and Holy Family, (2), fine, £1 12s.
6. Herodias with the Head of St. John, fine and rare, £1 16s.
Bischop (Jan de).-Born at the Hague in 1646; died
at Amsterdam in 1686. The works of this artist are
numerous. They consist almost entirely of etchings, har-
monized with the graver, and, though slight, are spirited
and pleasing. Among his best prints are those mentioned
below. The name Bischop" is occasionally found written
"Bisschop," and the artist also adopted a Latinised form,
viz., "Episcopus." His most important work was
of prints for the "Paradigmata Graphices Variorum Arti-
ficum," published in folio, 1671.
a set
1. Christ and the Woman at the Well, after A. Carracci,
fine, 18s.
2. Joseph Distributing Corn in Egypt, proof before letters, £1 4s.
3. The Martyrdom of St. Lawrence, fair, 6s.
Blackmore (Thomas).-An English mezzotinto engraver,
born in London about 1740; died about 1780. Smith, in
his "British Mezzotinto Portraits," mentions seven prints
by this artist, who only worked for about three years
(1769-71). Among these prints may be noted:
1. Portrait of Samuel Foote, after Reynolds, good, £1 10s.
2. Portrait of Henry Bunbury, after the same, perfect, and
good impression, £1 5s.
3. A Dutch Lady, after Hals, fair, 8s.
4. A man in a cloak, after Vandyck, good, with full margin,
17s. 6d.
Blake (William).-Born in London 28th Novr. 1757;
died 12th Aug. 1827. This extraordinary man, who was
wholly occupied by day in the pursuit of his absorbing
art, and by night with dreams, was a pupil of James
Basire. His earliest print, "Joseph of Arimathea among
154
ENGRAVINGS AND THEIR VALUE.
the Rocks of Albion," is dated 1773, and this was no doubt
executed in the days of his apprenticeship. It is excessively
scarce, and, when met with, always commands a high price.
Blake's great charm, and one moreover which has com-
mended itself to a large section of the higher order
of collectors, lay in his extraordinary inventive designs,
many of which he declared had been revealed to him by
spirits in visions and dreams. His "Songs of Innocence,"
which appeared in 1787, and many other works have
both letterpress and designs taken from sheets of copper.
He first drew the complete design, letterpress and
all, and then stopped it out, after which the rest of
the plate was eaten away by acids. He thus obtained a
raised design from which he was enabled to print both
the design and his closely written poetry, which covers
some entire pages, and in others crowds round his figured
imaginings, filling every cranny upon his copper. These
works, aided by his wife, he pulled off at a common
printing press, and then tinted. His colouring is produced.
with the commonest pigments, probably prepared by him-
self-Dutch pink, ochre and gamboge, blue, red, and green.
Sometimes he has neglected to reverse part of the letter-
ing on his plates and it prints backwards: occasionally a
principal figure has been printed both ways by transferring,
and, with a dark or light background, is made to
serve for two designs. The engravings produced by
this process were rude in character, the outlines thick
and crude; nevertheless the effect is singularly pictorial.
In this manner he completed his "Songs of Innocence" and
"Songs of Experience," which contain some most beautiful
ideas both in design and poetry, and the plates for which
are very refined and lovely in colour. These were followed
by his "America: a Prophecy." Unbalanced minds are
always disturbed by great events, and this latter work
arose out of the excitement which attended the breaking
out of the American Revolution; as a rhapsody, it is
ENGRAVERS AND THEIR WORKS.
155
altogether incomprehensible, and it would be impossible.
to look at it as the production of a sound intellect. His
"Europe: a Prophecy" followed in 1794, full of diseased
horrors, from the grand wreathed serpent which forms the
title to the illustration of "Famine", to a father and mother
preparing the cauldron to cook their dead child which
lies stretched out at their feet.
Blake declared that his process was revealed to him by
the spirit of his elder brother Thomas, and his character
for veracity is such that there can be no doubt he
firmly believed this to be the fact. All the books containing
Blake's plates are scarce; in fact, it may be said that
before long the originals will be quite unattainable. As
an example, it may be mentioned that a large-paper copy
of "Jerusalem," which contains 100 engraved pages in
gold and colours, has sold by auction for as much as £166,
while “America, a Prophecy,”" 1993, folio, has brought £23,
and "Poetical Sketches," 8vo, 1783, £16. A bookseller would
charge considerably more than the above prices. Mr. W. Muir
has issued many coloured facsimiles of the originals, which
may sometimes be met with. The series includes " Visions
of the Daughters of Albion," 1884, "The Book of Thel,"
"Songs of Innocence," 1884, "Songs of Experience," 1885,
'Marriage of Heaven and Hell," 1885, and "Milton,” 1886.
Among Blake's twelve "Inventions" for Blair's " Grave"
is "The Old Man at Death's Door," probably one of the
best-known designs extant.
Blake died, so his biographers say, in happy poverty.
His confiding and dreamy nature would not permit him to
exact the value of his labour, and he was consequently
taken advantage of on all occasions. His designs for
Blair's "Grave" only produced twenty guineas, a sum of
money which, under the circumstances, can only be de-
scribed as ludicrous. For general information relating to
the artist's life and genius, see Alexander Gilchrist's "Life
of William Blake," London, 2 vols., 8vo. 1880.
{
156
ENGRAVINGS AND THEIR VALUE.
Bleeck (Pieter van).-Born at the Hague in 1695;
died in London, 1764. This artist's engravings are said
by Strutt to be all in mezzotinto, some of them being
clearly scraped and possessing great merit. The best are
the portraits of Griffin and Johnson, mentioned below,
and a portrait of Mrs. Cibber in the character of Cordelia.
1. Benjamin Griffin and Benjamin Johnson, in the characters of
'Tribulation' and 'Ananias', upright plate, fine, £4 10s.
2. Landscape after Vogelesanck, fine, 19s.
3. Mrs. Ellen Gwynn, after Lely, fine, £2; another impres
sion, very fine, £6 6s.; again, £4 4s.
4. Mrs. Cibber in the character of Cordelia, fine, before the
plate was reduced, and the Repose in Egypt, after Van
der Werf (2), £4 8s.
5. Richard Van Bleeck, after himself, fair, 8s.
6. Mrs. Woffington as 'Phoebe', fine early impression, £8.
engraver.
Bleecker (Jan Gaspar).-Born at Haarlem about 1600;
living in 1643. Bleecker was a painter as well as an
He was
an artist of moderate ability, who
engraved many subjects from his own designs, as well as
those of other painters, notably Cornelis Poelenburgh, who
adopted the style of Adam Elsheimer.
1. Cattle, and shepherd playing his pipe; the Lystrians
Wishing to Sacrifice to St. Paul (2), fair, 9s.
2. The Waggon with four wheels; ditto with two wheels, and
the Market Cart (3), £1 15s.
3. The Angel and Abraham; Jacob and Rachel, very fine
and rare (2), £1 8s.
4. Landscape with
Cart (3), 19s.
COWS; woman milking; the Market
Bloem (A.).—See Bloemaert (Abraham).
Bloemaert (Abraham).-Born at Goricum in 1567;
died at Utrecht in 1647. This artist's prints are some-
times signed with his name, but more frequently marked
"Ab.," "Bl. in.," "Bl.," or "A. Bloem." Abraham Bloem-
aert was celebrated chiefly as a painter, but the few
engravings which are attributed to him are executed in
a masterly manner. The outlines of his prints in chiaro-
scuro were not (contrary to the usual custom) cut on blocks
of wood, but were etched on copper: these prints are rare
ENGRAVERS AND THEIR WORKS.
157
and valuable. The following etchings are by this artist:
1. St. John with a lamb, fair, 13s.
2. The Magdalen Penitent, good impression, 17s. 6d.
3. St. Peter Penitent, fine, 12s.
4.
Juno.
The following are prints in chiaro-scuro by Abraham
Bloemaert.
5. Moses and Aaron (2), fine and rare, £5 10s.
6. The Magdalen with a crucifix, very fine, £3 3s.
7. A naked infant, after Titian, fine and rare, £2.
8. A woman with a veil, good, £1 6s.
9. St. Jerome, reading, fine and rare, £3 10s.
Bloemaert (Adriaan).—See Bloemaert (Frederik).
Bloemaert (Cornelis).-The third and youngest son
of Abraham Bloemaert. Born at Utrecht in 1603; died at
Rome in 1680. This noted engraver was a pupil of Crispin
de Passe, and, like his master, worked entirely with the
graver, though in a manner which seems to have been largely
original. Prior to his time the lights, whether on distant
hills, trees, buildings, or figures, had been left quite clear,
but this artist covered them, thereby giving to his work
a more clear and finished appearance than all the laboured
neatness even of Hieronymus Wierix had been able to
produce. His prints are very numerous, and some of them
are extremely difficult to procure. The best is that called
"The Holy Family of the Spectacles," so named because
Joseph holds a pair of spectacles in his hand. It is a
medium-sized upright plate, after Annibale Carracci. Many
of the artist's prints are after Abraham Bloemaert.
1. Virgin and Child, fair, 6s.
2. The Nativity, after Raffaelle; the Holy Family, after
Carracci, both very fine, £1 12s.
3. St. Anthony of Padua, after Ciro Ferri, proof, very
fine, £3 8s.
4. Illustrations to Ovid's "Metamorphoses," from the designs
of Diepenbeeck (61), 11s.
5. Saint Margaret, after Carracci, fine; the Adoration of the
Shepherds, after Raffaelle, fine and rare; the Holy Family,
after Parmigiano (3), 18s.
Christ at a table with His disciples, after Ciro Ferri.
158
ENGRAVINGS AND THEIR VALUE.
7. The Resurrection, after the same.
8. St. Peter Raising Tabitha from the Dead, after Guercino,
fine, £2 10s.; again, good, £1 5s.
9. The Genius of Poetry Distributing Wreaths, circular plate,
good, 12s.
10. The four fathers of the Church, after Abraham Bloemaert,
large upright plate, good, £1 6s.
Bloemaert (Frederik).—The second son of Abraham
Bloemaert; born at Utrecht in 1600. His principal work
consists of a drawing-book containing 173 plates, and a
number of prints in chiaro-scuro. His prints are often
purchased by collectors for purposes of comparison with
those of Abraham and Cornelis.
Hendrik and Adriaan Bloemaert, two other artists, were
both sons of Abraham Bloemaert, and are credited by
Heineken with several plates consisting of portraits and
other subjects. Further than this, little seems to be known
concerning them.
Bloemaert (Hendrik).-See Bloemaert (Frederik).
Blon (Jacob Christophe Le).-Born at Frankfort in
1670, died in 1741. This artist, who studied under
Carlo Maratti, was the discoverer of the process of printing
mezzotinto plates in colours, so as, in some faint degree,
to imitate the pictures of which they were copies. In
this manner he executed several large plates from pictures
of the greatest masters, and disposed of the prints by
lottery. He did not succeed, however, in making any
headway, and died in a Paris hospital, destitute of the
hundredth part of the present sale price of any one of his
prints. Le Blon visited London in 1720 and remained
here for many years. In 1730 he published a work in
4to, explanatory of his process, under the title 'Coloritto.'
The prices mentioned below were realised some years
ago and would be considerably augmented at the present
day.
1. St. Catharine, after Correggio, pointed in colours, rare, but
badly cut, £1 10s.
ENGRAVERS AND THEIR WORKS.
159
1
2. King George II. in armour, an oval in a square, printed
in colours, signed in gold, cut, £3 12s. 6d.
3. Charles Lewis, Count Palatine, half sheet, very fine and
scarce, £12; again, £15 15s.
4. Portrait of the children of Charles I., £3 10s. ; again, £6 6s. ;
again, £7 7s.
Blooteling (Abraham).-Born at Amsterdam in 1634;
died there in 1695. This excellent artist worked both
with the graver and in mezzotinto. His plates are some-
times marked with his name and sometimes with the
monogram "CB."
CB." Blooteling is generally considered to
have been a pupil of Visscher. His mezzotintos are espe-
cially rare and valuable, and examples, when they occur
for sale, are quickly secured.
1. Hieronymus van Beverninck, after Vaillant, oval bust,
proof before letter, £1 14s.
2. Thomas Osborne, Earl of Derby, oval bust, after Lely,
fine, £2 10s.
3. The Right Hon. Charles, Earl of Derby, oval bust in
armour, (mezzotint), good, £5 10s.
4. Constantinus Hugenius, after Vaillant, bust in oval frame,
proof before all letters, (mezzotint), very fine, £8 17s.
5. Christian Hugenius, three-quarter length in oval, second
state, 12s.
6. Egbert Meesz. Kortenaer, Dutch Admiral, after Van der
Helst, bust in armour, proof before all letters, £4 10s.
7. Franz van Mieris, Dutch painter, proof before letters,
(mezzotint), £3.
8. Michiel Adriaensz. de Ruyter, Dutch Admiral, bust in
oval, after Jan Lievens, (an etching), first state, £1 14s.
9. Prince Rupert, nephew of Charles I., after Lely, 1673, bust
in oval of laurel, £2 9s.; the same, fine, £5 15s.
10. Augustus Stellingwerf, Dutch Admiral, after Van der Helst,
half length, resting on a cannon, good, £1 5s.
11. Cornelis de Wit, Dutch statesman, bust in oval, mezzotint,
1680, after Jan van Baan; good, £4 10s.
12. Bishop Stillingfleet, proof before letters, £2 2s.; the same,
proof before letters, £2 18s.
13. A miser pointing to a coin, fine, 16s.
14. Anne Killigrew, good, £1 14s.
15. Charles II., after Lely, good, £2 2s.
16. Henrietta Maria, fair, 12s.
17. Judith with the Head of Holofernes, very fine, £1 5s.
18. Catherine of Braganza, mezzotinto, after Lely, proof, £12 10s.;
again, undescribed proof before all letters, very fine, from
the Bernal collection, £14.
160
ENGRAVINGS AND THEIR VALUE.
19. Virgin and Infant Saviour, and the Marriage of St. Cathe-
rine, proofs before letters (2), £1.
20. Portrait of Bidloo, proof before letters, £1.
21. Portrait of Admiral van Tromp, after Lely, fine, 17s.
22. Portrait of G. J. Vossius, 14s.; the same, £1 8s.
23. Portrait of Charles, Earl of Carlisle, 11s. 6d.; the same
with Cecil, Lord Baltimore, proof and letters, £4.
24. Portrait of Edward, Earl of Sandwich, proof before letters,
very fine, £10 10s.
25. Portrait of Anthony, Earl of Shaftesbury, after Greenhill,
fine, £3 8s.; again, £1 10s.
26. Nathaniel Highmore, M.D., oval, fine proof, £7 2s. 6d.
27. William III., Prince of Orange, good, 18s.
28. Thomas Belasyse, Viscount Fauconberg, in armour, after
Beale, fine and scarce, £5 5s.
29. Louisa, Duchess of Portsmouth, looking to the right, after
Lely, fine, £3 5s.; again, fine proof before the square
frame in imitation of marble, £15.
30. Louisa, Duchess of Portsmouth, looking to the left, after
Lely, fine, £4 12s.
BM (Master of the Monogram).-See Master of
the Monogram BM.
Bocholt (Franz von).—An old German engraver, who
lived about the middle of the fifteenth century.
His plates,
which are chiefly copies of those of Schongauer and Van
Meckenen, are all extremely scarce. For a list, see Bartsch,
vol. vi., p. 77, and Passavant, vol. ii., p. 186.
1. The Judgment of Solomon, fine, £100; again, first state
before the plate was reworked, £350 (the Dent Sale).
2. St. Andrew, after Schongauer.
3. St. Michael, after Schongauer, very fine, £135.
4. St. Christopher.
5. St. John the Baptist.
6. St. George, after Meckenen.
7. Ornaments, with flowers, &c.
8. Samson Strangling the Lion, from his own design
9. Two men quarrelling, from his own design.
10. A friar struggling with a girl, from his own design.
11. St. Anthony, good, £17 10s.
12. The Annunciation, very fine, £210.
Boel (Cornelis).—A Flemish engraver, born, probably
at Antwerp, about 1580. From the style of his work,
which is chiefly with the graver, this artist was most
likely instructed in the school of the Sadelers.
1
ENGRAVERS AND THEIR WORKS.
161
1. Henricus Princeps Walliæ, oval, extra fine, £2 5s.
2. The set of small oval plates for the Fables of Otho Voenius,
published at Antwerp in 1608, fair 14s.
Boel (Coryn).—Born at Antwerp about 1620. His chief
work consists of a number of plates after the pictures in
the collection of the Archduke Leopold William, known as
the "Teniers Gallery." The artist's productions are chiefly
etchings executed in a heavy, coarse and incorrect style.
1. Various small etchings, after Teniers (14), £1 1s.; the
same (14), 17s.
2. Interiors, after the same (9), £1 5s.
3. Shepherdess repulsing a man, 17s.
4. A set of monkeys, and two others (9), 11s.
Boëtius.-See Bolswert (Boëtius Adam).
Boëtius (Christian Friedrich).—Born at Leipsic in
1706; died at Dresden in 1782. This artist engraved a
number of plates for the "Recueil d'Estampes, d'après les
plus célèbres Tableaux de la Gallerie de Dresde," 2 vols.
folio 1753-7.
1. The Madonna of the Meyer Family, in the Dresden Gallery,
after Holbein, very fine, his best print, £2 5s.
2. His portrait, 1771, fine and rare, £1 8s.
3. Portrait of Charles Hutin.
4. Portrait of J. Casanova.
5. The interior of an inn, after Wyck, fine, 17s.
5. Sportsman at the door of an inn, fair, 6s.
7. La Notte, after Correggio, good, 14s.
Boissard (Robert).—A French engraver, born at Valence
about 1590. Strutt and Bryan practically ignore this artist.
Florent le Comte says that he was an engraver of portraits
and lived in England. His set of admirals is, when complete,
very rare, and the prices attached to these as well as all
the other prints of this engraver, would be considerably
exceeded at the present day. The prints named below
were in good condition.
1. Captain Robert Candish, Captain Christopher Carleill, Sir
Humphrey Gilbert, Sir John Hawkins, Sir Martin Frobisher,
all very rare (5), £2 3.
2. The set of admirals, as above, with Sir Francis Drake
(six prints in all), sold at the Bindley Sale as follows:-
11
162
ENGRAVINGS AND THEIR VALUE.
Sir Francis Drake, eight English verses, £1 15s.; Sir
John Hawkins, eight English verses, £1 13s.; Sir Martin
Frobisher, six English verses, £1 11s. 6d. ; Sir Humphrey
Gilbert, six English verses, £3; Captain Carleill, six
English verses, £1 11s. 6d.; Captain Thomas Cavendish,
six English verses, £1 11s. 6d.
3. Captain Thomas Cavendish, Captain Christopher Carleill,
Sir Martin Frobisher, Sir Humphrey Gilbert, and Sir
John Hawkins, fine and very rare (5), £5 10s.
4. Robert, Earl of Essex, £2; another portrait, inscribed
"the most noble Robert, Earle of Essex and Ewe," fine
and very rare, £7 7s.
5. Henri II., Prince de Condé, three-quarter length, £2 14s.
6. Henri IV., King of France and Navarre, first undescribed
state before the engraver's name, £2 15s.; the second
state of this print bears the engraver's name, and date
1599; a third state has "Agé de 51, 1603."
Boissieu (Jean Jacques).—An engraver who excelled
chiefly in landscapes. He was born at Lyons in 1736, and
is known to have been living in 1797. His prints (nearly
150 in number) are generally found marked with the
initials "D. B."
1. Cow Drinking, after Ruisdael, a River Scene after F.
Wynants, both proofs on India Paper, fine, £4 10s.
2. The Mountebank, man teaching boy to read, and various
studies (15), £1 2s.
3. The Tomb of Cecilia Metella, Bridge of Lucano, Temple
of the Sun, &c., early states (5), 15s.
4. Various landscapes, studies of heads, &c., two of them
on satin (9), 11s.
5. Set of landscapes, inscribed "Suite de dix Paysages"
(etchings) (10), fair, 12s.; again, fine early impressions,
£1 7 6.
6. The Quack Doctor, after Du Jardin, good, £1 8s.
7. An old man, with a boy reading, fair, 8s.
Boivin (René).-Born at Anjou about 1530; died at
Rome in 1598. This artist sometimes signed his plates
Renatus," and sometimes with a cipher composed of R and
B. His plates are in general executed with the graver only,
in a manner much resembling that of Cornelius Cort.
Boivin's works, though not held in the highest estimation,
are by no means devoid of merit.
1. A set of the History of Jason, good (25), £1 15s.
2. The Holy Family, after Raffaelle; Susanna and the Elders,
ENGRAVERS AND THEIR WORKS.
163
females dancing round a tree, Hercules (4), £1 11s. 6d.
3. Twelve portraits of ancient poets and philosophers, fair,
£1 12s.
4. Portrait of Clément Maro, 1556, fair, 8s.
5. Banditti robbing a cart, good, 15s.
6. Venus, and the Goddess of a River; Groups of Children
after F. Boucher, fair (12), 18s. 6d.
Bol (Ferdinand).-Born at Dordrecht in 1611; died at
Amsterdam in 1681. The etchings of this master, who was
one of Rembrandt's pupils, are highly esteemed. They are
bold and free; the lights and shadows are powerful and
broad, which renders the effect very striking, but the prints
want that lightness of touch and admirable taste which
the works of Rembrandt possess in so great a degree.
1. The Sacrifice of Isaac, good, 9s.; same and two others (3),
16s.; the Sacrifice, fine impression, £1 11s.
2
St. Jerome, 5s.; the same, with an impression of the
Holy Family (2), 8s.; St. Jerome, fine, from the Mariette
collection, £2 6.
3. An old man leaning on a stick, a young man with a pointed
hat, and the woman with a pear, all fine (3), £1¯3s.
4. Gideon's Sacrifice, and an interior, fine (2), 13s.
5. The astronomer, old man in a cap, the officer, man in a
cap, and a young woman, fine (6), £2 14s.
Bol (Hans).—A Flemish painter and engraver, born at
Mechlin in 1534. He etched several plates from his own
designs. The marks used by this artist are "H. B.," and
occasionally "HBol." Hans Bol died at Amsterdam in 1593.
1. A set of fourteen landscapes, 10s. 6d.
2. The Reconciliation of Jacob and Esau (circular etching),
good with margin, 16s.
3. The Servant of Abraham and Rebecca (circular etching),
good, with margin, 16s.
4. The Man Catching the Goose, a large plate, lengthways,
very fine, £1 12s.
Boldrini (Niccolò).-A wood-engraver, born at Vicenza
about 1510; living in 1566. This artist is frequently con-
founded with Niccolo Vicentino; in fact, this is so universal
that it is impossible to say which of the two executed
some of the following plates ;
1. The Deluge, after Titian, first state, rare and fine, £1 18s.
2. Venus and Cupid, after Titian, 1566, cut, 9s.
164
ENGRAVINGS AND THEIR VALUE.
3. The Entombment, after Parmigiano, rare, £1 1s.
4. The Six Saints, after Titian, good, with margins, £1 5s.
5. St. Jerome in the Desert, after Titian, 15s.
6. St. Francis Receiving the Stigmata, after Titian, very fine,
with large margins, £2 10s.
7. The Doge Donato Kneeling to the Virgin, after Vecellio,
on two sheets, fair, 12s.
8. An ape and two young ones, with serpents, fair, 6s.
Bolognese (II).—See Grimaldi (Giovanni Francesco).
Bolognini (Giovanni Battista).-A pupil of Guido
Reni. Born at Bologna in 1611; died there in 1688.
Most of this artist's etchings are after Reni and though
slight and often spirited are by no means equal to those
which were produced by the hand of his master.
1. Christ Appointing St. Peter Chief of the Church, after
Guido Reni, good, with margin, 15s.
2. Christ's Charge to Peter; the Murder of the Innocents
(2), 13s.
3. Bacchus and Ariadne, on three sheets, fair, 9s. 6d.
4. The Crucifixion, fair, 6s.
Bols. See Bolswert (Scheltius à).
Bolswert (Boëtius Adam à).-Born at Bolswert in
1580; died at Antwerp in 1634. This artist commonly
signed the prints engraved by him with the first of his
baptismal names "Boëtius," but sometimes he substituted
the second and omitted the first, causing great inconve-
nience to the earlier commentators, who have, in many
instances at least, made two artists of the same person.
Bolswert was a very successful imitator of the style of
the Bloemaerts, his set of twenty landscapes mentioned
below being highly esteemed when early impressions. The
series was originally published in 1616 but reprinted in 1664.
1. Louis William, Count of Nassau, after Miervelt, 10s.
2. Margareta Princeps Lotharinga Ducissa, &c., after Vandyck,
second state, good, £1.
3. A set of twenty landscapes, after Bloemaert, 1664, 3s. 6d.
4. A set of the Life of St. Augustin, different sets of sacred
hermits, landscapes, &c. (119), £1.
5. Ferdinand, King of Bohemia, after Miervelt, 11s. 6d.
6. The Resurrection of Lazarus, after Rubens, a large upright
plate, fine proof before any inscription, £1 18s.; the
ENGRAVERS AND THEIR WORKS.
165
same, first state with the address of the engravers, fine,
£1 16s.
Bolswert (Scheltius à).—The younger brother of the
preceding. Born at Bolswert in 1586; died at Antwerp
about 1660. A very distinguished artist, who worked
entirely with the graver. His plates are generally signed
"Bols," and some of them are very scarce.
1. The Brazen Serpent, after Rubens, before the name of
Hendrix, very fine and rare in this state, £10.
2. Virgin and Infant Saviour, Holy Family, &c., first address,
fine, £1 ls.; the Holy Family, after Vandyck, fine,
with good margin, £1 15s.
3. The Daughter of Herodias with the Head of John the
Baptist, proof before letters, £1 18s.; again, very fine,
£2 5s.
4. The Crucifixion, after Vandyck, proof before letters, and
before the hand of St. John on the shoulder of the
Virgin, very fine impression with margins intact, £22 1s. ;
again, the same state with the address of Van den
Enden, £6 6s.
5. The Four Evangelists, the Fathers of the Church, both fine
(2), 18s.; the Evangelists, first state, very good, £1 15s.
6. The Assumption of the Virgin, first address, and another,
both fine (2), £1 14s.
7. Christ Crowned with Thorns, first state, before the cross
lines on the soldier's leg, very fine, £16.
8. Landscapes, after Rubens (9), all proofs before letters, very
fine, £15 10s.
9. Justus Lipsius, three-quarter length, holding book half-
open, after Vandyck, first state, £6 10s.; the same, fourth
state, fine, £1.
10. The Lion Hunt and Silenus, both after Rubens, fair, 10s. ;
The Lion Hunt, very fine, £1 9s.
11. Frederick of Bohemia, good lettered impression, 10s.
12. Elizabeth of Bohemia, good lettered impression, 10s.
13. Maria Mater Dei, good, but cut, 6s.
14. The Marriage of the Virgin, after Rubens, proof before all
letters, very fine, £5.
Bonasoné (Giulio).—A famous painter and engraver,
born at Bologna about 1498; living in 1575. His prints
are generally worked with the graver and marked either with
his name or as follows: "B.," “I. B.,” “I. B. F.,” “I. VB.”
For a list, see Bartsch, vol. xv., p. 103. Giulio Bonasoné
imitated the style of Marc Antonio whose pupil he is
166
ENGRAVINGS AND THEIR VALUE.
stated, by some authorities, to have been. His work is
not, however, at all equal to that of his master.
1. The Creation of Eve, after Michelangelo, first impression,
£2 15s.; again, £1 6s.
2. Noah and his Family Leaving the Ark, 7s. 6d.; the same,
indifferent, 5s.
3. Judith and Holofernes, after Michelangelo, £2 2s.; the
same, 17s.
4. The Madonna Fainting, after Raffaelle; the Madonna and
Child (2), £1 14s.
5. The Holy Family, after Parmigiano, both plates (2),
£2 2s.; the same, £2.
6. The Madonna and Child in the Clouds, fine lettered im-
pression, £1 15s.
7. The Birth of St.
John the Baptist, after Pontormo,
£1 14s. again, £1 7s.; again, very fine, £2 10s.
8. Clelia Passing the Tiber, after Polidoro, £1 15s.; the
same, first state, 18s. ; the same, 14s. 6d.; the same,
fine, first state, £5.
9. The Entrance of the Wooden Horse into Troy, after
Primaticcio, £3 5s.; again, 15s.; again, 14s.; again, 18s.
10. Apollo and Marsyas, good, 18s.
11. The Chariot of the Sun, £3 1s. (The artist's best print).
12. Cupid Surprised in Elysium, £1 16s.; again, £1 5s.
13. Venus and Cupid in a Car drawn by Swans, £2 2s.
14. The Rape of Europa, £1 1s.
15. The Bath (13 ins by 8½ ins). 15s.; the same, good im-
pression, £1 16s.; the same, fair, £1.
16. Portrait of Philip II. of Spain, rare, £3 15s.; the same,
£4 4s.; again, £2 8s.
17. Portrait of Cardinal Bembo, £2 12s. 6d.; again, good, £1 10s.
18. Portrait of Cardinal Ardinghello, £4; the same, first state,
very fine, £5 15s.
19. The Resurrection, copy after Parmigiano, very fine, with
full margin, £6 10s.
20. Portrait of Raphael Sanzio, fine and rare, £6.
21. Portrait of Pope Marcellus II., half length, rare, 12s.; the
same, second state, £1 4s.
22. Scipio Wounded-Pan seated near a nymph (2), 12s.;
Scipio Wounded, £1.
23. St. Dominico Preaching, with vignettes, £1 6s.
24. The Life and Passion of Christ (28), £1 ls.
25. Christ on the Cross, after Michelangelo, and the Entomb-
ment of Christ, after Titian (2), £1 13s.
26. St. Roch, after Parmigiano, £2; the same and St. Mark
(2), 13s.
27. St. Cecilia, after Raffaelle, good impression with margin,
£1 10s.
28. St. Mark, after Del Vaga, fair, with margin, 14s.
ENGRAVERS AND THEIR WORKS.
167
29. The Last Judgment, after Michelangelo, good, with full
margins, £1 5s.
30. Circe, after Parmigiano, proof before painter's name and
before angular compartments, rare, £7.
31. Jupiter and Juno, fair, 6s.
32. The Aurora, fair, 8s.; again, good lettered impression, 13s.
33. Alexander and Roxana, rare, good impression, £1 14s.
34. The set of the History of Juno (22), £2 6s.; again, £1 5s.
35. Ulysses and Calypso, with Mercury Descending from the
Heavens, proof, before the clouds, £11 11s.
36. St. Peter and St. John at the Door of the Temple, after Del
Vaga, fine, with large margin, £1 3s.
37. Scipio and Hannibal, after Da Caravaggio, fine, £1 8s.
Bond (William).-Living in 1799, in which year he
executed several plates for Yorke's "Royal Tribes of Wales."
The best prints by this artist are portraits after Sir Joshua
Reynolds.
1. The Shepherd Boy, after De Koster, fair, 8s.
2. A Farmer's visit to his Married Daughter, after Morland,
brown stipple, good, £2 11s.
3. Education, after Singleton, printed in colours, good, £1 12s.
Borcht (Hendrik van der).-A painter and engraver
of some eminence: he was born at Brussels in 1583, and
died at Antwerp in 1660. His few etchings are from
plates carefully worked, and when fine impressions, bring
good prices. This artist's most important production.
consists of twenty-two plates representing the entry of the
Elector Palatine and the Princess Royal of England into
Frankenthal (1613).
Borcht (Pieter van der, the elder).—A Flemish painter
and engraver, born at Brussels about 1540; living in 1586.
His works, which are very carelessly and roughly executed,
are marked "P. B. T.," or with the cipher "RB."
1. The History of the Bible and Testament, in a series of
etchings (105), 12s.
2. Four scriptural subjects, 12s.
3. A landscape, with Hagar and Ishmael (dated 1586), fair, 4s.
4. Rural Enjoyments.
5. A set of plates for the "Metamorphoses " of Ovid (178).
6. The series of etchings from drawings by Parmigiano, very
fine and rare (31), £1 14s.
Borgiani (Orazio).-Born at Rome about 1580; living
168
ENGRAVINGS AND THEIR VALUE.
in 1630. He usually marked his plates with a cipher, thus,
"HB." The artist's most finished etching is the small
square plate, "The Body of Christ," in perspective, dated
1615; to this may be added the Bible Histories, painted by
Raffaelle for the Vatican, and commonly called Raffaelle's
Bible, small plates, lengthways, dated 1615. Generally speak-
ing, a fair example of the artist's work can be got for a
few shillings.
1. The Body of Christ, the figure greatly foreshortened, the
two Maries and St. John behind, good, 18s.
2. St. Christopher with the Infant Christ crossing a river,
good, with margin, 12s.
3. St. Christopher giving his hand to the Infant Christ, fair, 4s.
Bos (Cornelis van den).-See Bus (Cornelis).
Bosch or Bosche (Jerom).—A Dutch painter, born
at Bois le Duc about 1460; died there about 1516. His
plates which are nearly all very scarce will often be found
marked "Bosche" or more shortly "Bos." This master is
also known by the name of Hieronymus van Aeken. Bosche
was probably the first artist who designed in the grotesque
style, and it appears clear that the prints which were formerly
attributed to him were executed by Alaest du Hameel and other
artists after his designs, and that he himself did not engrave.
1. The Temptation of St. Anthony, 1522, a fair impression,
without margin, £1 2s. 6d.
2. The Last Judgment, good, £2 10s. 6d. ; again, £3 5s.
3. The Baptism of Christ, £1 18s.; again, fine and brilliant,
£10 10s.
4. St. Christopher carrying the Infant Christ across a river
(134in. by 7 in.), fine, with a margin, £5 10s.
5. Constantine at the Head of his Army, fair, but no margin,
£1 3s. 6d.
Bosche (Cornelis van den).-See Bus (Cornelis).
Bosse (Abraham).-This artist was born at Tours in
1602, and died in Paris seventy-four years later. He
imitated, with great success, the coarser manner of Callot,
etching with great freedom and invariably finishing with
the graver. His prints number nearly 1500 and are seldom
of much importance or value.
!
ENGRAVERS AND THEIR WORKS.
169
1. The Wise and Foolish Virgins, Works of Mercy, &c. (13),
£1 7s.
2. Historical subjects, triumphal arches (60), £1 7s.
3. The Painter, the Sculptor, fine, with margins, £1 8s.
4. The Seasons (4) good, 12s.
5. The workshop of a copper-plate printer, three plates
lengthways, fair, 6s.
Both (Jan and Andries).-Born at Utrecht about 1610.
These artists are chiefly celebrated as painters, but a few
etchings were executed by them. Andries, who was the
younger of the two, was drowned in a canal at Venice in
1644, and Jan Both is said to have died at Utrecht about
the year 1652.
1. Set of six oblong landscapes (J. Both), first states, fine, £3 12s.
2. Hermits, a Bust, and Peasants Drinking (A. Both), 10s.
3. The Five Senses (J. Both), fine set, £1 18s.
4. Four oblong landscapes (J. Both), proofs, £2 5s.; the same,
first states before the address of Matham, fine, £3 3s.
5. Three small plates of Hermits, the Anchorite, and another,
fine and rare (A Both) (5), £2 8s.
6. Head of a man in a circle, and two boors carousing (A.
Both), good, £1 8s.
7. The Temptation of St. Anthony (A. Both), fine and rare, £1.
Botticelli (Sandro).-A very celebrated painter, born
at Florence in 1447, died there in 1510. Bartsch (vol. xii.,
p. 158) gives a short account of the life of Botticelli, who
was a scholar as well as an artist. He annotated the
edition of Dante's "Inferno," printed at Florence in 1481,
by Nicholo di Lorenzo, and also engraved the plates, which
with two exceptions, are pasted on to the leaves of that
work in places were a blank had been left for the purpose.
All the prints by this artist are extremely scarce [see
Baldini (Baccio)].
1. Two sheets containing nine small pieces of ornament, on
a black ground (from engraving in niello).
2 The Assumption of the Virgin, on two sheets, extremely
fine and rare, £860 (Dent Sale).
Boucher (François).—Born at Paris in 1703; died
there in 1770. Though chiefly celebrated as a painter, this
artist's etchings are very noticeable for their spirited and
yet graceful technic. They number altogether about 190.
170
ENGRAVINGS AND THEIR VALUE.
1
1. Portrait of Watteau, fine, £1 8s.; again, fair, 6s.
2. A small oval plate of the Virgin, fair, 8s. 6d.
3.
Cupids playing, good, with margin, 12s.; again, fair, 8s.
4. Andromeda, fair, 3s. 6d.; again, good, 12s.
5. La Petite Reposée, coloured, good, £2 2s.
Boulanger (Jean).-Born at Amiens in 1607; died
about 1680. This artist appears in the first instance to
have copied the style of François de Poilly, although he
soon after adopted one based on that of Jean Morin, but
improved by the substitution of dots on the faces, hands
and all the naked parts of his figures, in lieu of strokes,
or strokes and dots. His best prints possess great merit,
and are held in high esteem; notably the "Cavalcade at
the Coming of Age of Louis XIV.," the Virgin and Child
after Simon Vouet, and a portrait of Charles II. of England.
1. The Virgin and Child, two different, after Raffaelle, proofs,
£1 12s.
2. Maria Theresa of Austria, after Luc.
3. Charles II. of England, fine, £3 15s.; again, with large
margin, £7 10s
4. Leopold, King of the Romans, good, £1 10s. 6d.
5. Paul Beurier.
6. Daniel de Cosnac, Archbishop of Aix.
7. Michael Nostradamus, good, with margin, 14s.; again,
very fine, £1 5s.
8. Mademoiselle Le Gras, good, with full margins, £1 Is.
Boullongne (Louis the elder, Bon, and Louis the
younger).—These three artists are celebrated as painters,
but etchings by them are occasionally met with. Louis
the elder was born at Paris, in 1609, and died in 1674.
Bon Boullongne (1649-1717), who was an exceedingly
clever copyist of pictures of the great Italian artists, left
at least three etchings: the first a species of almanack,
the second "St. John in the Desert," and the third "St.
Bruno Seated in a Landscape." Louis Boullongne the
younger (1654-1733) is also credited with a few works
executed with the needle.
1. The Repose in Egypt, fine, with margin, 12s. 6d.
2. The Reign of Helen, after Guido, fair, 3s. 6d.
3. The Martyrdom of St. Paul, fair, 5s.; again, with margin,
8s. 6d.
ENGRAVERS AND THEIR WORKS.
171
4. The Miracle at Ephesus, fair, 7s.; again, an average im-
pression, 9s.
Bourdon (Sébastien).-Born at Montpellier about 1621;
died at Paris in 1671. The plates of this artist are esteemed,
and some are scarce; all are very fine examples of skill in
the use of the graver, particularly the "Seven acts of Mercy'
below mentioned.
1. Various of the Holy Family, the Nativity, Flight into
Egypt, &c., etchings (20), 15s.
2. The Holy Family, with the Infant Christ treading on a
serpent, proof; the Holy Family, with St. John and
others (16), £1.
3. The Seven Acts of Mercy, very fine, with full margins,
£2 5s.; again, good, £1 6s.
4. The Baptism of the Eunuch; small upright plate, fair, 6s.
Bovi (Marino). Very little is known about this engraver
except that he was a contemporary of Cosway (1740-1821).
His plates, especially those in tints, are highly esteemed.
1. Nice Supper; New Shoes, printed in brown, after Countess
Spencer, good (2), £2.
2. A Bacchante, after Countess Spencer, fair, 12s.
3. Mrs. Swinburne, after R. Cosway, fine proof, £2 15s.
Bourdons Croisés (Le Maître aux).-See Pilgrim
(Johann Ulric).
Bouttats (Frederik, Gaspar, Gerard, and Phili-
bert).-Flemish engravers, born respectively at Antwerp
in 1620, 1625, 1630, and 1649. They are here classed
together because their prints, though worthy of mention,
are not of much importance. Plates by these artists are
frequently offered for sale, and it is not often that speci-
mens bring more than a few shillings each. Gaspar and
Gerard were younger brothers, and Philibert was the son,
of Frederik Bouttats.
Boydell (John).-Born at Dorrington, in Shropshire,
in 1719; died in London in 1804. This celebrated engraver
and publisher was a pupil of Thoms, the engraver of a
view of Hawarden Castle, which is said to have originally
taken Boydell's fancy and led him to study art. His first
172
ENGRAVINGS AND THEIR VALUE.
work is known as the "Bridge Book," a set of six etchings,
each of which contains the representation of a bridge: it
is now scarce. Boydell's magnum opus was, however, the
"Shakespeare Gallery," a magnificent work, executed by
the best engravers he could procure, who worked after
pictures by the most eminent artists. Isolated specimens
from this collection are frequently to be met with, but
they are, as a rule, from worn plates, and consequently
of little value.
1. Reinier Ansloo and his wife, after Rembrandt, proof, very
fine, £6.
2. Views in England and Wales (41, should be 152), fair,
£1 12s.
Brébiette (Pierre).-Born at Mantes, about 1596;
living in 1640. This artist marked his plates with the
letters "P B" encircled by a heart. His print of "Para-
dise," after Palma, is fine and tolerably rare, but few
others are of importance. Among the best may be men-
tioned his own portrait, in a border, with angels, The
Martyrdom of St. George, after Paolo Veronese, and
Orpheus playing on his lute. The plate of "The Adoration
of the Magi" was left unfinished by the artist, whose
groupings were in all cases good, though his drawing is
stated to be indifferent.
Breemberg (Bartolommeo).-A Dutch painter, born
at Utrecht about 1614; living in 1660. His plates are
usually found marked with his initials, thus-" B. B. F.,”
the F. standing for fecit. This excellent painter is best known
by the name of Bartolommeo. His productions, consisting
chiefly of views of Ruins at Rome and grotesque heads of
men and women, are described by Bartsch (vol. iv., p. 165).
1. Joseph Distributing Corn in Egypt, 1644, the original
print, very rare, £5 12s. 6d.
2. His works, complete (with the exception of the three
plates of grotesque heads), uniform and fine set (23),
£19 19s.
3. Four landscapes of ruins, rare and fine (4), £1 10s.
4. Set of 12 Antiquities at Rome, fair, 16s.
ENGRAVERS AND THEIR WORKS.
173
Brescia (Giovanni Antonio). Sometimes called Brixi-
anus.-Flourished, 1509. This artist's plates closely follow
the style of Andrea Mantegna and though very neat and
finely finished are, as a rule, inferior in design. A brother
of this artist, Giovanni Maria, was born at Brescia a year
or two later (?) His style, based on that of Marc Antonio
and Andrea Mantegna, is very feeble.
1. Hercules Destroying the Lion, fine, with large margin,
£8 10s.; again, an early state, very fine, £25.
2. Hercules and Antæus, on vellum, scarce, fine, £4 4s.
3. The Virgin and Child, fine, £3 15s.
4. Four women dancing, copied from Zoan Andrea, very fine,
£3 10s.
5. The Holy Family, after Mantegna, splendid impression in
the first state, extremely rare, £147; another impression,
before the retouch, rare, £16 10s.
6. The Cup Found in Benjamin's Sack, good lettered im-
pression, £1 5s.
7. A draped female resting her right arm on a tree, good
lettered impression, £1.
8. St. Anthony of Padua, (doubtful), £2 2s.
Breughel (Peeter).-Born at Breughel, in Holland,
about 1510, died at Brussels in 1569. This artist though
he etched a few plates, excelled chiefly as a painter. He is
generally called by painters "Old Breughel," in order to
distinguish him from his son, who was also an artist of
considerable repute. His prints include "The
“The Village
Festival;" a masquerade called "Valentine and Orson,"
dated 1566 (scarce); and a "View on the Rhine," dated
1553. The value is not, as a rule, great.
Brixianus.-See Brescia (Giovanni Antonio).
Brizzi (Francesco).-Born at Bologna in 1574; died
in 1623. A pupil of Agostino Carracci. Strutt says that
Brizzi frequently assisted his master in the plates which
he engraved, and that he sometimes equalled him in the
mechanical part of the execution, though never in correct-
ness of outline, beauty, or expression.
1. The Circumcision, Madonna and Child, St. Petronius (rare),
St. Roch, after Parmigiano (4), good, £2 5s.
2. The Holy Family and Angels, after Correggio, the Return
from Egypt, after Ludovico Carracci (2), 12s. 6d.
174
ENGRAVINGS AND THEIR VALUE.
3. A blind man led by a dog, fine, £1 2s. 6d.
4. St. Jerome, plate finished by Brizzi after Agostino
Carracci, good, £1 1s.
Broeck (Crispin van den).-Born at Mechlin about
the year 1530, died in 1600. This artist engraved on both
wood and copper. Among his plates in the former style
are "The Adoration of the Magi," and "The Circumcision";
and among those in the latter, nineteen scenes in the life
of the Virgin, the Crucifixion, and a series of seven plates
representing the Creation. Speaking generally, the value
of any ordinary single plate does not exceed a few shillings.
Bromley (William).—Born at Carisbrook, 1769; died
1842. A line engraver of considerable repute who engraved
some of the plates in Macklin's Bible, "The Death of
Nelson," after A. W. Devis, two portraits of the Duke of
Wellington, after Lawrence, Rubens' "Woman taken in
Adultery," and other well known subjects. Bromley was
employed for many years by the Trustees of the British
Museum in engraving the Elgin Marbles.
1. Lord Nelson, whole length, after R. Bowyer; William Pitt,
after Gainsborough, open letter proofs (2), £4 10s.
2. William Pitt, lettered impression, fair, 15s.
Brosamer (Hans).-Born at Fulda, in Germany, about
1506. This artist ranks in the class of "little masters."
Bartsch describes thirty-nine prints by Brosamer, of which
twenty four are on copper and fifteen on wood, but this
list is considerably augmented by Passavant (see vol. iv.,
p. 32). The prices given below convey a good idea of
their average value.
1. Solomon's Idolatry, the Crucifixion, Marcus Curtius Leap-
ing into the Gulf, and the Judgment of Paris (4), fair,
16s.
2. Christ on the Cross, the Virgin and St. John standing on
each side, 1542, rare and fine (1), £10 (Dent Sale).
3. Laocoon and his Two Sons, fair impression, 8s.
4. John the Baptist in prison, good, 12s.
5. The Guitar Player, very fine, £9 (Dent Sale).
Brookshaw (Richard).-A draughtsman and engraver
ENGRAVERS AND THEIR WORKS.
175
in mezzotint, born about 1736, living in 1804 when the
"Pomona Britannica," for which he had engraved several
plates, was published. The works of this engraver, though
not numerous, all display undoubted talent.
1. The Misses Crieuse, after Reynolds, the small plate, proof
before letters, 18s. (see also under Dixon (John) no. 9.)
2. Louis XVI., King of France; Marie Antoinette, the two,
good lettered impressions, £1 5s.
3. The Flight into Egypt, after Rubens, fine proof, fine
margins, £1 12s.
Browne (Alexander).—See Browne (John).
Browne (John).-An eminent English engraver, born
at Finchfield, Essex, 26th April 1741; died in Walworth,
2nd October 1801. The three last engravings named below
are undoubtedly by this artist, but so far as those numbered
1 to 15 are concerned, it is thought that they should be
attributed to Alexander Browne, an engraver, or possibly
only a publisher, who was living in 1683. The catalogues
in every instance give the name as John Browne, who was
essentially an engraver of landscape subjects. Alexander
Browne, on the contrary, obtained a patent in 1683 to
publish one hundred mezzotinto portraits after Vandyck
and Lely, and no doubt the specimens referred to below
are by him. See Smith's "British Mezzotinto Portraits,"
part i., page 105, where the question is discussed.
1. Sir J. Lowther, good lettered impression, 15s.
2. Elizabeth, Countess of Northumberland, proof and letters,
£1 58.
3. The Countess of Northumberland, with orange-tree, fair, 8s.
4. Lady Price, lettered, good, £1 12s.
5. Henrietta Maria, after Vandyck, £1 2s.
6. Ralph, Lord Grey, after Lely, fine and scarce, £3 8s.
7. Joceline, Earl of Northumberland, after Lely, very fine
and scarce, £3 10s.
8. Thomas Thynne, after Lely, scarce, choice proof, £12;
again, good lettered impression, £1 6s.
9. Sir Tretswell Hollis, after Lely, fine and rare, with coun-
terproof (2), £1 7s.
10. Lady Catherine Seymour, after Lely, fine proof, rare,
£15 15s.
11. Lady Stanhope, after Lely, fine and rare, £3 10s.
176
ENGRAVINGS AND THEIR VALUE.
12. Madam Jane Kelleway in the character of Diana, after
Lely, fine, £5 5s.
13. Madam Jane Roberts, after Lely, very fine and rare, £7 7s.
14. Catherine Nevile, Lady Howard, after Lely; ditto, after
Sir A. Vandyck (2), fair, £1 13.
15. Frances, Duchess of Richmond and Lenox, after Lely,
with a counterproof, fair, £1 1s.
16. The Watering Place, after Rubens, fine proof, £3 4s.
17. The Market Cart, after Rubens, 30 Sep. 1776, published
by Boydell, fine proof, before the arms, £2 5s; again,
lettered, good, 12s.
18. St. John Preaching, after Salvator Rosa, good, with
margin, 16s.
Bruggen (Jan van der). - A Flemish engraver, who
was born at Brussels about 1650. This artist's mezzotints,
which are usually marked with his cipher "VB," are not
of sufficient importance to warrant a lengthy notice. Among
his best may be noted the following:
1. Portrait of Vandyck, after the artist himself, 8s. 6d.
2. A man holding a cup, good, with margin, 14s.
3. A man lighting his pipe under a tree, fair, 6s.
4. Portrait of Louis XIV., dated 1681, fine impression, with
large margin, £1 12s.; again, fair, 7s. 6d.
5. Soldiers in a drinking-booth, after Teniers, fair, 6s.
6. The Gold-weigher, after Rembrandt, fair, 5s.; another im-
pression, fine, with margin, £1 1s.
Bruyn (Abraham de). - Born at Antwerp in 1540;
living in 1581. His best prints are portraits and small
friezes of sporting subjects. The whole-length figure of
"Charles II., standing," is rare. Other good prints are
Pyramus and Thisbe," after Floris; the "Resurrection of
Lazarus," after Van den Broeck; and "The Seven Planets,"
a series of small upright plates dated 1569.
Bruyn (Nicolaes de).—The son of the preceding artist.
Born at Antwerp in 1570; living in 1644. His best print
is the "Golden Age," after Abraham Bloemaert, a large
plate, length ways, afterwards copied by Jan Theodore
de Bry.
1. Godfrey de Bouillon, bust in small circle, 1594, 5s.
2. Panel of ornaments, animals and fowls, lion and griffin
fighting, monkeys, a dog and a horse, 1594 (3), £1.
❖
ENGRAVERS AND THEIR WORKS.
177
3. Six of Cupid, six of the History of Joseph, the Elements,
a large landscape (13), 15s. 6d.
4. Sets of the History of Joseph, the Passion, &c. (23), 14s.
5. Solomon's Idolatry, the Massacre of the Innocents, the
Golden and Silver Ages, &c. (7), 12s.
6. Large landscape with Scriptural subjects, 12s.
7. The Garden of Paradise, fair, 8s.
8. A Knight on Horseback, followed by the Devil, after Dürer,
1618, fair, 6s.; again, fine impression with margin, 18s.
9. The Golden Age, after Abraham Bloemaert, good, with
full margin, £1 1s.; again, fair, 12s.
Bry (Jan Theodore de).-Born at Liége in 1561;
died at Frankfort in 1623. This artist was the eldest son
of Theodore de Bry, mentioned below, whom he frequently
assisted in his work. The style of the two engravers is
very similar and though their plates are marked with
distinct devices, they are often confounded.
1. Soldiers marching, after Titian, good, £1.
2. The Duke of Alva, small oval, in armour, René Gautaine
de Laudonnière, fair, 12s.
3. Christopher Columbus, fine and rare, £1 8s.
4. De Hoofdman van Narheit, le Capitaine des Follies-Orgueil
et Folie, very fine (5), £1 5s.; the same, cut close, 18s.
5. Martin Luther, bust in small square, fine, £1 6s.
6. The Marriage of Isaac, after Peruzzi, fine, £1 8s.
7. The Golden Age, copied from the print by Nicolaes de
Bruyn, good, 12s. 6d.
Bry (Theodore de).—An eminent German engraver,
born at Liége in 1528; died in March 1598. This excellent
artist resided chiefly at Frankfort, where he did a con-
siderable trade in prints. He possessed a neat, free style
of engraving, admirably adapted to small subjects in which
many figures were to be represented, such as funeral
parades, processions, and the like. His chief work is the
"Collectiones peregrinationum in Indiam orientalem" etc.,
complete in 25 parts, folio, 1590-1634. At his death in
1598, Theodore de Bry had only illustrated and published
six parts and the remainder were subsequently almost
completed by his widow and two sons, Jan Theodore above
named, and Jan Israël. The representatives of Jan Theodore
concluded the series.
12
178
ENGRAVINGS AND THEIR VALUE.
1. The Triumph of Jesus Christ, after Vecellio, fine, £2 19s.
2. The Triumph of Death, after Vecellio, fine, £1 17s.
3. Portrait of Mr. Thomas Lant, 12s. 6d.
4. Designs for knife handles (10), £1 3s.
5. A sheet of six small designs, 19s.
6. Various designs on five sheets, fine, £4 18s.
7. Designs of escutcheons for coats of arms, ditto for gold-
smith's work, &c. (67), £1 10s.
8. The Little Village Fair and the Fountain of Youth, two
small plates, after Hans Sebald Beham, £2 14s.
9. The Venetian Ball, after Bernhard, fair, 17s. 6d.
10. A Bacchanalian Procession, small plate, lengthwise, after
Giulio Romano, fine, £1; again, 8s.
Bunbury (Henry William).—This amateur artist and
caricaturist was born at Mildenhall, Suffolk, in 1750. He
drew chiefly in pencil, or black and red chalk; but although
he seems to have used the needle, he was never successful
as an etcher, and his designs were generally reproduced
by other engravers, mostly in stipple or dot. Bretherton the
print-dealer was one of the first to copy Bunbury's designs.
These include "A Chop House," 1781 (which contains a
portrait of Dr. Johnson), "Hints to bad Horsemen" a set,
1781, "A Long Story," engraved by J. R. Smith, "The
Country Club," "The propagation of a Lie," both engraved
by W. Dickinson, and the volume of equestrian misad-
ventures known as An Academy for Grown Horsemen,” by
Geoffrey Gambado, 1787.
Burford (Thomas).—An English mezzotinto engraver,
born about 1710; died in London in 1770. Smith, in his
"British Mezzotinto Portraits," gives a description of twenty
plates by this artist in addition to a set of twelve three-
quarter-length oval portraits of ladies representing the
months, published in 1745, and a female figure with the title
of "Plenty," published in 1749. Burford's style is clear
and finished.
"
1. Jonathan Swift, and three others of the same (4), 14s.
2. Horse and hounds in stable; boy playing a flageolet, after
Grimond; the Countess of Suffolk, the first two good (3),
£1 6s.
3. Doctor Warburton, after Philips, fine, 17s. 6d.; again, cut
close, 8s.
ENGRAVERS AND THEIR WORKS.
179
1
4. Mr. Charles Churchill, cut close, 9s.
5. Vice-Admiral John Norris, good, with margin 14s.; again,
fair, 6s.
Burghers (Micheal).—Flourished about 1670. This
artist excelled in engravings of ruined abbeys, pavements,
and other curiosities, chiefly executed for Hearne, the
antiquary. His other plates, many of which consist of
portraits, are executed in a stiff, laboured style, without
much knowledge of design, Burghers is credited with one
mezzotint, a portrait of Anthony à Wood, the author of
the "Athenæ Oxoniensis.”
1. "Jacob Robart, ætat. 81," after Loggan, fine and rare,
£6 8s. 6d.
2. William Penderill, of Boscobel, ætat. 84 (oval, suspended
in an oak), half sheet, the original print, exceedingly
rare, £36.
3. Thomas Bodley, good, with full margin, £2 5s.
5. Franciscus Junius, after Vandyck, fair, 12s.
5. Niels, Chancellor of Denmark, and M. Senateur, two busts
(2), £1.
6. John Wills, after Sonmans; the southern front of Enfield,
and others (6), 15s.
7. John Barefoot, Doctor to the University of Oxford, 1688,
good, with margin, 16s.
Burgkmair (Hans).-Born at Augsburg in 1472; died
there in 1531. This artist, who was a pupil of Dürer, worked
occasionally in chiaro-scuro and entirely, with one exception,
upon wood. A son of the same name, was living in 1559
and as it is almost impossible to discriminate between the
works of the two it is customary to speak of both artists as
a single person. The best cuts of Burgkmair's designing are
those known as
as "The Triumphs of Maximilian," below
named. Single pieces from this series are occasionally
met with in proof state.
1. St. Maurice (one of the set), woodcut, fair, 11s.
2. Venus and Mercury, on iron, rare.
3. Death and the lover, chiaro-scuro, fine, £10.
4. Adam and Eve, Christ on the Mount, and the Virgin in
Lamentation.
5. Christ Bearing His Cross, the Crucifixion, and the Ascen-
sion.
180
ENGRAVINGS AND THEIR VALUE.
6. Joseph and Potiphar's Wife, marked "H. B.," rare, a good
impression with full margin, £8 10s.
7. St. Thomas and St. Bartholomew (two of the set).
8. St. George, on parchment, drawn upon and heightened
with gold, £120.
9. Le Triomphe de l'Empereur Maximilien I., a series of 135
woodcuts, printed from the original blocks, Vienna, 1796,
folio, £10 10s.; ten original cuts from the same,
fair, 14s.
+
Burke (Thomas).-Born at Dublin in 1749; died in
London in 1815. Burke was a pupil of John Dixon, the
mezzotint engraver, but like some other artists of that
period abandoned mezzotinto for the chalk method which
Bartolozzi had made so popular. He produced many
excellent plates in both styles, chiefly from the works of
Angelica Kauffman.
1. Saturday Morning, favourite Chickens going to market,
after W.R. Bigg, 18s.; the same, proof with artists' names
and line of publication only, £3 3s.; again, good lettered
impression, £2 10s.
2. Cupid and Cephisa, a pair, both after Angelica Kauffinan,
stippled in red, £2 2š.
3. Jupiter and Calista, after Angelica Kauffman; and Beauty
directed by Prudence, after the same, a pair, fine im-
pressions in red, circular frames, £7 15s.
4. The Three Misses Rushout, after Plimer, proofs (3), £21.
5. Cupid binding Aglaia and companion print, after Angelica
Kauffman, oval in brown, fine (2), £13 10s.
6. The Vicar receiving his Tithes and the companion print,
both after Brooke, in black, £1 15s.
7. The Duchess of York, after Howe, open letter proof, oval,
in brown, £1 11s.
8. Frederick, Lord North, after Dance, fair, 11s.
9. Orpheus and Eurydice, after Angelica Kauffman, printed
in red, fair, 7s.
10. Papirius Praetextatus and his mother, after the same, in
colours, good, £1 5s.
11. Messalina's Sacrifice, after the same, fine impression in
red, £2 15s.
12. Eclipse (a Racer), after G. Stubbs, mezzotint, £4 5s.
13. The Duchess of Richmond, after Downman, fine proof,
£5 10s.
Burnet (John).—Born near Edinburgh in 1784; died
at Stoke Newington in 1868. This artist, who was a painter
as well as an engraver, was most successful when working
after Wilkie.
1
ENGRAVERS AND THEIR WORKS.
181
1. The Jew's IIarp, after Wilkie, fine proof, £4 6s.
2. The Young Bird, Playing at Draughts, Christmas Eve,
and the Valentine (4), proofs on India paper, £1 5s.
3. The Blind Fiddler, after Wilkie, 17s.; again, 14s.
4. The Reading of a Will, after the same, good, £1 13s.
Bus (Cornelis).-A Dutch engraver, born at Bois le
Duc about 1510; living in 1554. He also goes by the
name of Van den Bos or Bosche, but must not be con-
founded with Jerom Bos or Bosch previously mentioned.
This artist's manner of engraving sometimes resembles
that of Marco da Ravenna, and at others that of Æneas
Vico. He worked entirely with the graver, in a stiff, dry
style, without taste.
1. Moses breaking the Tables of Stone, after Raffaelle, 1550,
good, 13s. 6d. ; again, fair impression, 4s.
2. The Leda of Michelangelo, and an allegorical subject (2), 17s.
3. The Leda of Michelangelo, unfinished proof, £3 4s.
4. Christ Preaching, The Face of the Giants (2), 14s.
Businck (Ludwig).-Born at Minden, in Germany,
about 1590; living in Paris in 1630. This artist engraved
entirely on wood and was the author of many works in
chiaro-scuro, thereby distinguishing himself as the first
French artist who ever worked in that style. All his
prints are valuable if good impressions. Among the best
are those mentioned below, all of which are after L'Alle-
mand.
1. Moses with the Two Tables (chiaro-scuro).
2. The Holy Family, with St. John seated on a lamb (chiaro-
scuro), good, £2 15s.
3. St. John and St. Matthew Comparing Writing (chiaro.
scuro).
4. Eneas Carrying Anchises (chiaro-scuro), very fine, £3 10s.
5. The Lovers.
6. The Flute-player, (chiaro-scuro).
Bye (Marcus de).-A Flemish engraver, born at the
Hague about 1612; died in 1670. This artist is celebrated
for his etchings of animals after Paul Potter and Marc
Gérard.
1. Set of cows, rare; goats, &c., (15), 19s.
182
ENGRAVINGS AND THEIR VALUE.
2. Large set of lions and others, after Potter, (27), 11s.: the
set of lions (8), 16s.
3. The cow, fine and rare, with the copy (2), £1.
4. The set of sheep (16), 15s.
5. Various of cattle, from Potter, &c., and a large circular
etching of two cows, not described by Bartsch, rare (28),
£2 10s.
6. The Mule Driver, good, 14s.; again, very fine, £1 4s.
Byrne (William).-A landscape engraver, born in
London in 1743, died there in 1805. His works, which
are numerous, display much skill in aerial perspective and
beauty in the finish of the skies.
1. A landscape after Zuccarelli, the figures by Bartolozzi, in
red (19¹in. by 14in.), fine, £1 5s.
2. Apollo watching the Flocks of King Admetus, after Lauri,
good, in red, £1 (The companion print to Woollett's
"Diana and Actæon ").
3. The Death of Captain Cook, in black, fair, 6s.
4. Niagara, after Wilson, very fine and perfect, £1 1s.
Cabel (Adriaan van der).-Born at Ryswick in 1631;
died at Lyons in 1695. This artist was a painter of toler-
able repute, and left several etchings executed in a free
and spirited style. None are, however, of much importance
from a collector's point of view.
Caduceus (Master of the).-See Babylone (Fran-
cis de).
Cagliari (Paolo).-This famous painter, who, in this
country at any rate, is better known as Paolo Veronese,
left a few etchings, sometimes found marked with his
name and sometimes with the initials "P. C.", or "PA CAL."
These are not often met with. Cagliari was born at
Verona in 1528; he died at Venice, sixty years later.
Caldwall (James).—An English designer and engraver,
born in London in 1739, and known to have been living
in 1783. He was a good draughtsman and engraved
brilliantly in line, using the etching needle largely. His
portraits include those of David Hume, Sir Henry Oxenden,
and Mrs. Siddons in the character of "Isabella" in the
"Grecian Daughter." This is a large print measuring 24
ENGRAVERS AND THEIR WORKS.
183
}
ins. by 18 ins. Among his general subjects special mention
must be made of "The Immortality of Garrick," after
Carter (the figures engraved by Caldwall and the landscape
by S. Smith), and "the Camp at Coxheath," after W.
Hamilton. Both these are fine productions of excellent
design.
1. The children in the wood, fair, 6s.
2. Catharine, Countess of Suffolk, good impression, lettered,
£1 3s.
3. Dr. Andrew Gillies, fair, 8s.
4. David Hume, fair, 7s. 6d.
Callot (Jacques).—Born at Nancy, in France, in 1592;
died there in 1655. Callot engraved in several styles, the
first of which was in imitation of his master, Canta Gallina.
Subsequently he worked with the graver, though hardly
with complete success, as witness his "Acts of the Apostles,"
small plates after Civolius. His next style was a mixture
of the point and the graver, with coarse, broad hatchings
in the shadows, as may be seen in the "Cardplayers", the
Miracle of St. Manfucius" and the "Benedicite". His best
manner is that which appears to have been executed rapidly
and without much regard to excellence.
1. Life of the Prodigal Son, fair (11), 16s.
2. The Martyrs of Japan, first state, fine, 11s.
3. Louis de Lorraine, on horseback, fine, £1.
4. Virgin and Child, Judith and Holofernes, set of the Life
of the Virgin, fine (23), 18s.
5. The Temptation of St. Anthony, first state, fine and rare, £4.
6. Set of Christ and the Apostles, with the title, fine (16),
£1 6s.; the same, proofs (16), 13s.; the same, with the
title and numbers, 9s.
7. Set of miracles performed by saints, &c. (43), indifferent, 10s.
8. Set of saints for every day in the year, fine, (123), 19s.
9. The Miseries of War, old impression, 12s.; the same, second
state, £1 8s.
10. Balla di Sfessania, grotesque figures, the set (24), 18s.
11. Whole-length figures, costumes, &c. (27), £1.
12. Set of coins and medals (10), 14s.; the same, 16s.; the same,
very fine, £3 10s.
13. Plans of buildings at Jerusalem, and the months (50), 16s.
14. Psyche holding the vase, first state, before the thunderbolt,
very fine, £1 12s.
15. Passage of the Red Sea, second state, good, 10s.
✡
184
ENGRAVINGS AND THEIR VALUE.
16. The Infant Saviour, fair, 5s.
17. St. John Preaching in the Desert, fair, 6s.
18. The large Passion, first state (7), £1 12s.
19. The little Passion (12), £2 3s.
20. The Four Banquets; the Parable (5), 11s.
21. The Holy Family at Table, first state, 14s.
22. The Triumph of the Virgin, first state, fine, £1 1s.
23. The Deadly Sins, a set of seven plates; the Sacrifices, a
set of three plates, rare, £2 3s.
24. Portrait of Franciscus de Medici, first state, £1 159.
25. Portrait of Cosmo III., Magnus Dux Etruriæ, £1.
26. Portrait of Donatus Antellensis, very rare, £2 3s.
27. Entrées de Monseigneur, Henri Marquis de Lorraine de Moy,
first state. Entrée de Mons. Cauvonge et de Mons. Chalabre,
rare (2), £5 10s.
28. Portrait of Carolus Lormeos, second state, £2 8s.
29. The Review, 11s.
30. The Siege of Rochelle, good impression, 14s.
31. The Great Fair at Florence, second plate, first state, £2 6s.
Campagnola (Domenico).-Perhaps the brother of
Giulio, next mentioned. Domenico was born at Padua
about 1482, and was working at Venice in 1550. He was
one of the pupils of Titian. Though celebrated chiefly
as a painter he etched a few plates in a bold and masterly
style. These are sometimes found marked with his name
in full,
at others with the initials. "D. C." or CAP.
Good impressions of this artist's prints are rare and valuable.
A descriptive list of fifteen of his works is given by Bartsch,
vol. xiii., p. 379; of these five are from wood blocks.
1. The Resurrection of Christ, £1 1s.
2. The Day of Pentecost, £3; the same, £4 4s.
3. The Assumption of the Virgin, fine, £5.
4. The Madonna and Child, with saints, £6; again, £4.
(6 DO. "
5. The Decollation of a Female Saint, £4; again, £1 11s.;
again, £4 4s.
6. Venus recumbent, in a landscape, £1 15s.; again, £5 10s.;
again, £4 14s. 6d.
7. The Shepherd and the Old Warrior, £4 6s.; again, £2 10s. ;
again, £4 10s.; again, £3: again, £2 10s.
8. The Music Party, in a landscape, £5 2s. 6d.; again, very
fine, £42 (Dent Sale).
9. The battle piece, £5 10s.; again, fine, £3 13s. 6d.
10. A landscape with figures, a shepherd accosted by a satyr,
and two old men; St. Jerome seated at the entrance of
a rustic hovel (2), £4 10s.
ENGRAVERS AND THEIR WORKS.
185
11. A dance of twelve Cupids, £3 16s.; the same, first impression,
with large margin, £50.
12. Landscape with St. Jerome looking at two lions fighting,
fine, 10s.
13. St. John the Baptist in the Desert, woodcut, 17s.
14. A female figure in a landscape, reclining against a wall
(doubtful), 18s.
15. St. Jerome with his Lion, woodcut, good, £1 8s.
Campagnola (Giulio).-A celebrated painter and en-
graver, who was born at Padua about 1480. He worked
almost entirely with the graver in two different styles, one
of which closely resembles that of Marc Antonio. The print
numbered 3 (infra) is from a plate engraved in the peculiar
manner known as opus mallei. The background is produced
by dots, and though the outline of the figure is worked
with the graver the plate is finished with dots, apparently
produced by the aid of a punch. This artist's prints are
all scarce and valuable. See Passavant (vol. v., p. 162)
and Bartsch (vol. xiii., p. 370).
1. The Nativity, £5 (a good impression).
2. Christ and the Woman at the Well, £5 10s.; the same,
fine impression, £10 10s.
3. St. John the Baptist, £16 (Dent Sale).
4. The Young Shepherd, £6 15s.; the same, a proof before
the plate was finished by dotting, perhaps unique, £10 ;
again, ordinary impression, £2 10s.
5. The Shepherd Piping, and three copies (4), £4 8s.
6. The Astrologer (1), £5 5s.; again, £1 4s.
7. A naked female suckling an infant, a copy from Dürer;
also a naked infant at a table (2), £6 10s. 6d.
8. A naked female asleep under the trees, £5 10s.
9. The Rape of Ganymede, second state, £2 2s.; again, £1 15s.
Campiglia (Giovanni Domenico). - Born at Lucca
in 1692; died in 1768. This artist etched a number of
plates, including several portraits, none of which show any
merit. The value is very small.
Campion (Charles and Charles Philippe).-Two
French amateur engravers, living in Paris about the year
1770. They executed a number of portraits, and several
scriptural subjects. These prints, which are of average
186
ENGRAVINGS AND THEIR VALUE.
merit, are not often met with, nor
value, unless in the finest condition.
are they of much
Candlestick (Masters of the).-See Hopfer.
Canot (Pierre Charles).—Born near Paris about 1710;
said to have died in London in 1777. The artist's best
prints consist of sea views and naval engagements, but any
after Richard Paton are also very good. Of late the auction
value appears to have fallen, fair specimens being frequently
sold, with others, for small sums. This, however, does not
apply to good impressions of rare pieces like the seven
fox hunting subjects after Wootton. These invariably
command a ready sale.
Canta-Gallina (Remigio).-An Italian engraver, born
at Florence in 1582. This artist was a painter and
designer of the school of the Carracci. His drawings
with the pen are very fine. He engraved landscapes,
triumphal entries, opera scenes, festival decorations, and
kindred subjects, from his own designs as well as from
those of Giulio Parigi, from whom he learned the art of
engraving. Canta-Gallina died at Florence in 1630, having
instructed many pupils, among them Callot and Della Bella.
1. Set of Naval Triumphs, fine set, with margins, £2 12s.
2. A large landscape and others (7), 11s.
3. The Immaculate Conception, after Callot, good, 17s. 6d.
4. A set of plates called the Palazzo della Fame, 1608, fair, 18s.
Cantarini (Simone).— Born at Pesaro in 1612; died
at Verona in 1648. The etchings of Cantarini, about forty
in number, are held in great estimation. This artist
studied first under Giacomo Pandolfi, afterwards entering
the school of Guido, his prints being frequently mistaken
for those of the latter artist. Cantarini, also known as
Simone da Pesaro, and Il Pesarese, is more remarkable as
a painter than an etcher.
1. Adam and Eve, Repose in Egypt, the Holy Family (3),
12s; the same with others (11), 16s.
2. The Repose in Egypt, the same subject (3), 7s.; the same,
six different prints, fine, £1 15s.
ENGRAVERS AND THEIR WORKS.
187
3. St. Sebastian, original and copy, the Great St. Anthony,
original and counterproof, and two copies (6), £1.
4. The Small St. Anthony, original and copy; the Guardian
Angel, original and copy (4), 17s.
5. The Quos Ego and counterproof, also Mars, Venus, and
Cupid (3), £1 1s.; the Quos Ego, before the arms were
erased, and others (12), 17s. ; the same, second state, £1 1s.
6. Fortune, print and counterproof, before "G. Renus, in et
fec," frontispiece (4), 15s.; the same, second state, full
margin, 14s.
7. Holy Families; St. Francis, proof; Triumph of Neptune,
etchings (20), £1 1s.
8. The Massacre of the Innocents, Triumph of Neptune, &c.
(19), £1.
9. Mercury and Argus, Neptune, &c. (7), 11s. 6d.
10. The Holy Family, six different prints, with margins, £1 11s.
11. Christ Bearing the Cross, 16s.
12. The Great St. Anthony, of Padua, fine, £1 5s.
13. The Rape of Europa, first state, fine, £1 11s.
14. Venus and Adonis, fine, 11s.
Canuti (Domenico Maria).-Born at Bologna in 1620;
died in 1671. This artist followed the style of Guido, under
whom he studied, though he could not equal him. His best
prints are "St. Roche," and "St. Francis Praying," the latter
after Guido. Among other portraits the artist engraved
those of Lodovico, Agostino and Annibale Carracci.
Caraglio or Caralius (Giovanni Jacopo). — An Italian
engraver, born at Verona about 1500; died at Parma about
1570. This artist was a pupil of Marc Antonio, whose
manner he imitated with tolerable success. His work is,
however, much inferior to that of his master.
1. The Annunciation, after Raffaelle, good, £1 14s.; again, very
fine, £2 2s.
2. The Holy Trinity, after Raffaelle, good, £1 12s.
3. The Loves of the Gods, after Pèrino del Vaga and Rosso,
the set, complete (15), good, £28.
4. The Assembly of the Gods, after Raffaelle, fair, 13s.
5. A female figure, intended to personify War; a woman
seated on a rock in the sea; the Spectre, after Rosso (3),
£2 4s. 6d.; the woman on the rock, 15s.
6. The Battle, after Raffaelle; Eneas and Anchises, after ditto;
Diogenes, after Parmigiano (3), £2 17s.; the Battle, good,
19s.; again, very fine from the St. Aubyn collection, £3 3s.
7. Ixion Embracing the Cloud; Mary Magdalene Embracing
the Cross, two impressions (3), fair, £2 2s.
188
ENGRAVINGS AND THEIR VALUE.
8. The Madonna seated, with the Child in the lap of St. Anne,
"Io Jacobys Veronensis fe.," fair, 17s.; again, very fine,
from the Wellesley collection, £1 6s.
9. La Fureur, from a design by Rosso, good, 15s.
10. Alexander and Roxana; the Labours of Hercules, &c. (11),
13s.; Alexander and Roxana, and portrait of Aretino, 16s.
11. The Vestal Tutia Carrying Water; the School of Athens
(2), fair, £1 1s.
Cardon (Antoine the elder, and Antoine the younger).-
Both these artists were born in Brussels, the former in
1739 and the latter in 1772. The best prints attributed
to them are portraits of Madame Récamier, after Cosway,
and of Baccio Bandinelli, after Della Casa.
1. Lady Heathcote, after Cosway, in colours, good, £5 17s. 6d.
2. George, Prince of Wales, fair, full margin, 6s.
3. The Father's Hope and the Mother's Pride, by Cook and
Cardon, after Pickersgill and Lodder, open letter proofs
in colours (2), £2 10s.
4. A new Love Song, after Wheatley (one of the cries of
London), in colours, fine, £11 10s.; again, £2 5s.
5. Irish Peasants and Welsh Peasants, a pair after Westall, in
colours, fair, £1 12s.
Carlevariis (Luca).-Born at Udino in 1665; died at
Venice about 1730. This artist executed a set of one
hundred etchings of "Views in Venice." They are large
plates, length ways, and were published at Venice in 1703.
Unless very good impressions their value is small.
Carpi (Ugo da).—A celebrated painter and engraver,
born at Rome about 1450; died about seventy years later.
This artist has been credited, though of course, erroneously,
with the discovery of wood-engraving. His claim to have
been the inventor of that species of engraving on wood
distinguished by the name of chiaro-scuro, is also unsupported
by evidence, in fact the probability is all the other way.
The earliest known chiaro-scuro is the "Venus and Cupid”
of Lucas Cranach, dated 1506, and there is no work in this
style by any Italian master which is dated before 1518.
There is no doubt, however, that Da Carpi greatly improved
the process which he claimed to have discovered. This
style of engraving is carried out by using more blocks than
ENGRAVERS AND THEIR WORKS.
189
one, and Ugo da Carpi usually had three-the first for
the outline and dark shadows, the second for the lighter
shadows, and the third for the half tints. The prints by
this artist, though very slight, are usually spirited and
executed in a masterly style. They preserve, as a rule,
a bold, striking resemblance to the sketches of the great
painters, from whose designs they are taken.
scarce.
1. Jacob's Dream, after Raffaelle, fair, £1 1s.
All are
2. David Cutting Off the Head of Goliath, after Raffaelle,
fair, £1 2s.
3. The Descent from the Cross, after Raffaelle.
4. The Resurrection, after Raffaelle.
5. Ananias Struck Dead, after Raffaelle, very fine, £12 16s.
6. St. Peter Preaching, after Polidoro.
7. St. Peter and St. John, after Parmigiano, printed in brown.
8. St. Jerome, after Titian.
9. A Sybil, after Raffaelle, fine, £5 10s.
10. Venus in a wood surrounded by Cupids, after Raffaelle.
11. Diogenes, after Parmigiano.
12. Christ at the Table of Simon the Pharisee, after Raffaelle.
13. Abraham's Sacrifice, after Parmigiano, fair, £1 2s.
Carpioni (Giulio).-Born at Venice in 1611; died at
Verona in 1674. This artist was chiefly celebrated as a
painter. His etchings, though slight, are executed in a
masterly manner, bearing a distinct resemblance to those
of Guido. The pecuniary value is not, however, great as
a rule.
Carracci (Agostino).-The cousin of Ludovico Carracci,
mentioned subsequently. Born at Bologna in 1557; died at
Parma in 1602. This artist is one of the most celebrated
engravers who ever flourished in Italy. His plates, which are
numerous, are usually found marked "A. C.," or " AUG. F.,"
Agos. C." See Bartsch (vol. xviii., p. 35).
or
1. The Temptation of St. Anthony, after Tintoretto, with the
address of Bertelli, good, £2 2s.
2. St. Jerome, after Tintoretto, £1 13s.; the same, £1 4s.
3. The Madonna and Child, with St. Jerome, &c., after
Correggio, £2 10s.
4. The large Marriage of St. Catherine, after Veronese, 10s.:
190
ENGRAVINGS AND THEIR VALUE.
the same, with the Miracle of St. Paul, and the Holy
Family with St. Jerome (3), £1 2s.; the same, first state,
£6 6s.
5. Æneas and Anchises, after Baroccio, good, £1 10s.
6. Venus and Cupid, £1 1s.
7. The Satyr, rare, fine impression, £3 10s.
8. Portrait of Titian, £1 10s.; the same, first impression, rare,
£30; the same, ordinary impression, fine and rare, £2 8s.
9. Effigies vera D. Phillipi Austriaci, half length (doubtful)
£3.
10. The Ecce Homo, after Correggio; the Crucifixion, after
Paolo Veronese (2), £1 1s.; the Ecce Homo, fine, £3 15s.;
again, £5.
11. The large Crucifixion, after Tintoretto, in three sheets,
fine, £5 5s. This print was copied by Sadeler.
12. Mercury and the Graces; Mars and Minerva, after Tinto-
retto (2), £2 3s.; the same (2), 10s.
13. The Portrait of Ulysses Aldrovandus, two impressions, and
the anonymous portrait, rare (3), £1 1s.
14. Nine pieces from Tasso (9), 10s.
15. Portrait of Caliari (Paolo Veronese), oval in an ornamental
frame, fine, £2 8s.
16. Various, from the Drawing Book, &c. (62), fair, £1 9s.
17. Jacob and Rachel, fine, £2 10s.
18. The Holy Family, first state, before the re-touch, fine, with
margins, £12.
19. St. Francis of Assisi, good, £1 5s.
20. Jupiter and Antiope, fair, 13s.
21. Portrait of Tiziano Vecellio, first state, very rare, £30.
22. The Fair, second state, fine with margin, £5 10s.
23. The Marriage of St. Catherine, after Paolo Veronese, proof,
£4 10s.
24. The Descent from the Cross, after Tintoretto, £1 11s.
25. The Reciprocation of Love and the Fruits of Love, both
fine, £4 4s.
26. Portrait of a man unknown (Bartsch 156), very rare and
fine, £5 5s.
Carracci (Annibale).-The younger brother of Agostino
Carracci. Born at Bologna in 1560; died at Rome in 1609.
A famous painter, who left behind him about twenty plates,
partly etched and finished with the graver. It is not,
however, easy to say what pieces can, with certainty, be
assigned to him, as many of the etchings of Antonio
Bellavia have been attributed to him and his initials have
been placed, without authority, on much inferior work.
For a description, see Bartsch (vol. xviii., p. 180).
ENGRAVERS AND THEIR WORKS.
191
1. Susannah and the the Elders, proof before letters, good,
£3 18s.
2. The Adoration of the Shepherds, with and before the
address of Van Aelst (2), £1 8s.; again, first state, fine,
£1 12s.
3. The Dead Christ of Caprarola, with and before the address
of Van Aelst, fine and scarce, £5 10s.
4. The Holy Family, 1590, good, £1 5s.; again, first state,
before the name in full, £2 2s.
5. Jupiter and Antiope, 1592, a fine print, good impression,
with margins, £6 6s.
6. Silenus and his Attendants, engraved by Carracci on the
bottom of a cup (doubtful), fair, £1.
7. Christ Crowned with Thorns, second state, fine, £2 10s.
8. The Penitent Magdalen, first state, fine, £2 15s.; again,
£1 10s.
9. The Virgin with the white raven (perhaps by Francesco
Brizzi), etching, fair, 17s. 6d.
Carracci (Lodovico).—Born at Bologna in 1555; died
there in 1619. A famous painter and the founder of the
school of the Carracci in 1589. He left a few engravings,
etched in a masterly style and finished with the graver.
See Bartsch (vol. xviii., p. 23). The family of the Carracci
immortalised themselves not only by the extraordinary
merit of their performances, but by this school of design
which they established at Bologna, in order to encourage
the drawing of the human figure from nature.
1. The Madonna and Child, with four Angels, good, £1 6s.
2. Samson Overcoming the Lion, good, 18s.
3. A Thesis, with the arms of Bonfiglivoli, rare, £1 15s.
4. The Holy Family, 1604, good, with margin, £1 1s.
5. The Virgin and St. Joseph, engraved entirely with the
burin, fair, 8s.; again, better impression, with margin,
£1 5s.
Cars (Laurent).-Born at Lyons in 1699; died at Paris
in 1771. The best plates of this engraver are those after
Lemoyne and Boucher. Laurent Cars was the master of
Beauvarlet.
1. Fêtes Venétiennes, after Watteau, fair, 5s.
2. Cardinal Polignac, good, 16s.
3. Adam and Eve; The Annunciation, both after Lemoyne
(2), £1.
4. Allegorical subjects from Ovid, after Lemoyne (6), fair, 10s.
192
ENGRAVINGS AND THEIR VALUE.
Casa (Niccolo Della).-An engraver of great merit
who appears to have been a native of Lorraine and, from
his style, to have flourished during the latter half of the
16th century. His best print is the portrait of the Emperor
Charles V., in an oval surrounded by an ornamental border
with several figures. It is a large upright plate, signed
"N. D. la lotaringvs, F." The portrait of Baccio Bandinelli,
mentioned below, is executed entirely with the graver in
a style greatly resembling that of Agostino de Musis, whose
scholar Casa may possibly have been.
1. Portrait of Cosmo de Medici in armour, after Baccio Bandi -
nelli, 1544, very fine, £6 10s.
2. Portrait of Baccio Bandinelli, good, with margin, £2.
3. Portrait of Charles V., copied from the print of Æneas
Vico, good, £1 5s.
4. Portrait of Henri II. of France, 1547, fair, 16s.
Castiglione (Giovanni Benedetto).-Born at Genoa
in 1616; died at Mantua in 1670. This artist who is better
known as Benedetto, was a pupil of Vandyck. His etchings,
numbering about seventy, are spirited and free, yet finished
in appearance and full of harmony. Most are after his own
designs.
1. The Madonna and Child, with three angels, fair, 19s.
2. The Nativity (produced by covering a plain piece of copper
with printer's ink, and then designing the subject with
the pencil, the ink being subsequently removed from
those parts of the design intended to be illumined; six
similar pieces known (each, of course, unique), £3 13s.
at the Sykes Sale, in 1824: worth much more at the
present day.
3
Sacrifice to Pan, Pan with a Satyr, sitting, three satyrs
and a vase, Diogenes, Melancholy, shepherd on horse-
back, laden ass with flock of sheep (7), £1 5s.
4. Noah's Entry into the Ark, Tobit Burying the Dead,
Raising of Lazarus, Madonna and Child with Angels,
Joseph ordered by the angel to flee into Egypt, the
Nativity, Flight into Egypt, Discovery of the Bodies of
SS. Peter and Paul (8), £1 12s.
5. The Nativity, and others (20), £1 1s.; the Nativity, Virgin
and Child, and other subjects (25), £1 13s.
6. Noah Entering the Ark, very fine, with good margin, £1 4s.
7. Pan and Apollo, good, 12s.
ENGRAVERS AND THEIR WORKS.
193
8. Silenus drunk, with satyrs, fair, 5s.; another impression,
very fine, £1 5s.
9. Silenus and the shepherdess, good, 10s.
10. Diogenes with his lanthorn, Melancholia, Two men and
children among ruins (3), fair, £1; Melancholy only, very
fine, with large margins, £1.
Cathelin (Louis Jacques).-Born at Paris in 1738;
died there in 1804. A pupil of Le Bas. One of the most
important prints of this artist is a rare portrait of Marie
Antoinette in a large oval. Other subjects are: 'Louis
XV.," after Vanloo; "Henri VI. of France," after Cochin;
"The Death of Lucretia," after Pellegrini; "Erigone,"
after Monsiau, and "Latona revenged," a plate which was
begun by Balechou and finished by Cathelin.
Caukerken (Cornelis van).-Born at Antwerp in
1625, died there about 1680. The engraver's best print is
the "Martyrdom of St. Lievinus," after Rubens, which, if
a proof before letters, is worth about £3; in any other
event rarely more than 15s. Ordinary impressions of the
artist's other prints, which are not numerous, frequently sell
for a few shillings each.
Cavalleriis (Giovanni Battista).-An Italian en-
graver, born at Lagherino in 1530; died at Rome in 1597.
This artist executed nearly four hundred plates, which are
usually found marked with his monogram, "BC." The
style of engraving he adopted closely resembles that of
Eneas Vico. He usually employed the graver only, but did
not handle it in a satisfactory manner. His lights are, as
a rule, bad.
1. The Dead Christ, after Michelangelo and others (7), 16s.
2. The Adoration of the Shepherds, after Bronzino; and Our
Lord Feeding the Multitude, the latter on two sheets
after Raffaelle, 10s.
3. Thirty-three plates of the Ruins of Rome, 1579, fair,
£2 4s. 9d.
4. Susanna and the Elders, after Titian, 1586, fair, 12s. 6d.
5. The Elevation of the Cross, good, 19s.; again, 14s.
Caylus (Anne Claude Philippe).-Born at Paris in
1692; died there in 1765. This gentleman, Le Comte de
13
194
ENGRAVINGS AND THEIR VALUE.
Caylus, was an amateur etcher of very considerable merit
and great assiduity, his plates being literally numbered in
hundreds. There is a set of 200 prints engraved by him
from the "drawings of the great masters in the collection
of the King of France", and 100 heads after Rubens, Vandyck
and Leonardo da Vinci. Le Comte de Caylus endeavoured
to discover the ruins of Troy and is well known by his
elaborate archæological work "Recueil d'Antiquités," pub-
lished in 7 vols. 4to., Paris, 1752-67. His etchings are
usually of small value.
CB (Master of the Monogram).—See Master of
the Monogram CB.
Cecil (Thomas).—An English engraver of repute, who
flourished about 1630. He worked entirely with the graver,
in a stiff, tasteless style. His plates are however very neatly
executed, generally after his own designs, and compared
with other prints executed by contemporary native engravers
may well be regarded as excellent, for the art of engraving
was at this period at a very low ebb in England.
1. Queen Mary, 1630, three-quarter length; Edward VI., King
of England, bust; Regem dedi iratus eis, in robes, three-
quarter length (2), 17s.
2. The Countess of Provence, bust in oval, proof before
letters, £1 12s.
3. Archibald Armstrong, jester to James I., whole length,
fair, 12s.
4. John Talbot, Earl of Shrewsbury, fine and rare, £2 14s.
5. Sir John Burgh, in armour, fine and rare, £9.
6. The Lively Portraicture of the Great Disturber of France,
Monsieur Couchine de Couchin, &c., fair, £1 3s.
Cesi or Cesio (Carlo).-Born at Androdoco, in the
Papal States, in 1626; died in 1686. This artist, who is
said to have been a pupil of Pietro da Cortona, is much
better known by his engravings than his paintings. His
plates are chiefly etched, and finished off with the graver
in a free, masterly manner. Their value is, however, small.
Among his best may be mentioned sixteen plates from
the Pamphili Gallery after Pietro da Cortona, and forty-
one plates from the Farnese Gallery after Annibale Carracci.
ENGRAVERS AND THEIR WORKS.
195
Chambers (Thomas).—An English engraver, born in
London about 1724; died in 1789. This artist executed a
set of fifty-one portraits of painters and others, which has
sold by auction for as little as 8s., and seldom brings as
much as £1 10s. Other prints are: "The Good Man at
the Hour of Death," and "The Wicked Man at the Hour
of Death," both after Hayman, and "Helena Forman," after
Vandyck.
Change. See Duchange (Gaspar).
Chantry (John).—An English engraver, living in 1660.
This artist worked almost entirely for the booksellers.
His style is stift and laboured, and has nothing to recom-
mend it. As will be seen, however, from the list of some
of his works given below, the prices realised are sometimes
high. His chief prints consist of portraits.
1. Charles II., half length, after Blason, brilliant impression;
Gethinge, the writing-master, cut (2), £3 15s.; Charles
II., fine, £1 15s.; Charles II., and Monck, Duke of
Albemarle, on one plate, £2 5s.
2. Edward Leigh, 1662, fine, 12s. 6d.
3. John Selden, bust in oval, fine, 14s.
4. Richard Gethinge, fine and scarce, £2 2s.
5. Tobias Whitaker, M.D., fine and rare, £1 1s.
Chapron (Nicolas).- Born at Châteaudun in 1612, died
at Paris in 1647. This artist usually marked his plates
'N. C. F." His best print is a portrait of Henry IV.,
after Freminet, which is scarce.
Charpentier (François Philippe).-Born at Blois in
1734, died there in 1817. This artist discovered the process
of engraving in aquatint and many of his plates are in
this style. Among the best are "Perseus and Andromeda,"
after Vanloo, "The beheading of St. John," after Guercino,
and the " Descent from the Cross," after Vanloo.
Chastillon (Louis de). – Born at St. Ménehould, in
Champagne, about 1639. This artist's works bear a close
resemblance in point of style to those of Gérard Audran,
though they are distinctly inferior to them in every way
196
ENGRAVINGS AND THEIR VALUE.
Among the best may be mentioned
St. John in the Isle
・of Patmos," after Poussin, and “Jupiter and Leda," after
the same. The value is, as a rule, small.
Chateau or Chasteau (Nicolas).-Born in Paris in
1675; died there about 1750. The nephew of Guillaume
Chateau. His prints are of small importance and value.
One of the best is "Venus and Adonis," after Silvestre.
Chateau or Chasteau (Guillaume).—Born at Orleans
in 1635; died at Paris in 1683. This artist worked chiefly
with the graver, but in some instances he etched his
backgrounds. His best prints include "The assumption of
the Virgin," after Annibale Carracci; "The death of Ger-
manicus," after Poussin, and “The Repose in Egypt," after
Correggio. The value is, as a rule, small.
Chatelain (Jean Baptiste Clàude).—This excellent
but eccentric artist was born at Paris in 1710 and died at
London in 1771. He had a peculiar talent for drawing
landscapes, was a man of immense ability, but unless forced
by stress of circumstances, never worked. It is said of him
that with such incongruous material as a piece of tobacco
taken from his mouth he could make an admirable land-
scape without any study or deliberation. He was largely
employed by Boydell.
1. The Four times of day, etched by Chatelain and finished
in mezzotint by Houston, (4), good, £1 16s.
2. A Landscape after Rembrandt, fair impression, 7s. 6d.
3. Eight Landscapes after Poussin, good, £1 5s.
Chauveau (François).—Born at Paris in 1613, and
died there in 1676. This engraver is said to have produced
nearly 3000 plates, mostly for books. Ordinary impressions.
are of little value.
Cheesman (Thomas).-One of the pupils of Bartolozzi.
This artist was born in 1760 and died in 1820. He worked
both in stipple and in mezzotint, and many of his prints are
ENGRAVERS AND THEIR WORKS.
197
i
in colours. Good impressions of these are highly esteemed
at the present time.
1. The Seamstress, in colours, fine, £6.
2. The Lady's last Stake, after Hogarth, in stipple, good
impression in red, £2 5s.
Chereau (François).-Born at Blois in 1680; died at
Paris in 1729. This artist's best print is an admirable
portrait of the Duc d'Antin, after Rigaud, which for cor-
rectness of drawing and beauty of touch has rarely been
surpassed.
1. Portrait of Delaunay and Giradon, proofs (2), 10s.; Delaunay
only, proof before letters, 12s.; the same, before letters
and the additional work on the drapery, 12s.
2. Charles Leslie, M.A., after A. S. Bella, 10s.
3. Cardinal Polignac, proof and letters, £1 1s.; the same,
proof before letters on border, £1 5s.
4. Louis Antoine de Goudrin, after Rigaud, proof before
letters, good. 14s.
5. Eusebius Renaudot, proof before letters, good, 12s. 6d.
6. The Holy Family and La Belle Jardinière, both after
Raffaelle, proofs (2), £3 5s.
Chereau (Jacques).-The younger brother and pupil
of the preceding. Born at Blois in 1688; died at Paris
in 1776. This artist's works which are far from numerous
consist chiefly of portraits and historical subjects. He
worked entirely with the graver in a neat and highly
finished style, greatly resembling that of his brother.
1. The Queen of Arragon, after Raffaelle, proof before any
letters, 16s.
2. George I., King of England, after the artist himself, proof,
£1 2s.
3. Philip of Orleans, Regent of France.
4. Michael de Montagne, 1715, oval.
5. David and Bathsheba, after Raoux, proof, £1 4s.
6. Frederick the Great receiving his guards, good, 8s.
7. The Transfiguration, after Raffaelle, fine proof, £1 5s.
Cipriani (Giovanni Battista).-Born at Florence in
1727; died at Hammersmith in 1785. This artist, who was
chiefly celebrated as a painter, left a few plates, some of
which are after his own designs. His name is known
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ENGRAVINGS AND THEIR VALUE.
chiefly in connection with that of Bartolozzi, who engraved
many fine plates after his compositions.
1. John Milton (through different stages of life), etchings,
some proofs (11), £1.
2. John Locke, proof, second state, 9s.; again, ordinary im-
pression, 4s. 6d.
3. Edmund Ludlow, fair, 7s.
4. Algernon Sidney.
5. Andrew Marvel.
6. The Mother and Child.
7. The Death of Cleopatra, after Celino.
8. The Descent of the Holy Ghost, after Cabbiani.
Claessen (Alaert).-A Dutch engraver, who seems to
have been living at Amsterdam, between the years 1520
and 1562. Though this artist possessed a delicate touch
his drawing is often very defective. He worked principally
after Lucas van Leyden, Mantegna, Albrecht Dürer and
Hans Sebald Beham. His prints are mostly of small size.
1. A Panel of Ornament with Tritons fighting, indifferent, 5s.
2. The Dance of Death, good, (6), £3 15s.
3. A Female seated with a winged dragon before her, a circle,
rare and fine, £20 10s.
4. Study of three naked figures, copied from Dürer, good,
£2 6s.
Claude Gellée (called Lorraine).—A very celebrated
landscape painter, born at Chamagne in 1600; died at
Rome in 1682. He left about forty etchings of landscapes
and seaports, all of which are sought after by collectors,
as shewing the many excellencies of the master observable
in his numerous paintings. What is known as Claude's
"Liber Veritatis" is a collection of 300 drawings of his
pictures, executed in bistre and occasionally touched up
with white. The original volume, after many vicissitudes,
found its way into the Library of the Duke of Devonshire
where it now is. The "Liber Veritatis" was reproduced
by R. Earlom who worked after the original designs. The
work was first published in 3 vols., folio, 1777-1819.
1. The Setting Sun, first state before any number or letters,
£6.
2. The Flight into Egypt, the Apparition, the Ford, and the
ENGRAVERS AND THEIR WORKS.
199
Storm, old impressions (4), £1 11s.; the first three,
fine (3), £1; the Flight only, second state, 8s.
3. The Dance, the Shipwreck, cattle crossing a stream, and
the Sketcher, fine (4), £2 5s.; the Shipwreck only, second
state, 14s.
4. Sunset, landscape with cattle, very large margin, Mercury
and Argus, and the Goatherd, all fine (4), £1 13s.
Time, Apollo and the Seasons, Europa, the Campo Vaccino,
the Goats, first state, fine (5), £1 11s.
6. The Campo Vaccino, first state, very rare, £10 10s.
7. Landscape with cattle, fine; landscapes, after Claude, by
Barrière, &c. (16), 15s.
8. The Robbers, the Bridge, Sunset, and a landscape with
cattle, fine (4), £1 12s.
9. The Shepherd and Shepherdess, early proof, good, 10s.
Clerc (Sébastien le).-A French artist, born at Mentz
in 1637; died at Paris in 1714. This admirable engraver
produced nearly 3500 plates, among them the series of
"Battles of Alexander," after Le Brun, and a number of
Greek and Roman costumes.
1. Subjects from the Old Testament; Passion of Christ, &c.
(238), £1 7s.
2. The Life and Miracles of St. Benedict, &c. (64), 15s.
3. Alexander's Entry into Babylon; the Academy of Sciences
(6), £1 5s.
4. Illustrations to Esop's Fables, landscapes, title-pages, &c.
(300), £2 12s. 6d.
5. Sébastien le Clerc standing near a bureau, called the
Cabinet of le Clerc, unfinished, 8s. 6d.
6. Le Maréchal de la Ferté, scarce, £2 15s.; the same, large
margin and very fine, £7 7s.
7. Torquato Tasso, fine proof with full margins, £2 18s.
Cleyn or Kleyn (Franz).—Born at Rostock in Mecklen-
burg-Schwerin about 1600; died at London in 1658. This
artist came to England in the reign of James I., and was
taken into the service of the king, who first employed him
in designing historical and grotesque subjects for the manu-
facture of tapestry, established at Mortlake under the
patronage of that monarch. Cleyn was more celebrated as
a painter than as an engraver. His plates are all etched
in a style somewhat resembling that of Hollar.
1. The Five Senses, fine and rare, £2 2s.
2. Caricature: Gare l'eau la Bas, Juno in a cavern, Cupid
turning on the water; frieze, head-piece with foliage; the
Newcastle Family seated round a fire (3), £1 16s.
200
ENGRAVINGS AND THEIR VALUE.
Clint (George).-Born in Brownlow Street, Drury Lane,
in 1770; died in Pembroke Square, 1854. This artist achieved
considerable popularity by reason of his mezzotints and
theatrical portraits. He engraved in the chalk style and
in outline.
1. The Trial of Queen Catherine (the Kemble Family) after
G. H. Harlow, fine proof before letters, with the bust
of Shakespeare, framed, £11 15s. (The portraits com-
prise those of John Kemble, Charles and Stephen Kemble,
Conway, Park, Mrs. Siddons, Wewitzer, Blanchard, Miss
Stephens who was afterwards Countess of Essex, and
other theatrical celebrities of the day).
2. William Pitt, after J. Hoppner, fair, 15s.
3. Admiral Sir Samuel Hood, after the same, proof before
all letters, £5.
4. The Death of Nelson, after W. Drummond, in mezzotinto,
1807, good lettered impression, £1 5s.
Clouet or Clowet (Albert).- The nephew of the artist
next named. Born at Antwerp in 1624; died there in 1687.
This engraver was a pupil of Cornelis Bloemaert. His best
prints include An Attack of Cavalry," after Borgognone,
and "The Miraculous Conception," a scarce subject on two
sheets after Pietro da Cortona.
Clouet or Clowet (Pieter).-Born at Antwerp in 1606;
died there in 1670. This artist's best plates are after Rubens.
His prints are said by Strutt to be deficient in harmony,
and, though full of colour and boldly engraved, to lose a
great part of their effect from a too equal distribution of
the shadows.
1. The Descent from the Cross, after Rubens, fine, 16s.
2. Portrait of Adriaan Boudewyns, the Flemish painter and
etcher, fair, 8s. 6d.
3. The Newcastle Family, after Diepenbeeck, beautiful proof
before any inscription, £68 5s.
4. Portrait of Theodore Rogiers, after Vandyck, first state
before the address of De Man, third undescribed state
of the same (2, both cut), 15s.
5. The Garden of Love, very fine, with the Flemish verses
and before the address of C. van Merlin who retouched
the plate, £1 17s. 6d.
Cock or Kock (Jerome).—Born at Antwerp in 1510;
died there about 1570. This artist was a printseller and
f
ENGRAVERS AND THEIR WORKS.
201
1
publisher as well as an engraver. His etchings are very
slight, and executed for the most part in a poor, scratchy
style, without effect. Sometimes, however, they bring high
prices.
1. Three satirical subjects on the intrigues and cruelties of
Alva, entitled, Inquisiteur," "Rex Hispani," "Jasma,"
Granvello," "Bubilon," "Alva” (3), 10s.
66
2. Martyrdom of St. Catherine, landscapes, &c. (5), 17s.
3. Danté seated at a table, fine and rare, £1.
4. Maria Scotia Regina Francorum regis conjux, 1559, and
her first husband, Francis II., a pair of ovals in profile,
extra fine and rare, £11.
Cockson (Thomas).-One of the earliest English en-
gravers. The date of his birth is unknown but he is stated
to have been working between 1609 and 1636. All this
engraver's works consist of portraits, executed with the graver
in a dry but neatly finished manner. Cockson's plates must
be carefully distinguished from those of Thomas Cross and
Thomas Cecil, who both used the same monogram (the initials
T.C. interlaced).
1. Dr. Francis White, ætat. 59; the Civile Wars between the
Houses of Lancester and Yorke (2), 5s.
2. Dr. Francis White, fine, 15s.
3. George, Earl of Cumberland, equestrian portrait in hat
and feather, extra rare and curious, £11 11s.
4. John Taylor, the water poet, fine, £2 19s.
5. The Mighty Princesse Maria de Medicis, &c., £1.
6. The Most Mighty Prince Demetrius, Emperor of Russia,
12s. 6d.
7. The Most Puissant Prince Matthias I., scarce, 12s. 6d.
Colignon (François).—Born at Nancy in 1621. This
artist's forte lay in engraving views of buildings, gardens,
&c., introducing small figures, which he executed in a free,
spirited style. At times he resembled Callot, Della Bella,
and Israel Silvestre, after all of whom he engraved. The
value of his prints is usually small.
Collaert (Adriaen).-Born at Antwerp about 1530;
died there in or about 1618. This artist worked entirely
with the graver, in a firm, neat, but rather stiff and dry style.
His lights are invariably badly managed, but to compensate
202
ENGRAVINGS AND THEIR VALUE.
for this deficiency, his drawing, particularly of heads
and extremities, is excellent at all times.
1. Allegorical subjects, illustrating the history and discovery
of the New World, with portraits of Columbus and
Mayerlanes, after Jan Stada, good impressions (4), £1 11s.
2. Sets of birds, beasts, and fishes (49), 15s.
3. Different sets of the Life of Christ and of the Virgin
(79), 15s.
4. Subjects from Scripture, the Four Evangelists, &c. (24), 9s.
5. The Life, Passion, and Resurrection of Christ, after Martin
le Vos (5), 11s.; the same, £1 1s.
6. David and Goliath, St. George, Hercules and Dejanira, &c.
(15), £1 1s.
Collaert (Jan). -The son of Adriaen Collaert, born at
Antwerp about 1540; living in 1622. His plates are found
marked with the initials "H. C. F.," and occasionally with
his cipher. This excellent artist drew and engraved exactly
in the style of his father, and was, in every respect, equal
to him in merit.
1. Scriptural subjects, in borders, composed of animals, birds,
and flowers, after H. Bol, (25). 16s.
2. The Virtues, after Stradanus, (33), 10s.
3. Moses Striking the Rock, after Lombart; Venus and Adonis
(3), 12s. 6d.
4. The Last Judgment, good, 8s.; again, large margin, 12s.
5. Peace and Charity, fair impression with margin, 6s.
6. The title to the Biblia Sacra, after Rubens, fine.
7. The title to the Kerkelyke Historie, after ditto, fine, 6s.
8. The title to the Vaders Boeck, after ditto, fine.
Collin (Richard).-A German engraver, who was born
at Luxemburg in 1626; living in 1682, in which year he
engraved a portrait of Anna Adelhildi, wife of the Prince
de la Tour. He is described as an indifferent artist.
1. Raimondo Montecuccoli, three-quarter length, very fine, 14s.
2. Murillo, three-quarter length, in an oval, 16s.
3. His portrait, after Sandrart, 16s.
4. Jane, Duchess of Norfolk, after Lely, 1682, very fine, £5.
Collyer (Joseph).-This artist worked with the graver
and also in chalk, the latter method proving eminently
successful. He was born in London in 1748 and died there
in 1827.
ENGRAVERS AND THEIR WORKS.
203
1. Miss Farren, after J. Downman, good, £8.
2. His Majesty receiving the associations on June 4th. 1799,
dated 1801, good, in colours, £5 5s.
3. The Volunteers of Ireland, after Wheatley, 1784, good
lettered impression, £1 1s.
Cooper (Richard).-There were two engravers of this
name, Richard Cooper, the elder, who was born in London
about 1705 and though a capable engraver of portraits is
chiefly known as the master of Sir Robert Strange, and
Richard Cooper, the younger, son of the preceding, who
was born at Edinburgh about 1740, and was living in 1814.
The best print of the younger Cooper is known as "The
Children of Charles I. with the Great Dog," after Vandyck.
1. Count Gondomar; whole length from the Stour picture,
proof, £1 12s.
2. Procession of the Knights of the Garter, after Vandyck,
17s.
3. Lady Wallace, after J. Davison, rare; Shooting Prisoners,
copy of Callot's etching (2), £1 8s.
4. Henry (first) Earl of Sunderland, proof before letters, £5.
5. Cupid found in a rose, proof, in brown, after Burney, 13s.
6. Rubens' wife (Le Chapeau de Paille) after Rubens, in
colours, fair, 18s.
Corbutt (C.).-The pseudonym adopted by Richard
Purcell, a mezzotint engraver of considerable reputation
who was born in Ireland about the year 1736. Among his
best plates are portraits of Lady Fenhoulet, Lady Charlotte
Johnstone, a subject entitled Garrick between Tragedy and
Comedy, all after Reynolds, and several portraits after Pine.
Corbutt died in London about 1765.
1. Miss Fanny Murray, after Morland, good, £1 8s.
2. Lady Chambers, after Reynolds, good, full margin, £1 6s.
3. The old Rabbi, after Rembrandt, fair, 8s.; again, fine
lettered impression, 12s.
4. John Wilkes Esq., after Pine, good lettered impression,
full margins, 10s. 6d.
Coriolano (Bartolomeo).—An engraver on wood, born
at Bologna in 1599; died in 1676. This artist worked in
chiaro-scuro, using as a rule two blocks of wood, on the
first of which he cut not only the outline but the darker
shadows in imitation of the hatchings of a pen. The second
204
ENGRAVINGS AND THEIR VALUE.
block supplied the half tint and with the two he managed
to produce a pleasing effect. In some few cases however
three blocks were used. The prints mentioned below are
all in chiaro-scuro.
1. The Virgin, the Infant Jesus, and St. John the Baptist,
after Guido, first state, £2 10s.; the same, second state, 14s.
2. A Sibyl, after Guido, 5s.; another Sibyl, after the same,
3s. 6d.; another Sibyl, after the same, 14s.; another Sibyl,
after the same, 6s.; the four Sibyls (4), good, £1 15s.
3. The Alliance of Peace and Abundance, first state, with
the name of Santo Guidotto, fine, £3 3s.
4. The Seven Ages, a Thesis, rare, £1 15s.
5. Herodias with the Head of St. John, fine, with margin,
£1 13s. 6d.
Coriolano (Giovanni Battista).-Born at Bologna in
1590; died there in 1649. This artist worked both on
wood and copper, his cuts being much superior to his en-
gravings. One of his plates "Christ crowned with Thorns,"
after Ludovico Carracci, is etched in imitation of a wood-
cut. This and a portrait of Fortunius Licetus are his
most noticeable productions on metal.
Cornelisz (Jacob).-See Assen (Johann Walther
van).
Correggio (Antonio da).-Born at Correggio in 1494;
died there in 1534. This famous painter whose surname
was Allegri or Lieti, but who is more commonly known
by the name of Correggio, has been credited with the
etching mentioned below. Some authorities, however, are
of opinion, that it is not his and that he never practised
the art of engraving in any of its branches.
1. Sea Nymphs and Tritons (his only etching), very fine and
extremely rare, £10; again, in excellent condition, with
good margin, £72 10s.
Cort (Cornelis).—An excellent engraver, born at Hoorn,
in Holland, in 1536; died at Rome in 1578. Cort, who
was the master of Agostino Carracci worked entirely with
the graver in a bold, open style. His backgrounds,
especially if they be landscapes, are executed with much

ENGRAVERS AND THEIR WORKS.
taste and freedom, and clearly show the great command
he had over the instrument. There is, however, in general
a dryness and stiffness about his figures, particularly those
that are covered with drapery, which frequently, joined
with a want of harmony, produce anything but a pleasing
effect. His drawing is usually correct and masterly,
though sometimes the outlines are hard and the extremities
marked in a negligent, slovenly manner. (See Strutt's
"Dictionary of Engravers.")
1. The Holy Family, the Last Supper (after Da Forli); the
Deposition, the Dispute of the Sacrament (4), £1 8s.
2. The Crucifixion, three landscapes and figures from Muziano,
the Cupola (5), £1.
3. The Martyrdom of St. Lawrence (after Zuccaro); the Calumny
of Apelles (two states) (3), £1 14s.
1. The monuments of Lorenzo and Giuliano di Medici, after
Michelangelo, first impression (4), £2; again, ordinary
impressions (4), 12s.
5. The Battle of the Elephants, after Raffaelle, 9s. 6d.
6. Prometheus, the Incontinence of Calisto, the Cyclops,
Angelica and the Dragon, after Tiziano (4), £1 15s.
7. The Annunciation; the Martyrdom of St. Lawrence, Paradise,
after Tiziano (3), £1.
8. The Virgin and Child, with St. Catherine and St. Jerome,
after Correggio (2), 17s.
9. The Trinity, after Titian, dated 1566, good, 14s.
10. The Last Supper; the Conversion of Saul, after Giulio
Clovio (2), 13s.
Courtois (Guillaume). Born at St. Hippolyte in 1628;
died at Rome in 1679. All this artist's prints are scarce,
much more so than those of his brother Jacques (1621—
1676) who is credited with a few etchings mainly consist-
ing of battle scenes. Both the plates mentioned below
are by Guillaume Courtois.
1. La Promenade des Remparts de Paris, after St. Aubin,
fine, large margin, £2 18s.
2. The presentation in the Temple, good, £1 5s.
Cousins (Samuel). This excellent mezzotint engraver
was born at Exeter in May, 1801, and died in 1887. He
engraved a large number of works, some of which are in
great request, particularly when early states or proofs.
See also under Landseer (Sir Edwin).

ENGRAVINGS AND THEIR VALUE.
1. Countess Spencer, when Viscountess Althorp, after Reynolds,
artist's proof, on India paper, very fine, £8 5s.
2. Lady Caroline Montague as Winter, after Reynolds, artist's
proof, £4 4s.
3.
Field-Marshal the Duke of Wellington, after Sir Thomas
Lawrence, proof before first selling proof, India paper, £38.
(This state of the plate is extremely rare. Only a small
number were printed, and presented to Mrs. Arbuthnot;
the lettering was then effaced, and the first unlettered proofs
were taken off. The inscription to the ordinary lettered
proofs was engraved by another person, and is without
the words "In the possession of the Rt. Honble. Chas.
Arbuthnot.")
4. Playmates, after H. Merle, artist's proof, India, £3.
5. Miss Rich, after Hogarth, artist's proof, India, £1 16s.
6. The Duchess of Devonshire, after Reynolds, artist's proof,
signed, £4 10s.
7. The Dauphin, after Greuze, artist's proof, India, very fine,
£8.
8. Lady Clive, after Sir Thomas Lawrence, artist's proof,
£3 16s.
9. Lady Lyndhurst, after Sir Thomas Lawrence, first state,
£5 5s.
10. William Shakespeare, the Chandos portrait, artist's proof,
India, £15 15s. (see no. 40).
11. Robert Burns, etched by William Walker, mezzotinted by
S. Cousins, after A. Nasmyth, artist's proof, £28.
12. The Visionary, after Liverseege, proof, £1 12s.
13. The Orphan, after Liverseege, proof, £1.
14. Sea Shells, after Howard, artist's proof, India, £2 10s.
15. Mater Purissima, after Fred Goodall, artist's proof, India,
£2.
16. Mater Dolorosa, after Fred Goodall, artist's proof, India,
£2.
17. "Yes," after J. E. Millais, artist's proof, £1 4s.
18. "No," after J. E. Millais, artist's proof, £1.
19. Vanessa, after J. E. Millais, artist's proof, £1.
20. Stella, after J. E. Millais, artist's proof, India, £2 2s.
21. New Laid Eggs, after J. E. Millais, artist's proof, India,
£2 6s.
22. The Princes in the Tower, after J. E. Millais, artist's
proof, India, £5.
23. Moretta, after F. Leighton, artist's proof, India, £11 11s.
24. The Picture of Health, after J. E. Millais, artist's proof,
India, £10 10s.
25. The Hon. Anne Bingham, after Reynolds, artist's proof,
India, very fine, £14 14s.
26. William Wilberforce, after G. Richmond, proof before
letters, 12s.
27. Miss Macdonald, after Sir Thos. Lawrence, first state, £8 8s.;
again, signed proof, £7 15s.
ENGRAVERS AND THEIR WORKS.
207
28. Mrs. Wolft, after ditto, first state, £5.
29. Countess Grosvenor, after ditto, second state, £8 15s.
30. Countess of Blessington, after ditto, first state, £24 3s.
31. Miss Croker, after ditto, first state, £21.
32. Master Lambton, after ditto, second state, £34 13s.
33. Nature, after ditto, first state, £19 19s.
34. The Countess Gower, after ditto, second state, £30 9s.
35. Lady Dover, after ditto, first state, £23 2s.
36. Lady Acland and Children, after ditto, first state, £22 1s.
37. Lady Grey and Children, after ditto, first state, £33 12s.
38. Sir Robert Peel, Bart., after ditto, artist's proof, £7.
39. Prince Metternich, after ditto, first state, £5.
40. The Chandos Portrait of Shakespeare, a rare engraver's
proof, £22 1s.
41. The Infant Samuel, after Sant, R. A., first state, £4 14s. 6d.
42. Sylvia, after Sir Joshua Reynolds, artist's proof, £7 7s.
43. A Midsummer Night's Dream, after Landseer, artist's proof,
£12 12s.
44. Piper and Pair of Nutcrackers, after ditto, engraver's proof,
signed, £12 Is. 6d.; again, £14.
45. Connoisseurs, after Landseer, artist's proof; signed by
engraver, £7 17s. 6d.
46. The Maid and the Magpie, artist's proof, signed by en-
graver, £11 6s.
47. Saved, artist's proof signed by engraver, £6 6s.
48. The Duchess of Rutland, after Reynolds, signed proof,
£5 5s.
49. Thomas Campbell, after Sir T. Laurence, proof before
letters, signed by the engraver, £1 1s.
50. Interior of the House of Commons, after Burgess, good
lettered impression, £5 16s.
51. The Right Hon. George Canning, after Lawrence, proof, £2.
52. La Surprise, after Dubuffe, proof, £20.
Coypel (Antoine). This artist was the son of Noel
Coypel, a French painter of repute, who etched three plates
of Biblical subjects. Antoine was born at Paris in 1661,
and died there in 1722.
1. The Finding of Moses, after Audran, proof before letters;
the Judgment of Solomon, after the same (2), 16s.
2. History of Eneas, proofs before letters, the set (12), 13s.
3. The Annunciation, after Drevet.
4. Esther before Ahasuerus; Jephtha's Vow; Athalie; Susannah
Condemned (4), 13s.
5. Jacob and Laban, proof; Jephtha's Vow; Susannah and
the Elders (8), 18s.
6. The Holy Family, by N. Coypel; Judith with the head of
Holofernes; Ecce Homo, proof, &c. (10), £1.
Crabbe (Franz).-See Master of the Crab.
208
ENGRAVINGS AND THEIR VALUE.
Cranach (Lucas). — A German engraver, born at Kronach
in 1472; died at Weimar in 1553. This artist's woodcuts
are all sought after by collectors, especially those in chiaro-
scuro. His prints are found marked with the arms of
Saxony, with a dragon, and sometimes with his cipher.
Cranach was a painter of portraits and historical and
poetical subjects. He also excelled as an engraver. His
best prints comprise the "Life of Christ," consisting of
fourteen middling-sized upright plates. A descriptive list
of his works in wood and copper, is given in Bartsch,
vol. vii., p. 273.
1. St. George, rare, £1 Ss.; the same and St. Christopher
(2), £1.
2. A Prince of Saxony, rare, 12s.; the same, and Venus and
Cupid (3), 10s.
3. Frederick III. of Saxony (woodcut), fine, £1 15s.
4. Martin Luther, a woodcut, rare and fine, £5 15s.
5. St. Christopher (chiaro-scuro) in two plates, fine, £7.
6. St. John in the wilderness (woodcut), the same (chiaro-
scuro) (2), fair, £1 1s.
7. Venus accompanied by Love, fine, margin, £2 6s.
8. The Holy Family in the Schoolroom (woodcut), fine, £1 1s.
9. Martyrdom of St. Erasmus (woodcut), fine, 11s.
10. The Tournament, 1508 (woodcut), good, £1 12s.
11. The Repentance of St. Chrysostom, fine and rare, £1 4s.
12. Stag hunting, representations of tournament, &c., (6), £3 3s.
13. Portraits of different members of the House of Saxony,
Luther and Huss, Philip Melancthon, whole length, &c.
(8), £1 1s. Philip Melancthon, circular woodcut, fair, 4s.
14. Venus and Cupid, 1506 (the most ancient dated chiaro-scuro).
Creation (Master of the Days of).-See Master
of the Days of Creation.
Crespi (Giuseppe Maria), called Il Spagnuolo.-
Born at Bologna in 1665; died there in 1747. This artist
etched a few plates from his own designs, among which
may be mentioned a set of small upright plates known
as "the adventures of Bertholde and Bertholdino."
Cross (Thomas).- An English engraver, who was em-
ployed in engraving numerous portraits of authors and
other celebrities as frontispieces to books published in
the middle of the seventeenth century. His style shows
ENGRAVERS AND THEIR WORKS.
209
no traces of artistic refinement and most probably he
merely endeavoured to render faithfully the lineaments of
the persons or objects portrayed. Prints by this artists
are, however, not merely scarce but important, as they
are valuable contributions to the history of the Period.
Thomas Cross flourished between 1632 and 1682.
1. William Brome, fine, £1 5s.
2. Hugh Grotius, bust in oval, fine, 13s.
3. Richard III., impression with wide margin, very rare, £1 8s.
4. Sydrach Simpson, Master of Pembroke Hall, Cambridge,
fine, £1 6s.
5. John Hoddesdon, scarce, £2 3s.
6. Leonard Willan (different busts), fine and rare, £2 188.
7. John Gamble (musician), fine and rare, £1.
8. Susanna Perwich, extra rare, £1 10s.
9. Philip Massinger, prefixed to the 1655 edition of his plays.
The only portrait of the author known to exist, good
lettered impression taken from the book, 7s. 6d.
Cruikshank (George).—One of the most skilful cari-
caturists and designers of modern times. He was born in
Bloomsbury in 1792, and died in 1878. A full and complete
list of the artist's prints may be obtained from Reid's
"Descriptive Catalogue of the Works of George Cruk-
shank," London, 3 vols., 4to, 1871, where more than
5000 etchings and engravings on wood are catalogued.
See also Jerrold's "Life of George Cruikshank," second
edition, 1883, and Wright's "History of Caricature and
Grotesque in Literature and Art," 1865. The works of
George Cruikshank must not be confounded with those
of his brother Isaac Robert Cruikshank or of his father
Isaac, or uncle Percy, all of whom were most capable
artists. Among the numerous books illustrated by George
Cruikshank are the works of Ainsworth, Dickens, Pierce
Egan, William Combe and many other well known au-
thors. Note also the under-mentioned.
1. The Bachelor's Own Book, London, 8vo, 1844.
2. Mudford's Account of the Battle of Waterloo, Svo, 1817,
thirty coloured plates.
3. The Comic Almanac, 1835 to 1853, 8vo.
4. The Comic Alphabet, 1837, 8vo.
14
210
ENGRAVINGS AND THEIR VALUE.
5. The Commercial Tourist, 1822, Svo.
6.
Scott's Demonology, and Witchcraft, twelve coloured plates,
1830.
7. The Fairy Library, viz.: Hop o' my Thumb, the Seven
League Boots, Jack and the Beanstalk, Cinderella, Puss
in Boots.
8. Loving Ballad of Lord Bateman, 1839, 8vo.
9. Points of Humour, 2 vols., 8vo, 1823-4.
10. The Table Book, 1845, 8vo.
11. Mayhew's Greatest Plague of Life, N.D., Svo.
12. Life in Paris, 1828, 8vo.
13. Italian Tales, 1824, 8vo.
14. Our Own Times, 1864, 8vo.
15. Cruikshank's Omnibus, 1842, 8vo.
16. London Characters, 1827, 8vo.
17. Mayhew's Toothache Imagined, N.d., 8vo.
18. Clarke's Three Courses and a Dessert, 1830, 8vo.
19. My Sketch Book, 1833. 8vo.
20. Wight's Mornings at Bow Street, 1824, 8vo. More Mornings
at Bow Street, 1827, 8vo.
21. Gambols on the River Thames, 1814, in colours.
22. Diverting History of John Gilpin, 1828, 8vo.
23. Grimm's German Popular Stories, 1823-6, 2 vols., 8vo.
24. Hans of Iceland, 1825, 8vo.
25. The Worship of Bacchus, proof, signed by Cruikshank.
£2 2s.
Cruyl (Lievin).-Born at Ghent about 1640; died there
in 1720. This artist generally marked his plates "L. Cruyl."
Nearly all consist of views of interesting objects in or near
Rome.
1. View of St. Peter's and the Vatican, 12s. 6d.
2. Ten plates of the Triumphs of the Roman Emperors, fine,
£1 2s.; again, 18s. 6d.
3. Twenty-three plates of ancient and modern Rome, 1665,
fair, £1; again, 9s.
Cuerenhert (Dirk Volkertsz).-This artist, born at
Amsterdam in 1522, was the master of Hendrik Goltzius,
His works are slight and executed with the graver alone
in an open, careless style, so as greatly to resemble designs
made with a pen. Cuerenhert died at Gouda in 1590.
1. Subjects relating to Roman history, the Queen of Sheba
visiting Solomon (15), 18s.
2. Balaam and his Ass, after Heemskerck, 8s.
3, Job reproached by his wife, after ditto, fair, 9s. 6d.
4. Joseph Explaining his Dream, after ditto, 3s.; again, 7s. 6d.
ENGRAVERS AND THEIR WORKS.
211
Cuitt (George).-Son of George Cuit or Cuitt the elder,
a notable portrait and landscape painter, was born at
Richmond in Yorkshire in 1779 and died at Masham in
1854. The etchings of this master consist almost entirely
of representations of old buildings, ruins, abbeys, &c., much
in the style of Piranesi, though far from being mere imitations
of that celebrated artist's productions. Cuitt etched his
own portrait. All his works will be found collected into
a volume with letterpress, first published in folio in 1848 under
the title of "Wanderings and Pencillings among the Ruins
of the .Olden Time" (about £2, half morocco, auction).
Cunego (Domenico).This Italian designer and en-
graver is said to have been born at Verona in 1727, and
to have died at Rome in 1794. His plates, many of which
are copies from the works of Italian masters, are executed
entirely with the graver in a clear, neat style, but with
very little taste. Many plates by Cunego are to be found
in Boydell's Collection. His commonest works consist of
landscapes and views of ruins, generally after Clérisseau.
These are very frequently met with and invariably sell for
small sums.
Cuyp (Aelbert).-This great painter was born at
Dordrecht in 1620 and died there in 1691. He is credited with
a few small etchings of cows, which have now become scarce.
1. The Cows, a set of six small etchings, early impressions,
£1 2s.
Dalen (Cornelis van.-This engraver is stated in the
Nouvelle Biographie Générale," to have been born at
Haarlem in 1640. The date of his death is not known.
He was instructed in engraving by Cornelis Visscher, whose
style he sometimes follows very closely.
1. Charles II., in two states, fine, £1 10s.; the same, proof,
16s.; the same, fine, £1 5s.
2. James, Duke of York, and Henry, Duke of Gloucester, very
fine and rare, 17s.; James, Duke of York, 5s.
3. Deleboe Sylvius, proof before letters, very rare, £2; again,
ordinary impression, fair, 6s.
212
ENGRAVINGS AND THEIR VALUE.
4. Aretino, after Titian, proof, 6s.; the same, fine, 18s.
5. Sebastiano del Piombo, proof, 8s.; the same, fine, before
inscription, 12s.
6. Portraits of Aretino, Giorgione, Boccaccio and Sebastiano
del Piombo, proofs (4), £2 4s.
7. Old Parr, "the olde, olde, very olde man, or Thomas Parr,"
&c., 1635, 17s.
8. Four Saints-Ambrose, Gregory, Jerome, and Augustine,
after Rubens, 11s.; the same with the Seasons, and
Venus and Cupid, after Flink. 11s.
9. Giorgione, the painter, after Titian, very fine, 18s.
10. Algernon Percy, Earl of Northumberland, £4; the same,
rare and brilliant, £15.
11. William VI., Landgrave of Hesse, three-quarter length, in
armour, fine, 12s.
12. Giovanni Boccaccio, after Titian, fine, 18s. 6d.
13. Henry, Duke of Gloucester, ætat. 20, in armour, oval, after
Luttichuys, choice proof, before letters, £3 10s.
14. Sir John Pennington, vice-admiral, 1636, in armour, rare
and extra fine, £4 10s.
15. J. M., Prince of Nassau, after Flink; Anna Maria Schuurman,
after C. Johnson; Boccace, after Titian (3), 10s.
16. The Madonna and Child, after Vandyck, proof before all
letters, fine, £1 5s.
Danckers or Danckerts (Cornelis).-A Dutch en-
graver, born at Amsterdam in 1561; living in 1634. He
executed several portraits, and a number of subjects from
his own designs. Their value is not, as a rule, great.
Danckers or Danckerts (Hendrik).—Born at Antwerp
about 1615; died at Amsterdam in 1678. Good impressions
of this artist's plates are very rare.
1. Princess Augusta Maria, in the character of Diana, after
Hanneman, 1640, large oval, very fine and rare, £7.
2. Sir Edmund Fortescue, of Fallowpit, in the County of
Devon, Kt., ætat. 36, 1647, in armour, very fine and al-
most unique, £16 5s. 6d.
3. Charles II., sash over his cuirass, large oval, after Hanne-
man, proof before any inscription, £12 5s.
4. Cornelis Stæfrenisse, average impression, 17s. 6d.
Danet (Jean).—See Duvet (Jean).
Danet (Léon).-See Davent (Léon).
Daniel (James). A mezzotint engraver of considerable
ability. He was living in this country at the commence-
ment of the present century.
ENGRAVERS AND THEIR WORKS.
213
1. Young Cottagers, mezzotint, after Livesay, good, £1 10s.
2. Samuel and Eli, after Copley, fair, 4s.
3. Nelson at the Battle of Cape S. Vincent, after Singleton,
fine proof before any letters, £3 15s.
Daret (Pierre).-Born at Paris in 1604; died about
1678. The works of this artist, which are generally found
marked with the cipher "DP," extend to upwards of 400
prints, chiefly executed with the graver.
The value is, as
a rule, small.
1. Anne of Austria, daughter of Philip III. of Spain, with
verses, fair, 2s. 6d.
2. Louis XIII., King of France, in armour, on horseback,
with verses, rare, 12s. 6d.
Dati.-See Master of the Mousetrap.
Daullé (Jean).--A French engraver, born at Abbeville
in 1703. He was living in 1762.
1. Laubriere, Bishop of Soissons, two impressions, one a
proof before letters, 8s.
2. Saint Simon, Bishop of Metz, after Rigaud, proof before
the arms or letters, 18s.; the same, before the shadow
under the book was increased, 10s.
3. Fancy pieces after Boucher (14), 12s.
4. Claude Deshais Gendron, after Rigaud, fine lettered im-
pression, 19s.
5. Jean Mariette, proof before letters, and the same lettered
(2), 11s.; the same, a curious unfinished proof, 17s.
6. Archbishop Ludovicus Jacobus de Chapt de Rastignac, 12s.
7. Prince Charles Edward, proof, good, £1 15s.
Davent (Léon).-This artist appears to have been born
at Bavay in Belgium about 1500 and to have died some
fifty years later. His best subjects are after Francesco
Primaticcio. He is indifferently referred to as Davan,
Davon or Danet, and is also known as Léonard Thiry.
1. The Nativity, two different; the Adoration of the Kings,
&c. (4), £2.
2. St. John Preaching in the Wilderness, allegorical subjects,
after Primaticcio (4), £2 5s.
3. Antique basso-relievo; subjects from the life of Hercules.
and others, after Primaticcio (5), 15s.
4. Marcus Curtius Leaping into the Gulf, a battle piece, the
Trojan Horse (3), £1 8s.
214
ENGRAVINGS AND THEIR VALUE.
5. The Forge of Vulcan, the Death of Cleopatra, and another
(3), £2.
6. The Madonna and Child, with saints; Christ's Descent
into Limbo, Mary Magdalene Carried to Heaven (3),
10s. 6d.
7. The Magdalene Carried to Heaven by Angeis, fine, 17s.
8. The Fountain at Fontainebleau, after Primaticcio, 16s. 6d.
David (Charles).—A French engraver, born at Paris
in 1602; living there in 1636. This artist worked entirely
with the graver, in a clear neat manner, but with square
and rather unsightly cross-hatchings. His best plates com-
prise a series known as "The Labours of Hercules," twelve
middling sized subjects, length ways. One of his plates,
a man crowned with snails, accompanied by a goat, a dish
of snails on a table, is very rare. None of the rest are
uncommon.
David (Jérôme).—The brother of Charles David, born
at Paris in 1608; died at Rome about 1670. His principal
works are the Heads of the Philosophers (thirty-six plates),
and etchings, after the designs of Montano, of churches
and tombs at Rome, forty-two in number. The value of
these is not great.
Davis (Edward le).—One of the pupils of Loggan.
This artist was born about the year 1640. The date of
his death is unknown.
1. Louise, Duchess of Portsmouth, after Lely, rare, 16s. 6d.
2. Right Noble George, late Duke of Albemarle, fine; two
half-lengths, after Franz Hals, fine, 14s.
Davon (Leon).—See Davent (Léon).
Dawe (Philip). This engraver in mezzotint flourished
about the year 1780. His best work is after his master
Henry Morland, Gainsborough and Romney.
His sons
George Dawe (1781–1829) and Henry Edward Dawe (1790
-1848) were both painters and mezzotint engravers of con-
siderable repute. Plates by George Dawe are very scarce.
1. The Maid with her apron before the Candle, by Philip
Dawe, after H. Morland, in colours, fair, 10s.
2. The Nativity, by Philip Dawe after Copley, fair, 5s.
3. The Oyster Woman; The Letter Woman, both by Philip
Dawe, after H. Morland, fine, £4.
ENGRAVERS AND THEIR WORKS.
215
י
4. Boys and Dogs, by Philip Dawe, after Gainsborough, fair, 8s.
5. Monkeys, a pair, by Henry Edward Dawe, after E. Briston,
published Octr. 14, 1839, proofs, 18s.
6. The Tempest, by the same, after J. F. Ellis, (13½ in. by
10 in.) 1832, fair, 5s.
7. A Lioness that whelped in the Tower of London, after
J. Graham, by George Dawe, (24 in. by 18½ in.), Jan. 1,
1801, good lettered impression, 10s. 6d.
Days of Creation (Master of the).-See Master
of the Days of Creation
Dean (John).-Born about 1750; died in London in
1798. This artist was an English engraver in mezzotinto, and
a pupil of Valentine Green. See also under Morland (George).
1. Lady Cadogan, after Reynolds, half length, seated, proof
before the name, £3 15s.
2. Dr. Thomas Leland, proof before title, £1 4s.
3. King Edward VI., half length, fair, 6s.
4. Mrs. Elliot, wife of Dr. John Elliot, after Gainsborough,
£1 18s.
5. Mrs. Crockatt, after Hoppner, first state, £9 19 6.
6. Marriage-à-la-Mode, after Hogarth, the set of six, good, £4.
7. The Elopement of Anna from the Parsonage House, printed
in colour, full margins, £1 17s.
8. The Tomb, after Morland, printed in colour, full margins,
£1 16s.
9. The Earl of Darlington and his Foxhounds, after B. Marshall,
good coloured impression, £5 10s.
10. Lady Elizabeth Herbert and her son, after Sir Joshua
Reynolds, proof before letters, the artist's names and
publication line in etched letters and before the inscrip-
tion space was cleaned, £45.
Debaines (Brunet). According to the late Mr.
Hamerton, M. Brunet-Debaines is one of the best living
etchers from pictures, and one of the few etchers of the
modern French or any other school who have produced
uniformly high class work. The following etchings by this
artist were sold by auction in London a few months ago,
at the prices quoted.
1. Willows Whiten &c., after Keeley Halswelle, artist's proof,
£5 5s.
2. A Peep through the Trees, after Constable, artist's proof
on vellum, £1.
3. The Way to the Mill, after Constable, artist's proof on
vellum, 10s. 6d.
216
ENGRAVINGS AND THEIR VALUE.
4. Parting Day, after B. W. Leader, R.A., artist's proof, £14.
5. At Evening Time it shall be light, after B. W. Leader,
R.A., artist's proof, £16.
6.
When Morning Gilds the Sky, after B. W. Leader, R.A.,
signed proof on Japanese paper, £1 14s.
7. A Lock on the Stour, after Constable, on vellum, signed
proof, 15s.
Debucourt (Philibert Louis). This French painter
executed a few plates in mezzotint, all of which are scarce.
His best work, however, seems to have been in aquatint.
Debucourt was born at Paris in 1755, and died at Belle-
ville in 1832.
1. Cheval qu'on bouchonne au retour d'une course, after
Vernet, an aquatint, fine and rare, £4 4s.
2. Bénédiction de la mariée, after his own design, a mezzo-
tint, fine and very rare, £4 10s.
Delaram (Francis).--An English engraver of great
eminence who is supposed to have been born in London
about 1590, and to have died there in 1627. His works,
which are executed in a stiff but neat manner, are much
sought after by collectors. They consist almost entirely
of portraits.
1. The Mightie Princesse Marie, &c., rare (the twenty-fourth
plate of Elstracke's Baziliologia), 15s.; the same, first
state, before the plate was altered to an oval, £5 10s.
2. Queen Elizabeth with the Orb and Sceptre (the twenty-
fifth plate of the same), fine and rare, £4 4s.
3. Henricus Wallia Princeps Dux Cornub, &c., fine and rare,
£4 6s.
4. The Highe and Mightie Pr. Charles, Pr. of Wales, &c., fine,
13s.; the same, equestrian portrait, extra fine and rare,
£46; again, cut, inferior, 17s.
5. The Most Gracious and Right Virtuous Lady Elizabeth,
Princesse of Great Britaine, fine and rare, £6 10s.;
again, margin cut down and print torn, £1 11s. 6d.
6. The Right Honourable Henry Percey, Earle of Northum-
berland (with the hat), rare, £7 7s.; the same, very
fine, £2 8s. ; the same, fine, 11s. ; the same, fine and
rare, £6; the same (bareheaded), extra fine, £7 7s.
7. The Honourable and Right Generous Sir Horatio Vere,
Knight, a fine impression of a print of the greatest
rarity, £31 10s.
8. Clariss D. Henricus Mountague, &c., fine and rare, £2 10s. ;
the same, fine and rare, with large margin, £5 4s. 6d.
9. The lively portraiture of the most worthy citizen Sir
ENGRAVERS AND THEIR WORKS.
217
1
Thomas Gresham, &c., extra fine and rare, £3 12s.;
again, £1 5s.
10. Clarissimi Poetæ Georgii Wither, &c., very fine and rare,
£17 10s. (See n°. 36).
11. Effigies Admodum Reverendi in Christo Domini Robert
(Abbattus) Episcopi. Salisbu., extra rare, £6 6s.
12. Amplissimi Reverendiss. in Christo, patris Johannis (Wil-
liams), P.D. Lincoln Episcop., &c., brilliant impression,
rare, £19 19s.
13. Reverendissimus Dominus Johannes King Episcopus Londi.,
&c., very rare, £1 17s.
14. The Most Mightie and Illustrious Prince Frederick, the
fifth Count Pallatine of Rhyne, &c., fine and rare, £4.
15. The Most Hopefull Mightie Prince Frederick Henry, first
begotten sonne, &c., £5 10s.; the same, extra fine and
rare, £11 11s.
16. The Most Honourable and Right Valiant Soldier Ernestus,
Earle of Mansfield, rare, &c., £1 7s.
17. Will. Summers, King Henry's Jester, extra fine and rare,
£9 9s.; again, cut down, 15s.
18. Arthurus Severus O. Toole Nonesuch, in armour, fine and
rare, £11.
19. Matthias Lobel, botanist, fine, £1 6s.; again, fair impres-
sion, 17s.
20. Frances, Countess of Hertford, fine, oval, very rare, £4 10s.
21. Sir William Segar, very rare, 17s.; again, £1; again, £1 2s.
22. William Burton de Fald, 1622, fine, 17s.
23. Abraham Darsie, author of Annals, fair, 10s.
24. The Right Hon. and Right Rev. Father in God, John
Williams, Lord Bishop of London, 17s.; the same, fine
and scarce, £5 12s. 6d.
25. John, Bishop of Lincoln (sold by George Humble), £1 6s.
26. Sir Thomas Gresham, ornamented oval, £1 16s.
27. Henry VIII., first state with Humble's Address, also the
second state with the address of Peake (2), fine, £2 5s.
28. Queen Mary holding the Supplication of Thomas Hongar, first
state, before the plate was altered to an oval, fine, £4 10s.
29. The High and Mighty Prince James, King of Great Britain,
&c., equestrian portrait, beneath the horse a view of
London Bridge, inscribed with four lines, very fine and
rare, £65 (Dent Sale).
30. Prince Henry in his robes of the Garter, oval, rare, £1;
again, fine, £7 7s.
31. Frederick and Elizabeth, King and Queen of Bohemia (2),
13s.
32. Henricus Fredericus Illust. Princ. Frederici Regis Bo-
hemiæ Primogenitus, oval, 8vo, £11 11s.
33. Henry, Earl of Manchester, when Sir Henry Montague,
Lord Chief Justice, fine and rare, £2 16s.
34. Henry, Earl of Manchester, with his treasurer's staff, fine,
and rare, £3 6s.
218
ENGRAVINGS AND THEIR VALUE.
35. Frances, Duchess of Richmond and Lennox, motto "Coronat
Constantia," 1623, illustrated oval, very fine, £5.
36. George Withers, in a hat, rare, £1 13s.; again, brilliant
impression, £10 15s. (See nº. 10).
37. Katherine, Marchioness of Buckingham, illustrated oval,
with six lines of letterpress, fine, £3 10s.
Delâtre (Jean Marie).-Born at Abbeville in 1745
and died, ninety-five years later, at Fulham. This engraver
was one of Bartolozzi's assistants and executed many fan-
ciful subjects after Cipriani, Kauffman, Wheatley, Hamilton
and others. He also engraved a number of plates for
Bell's series of "British Poets."
1. Miss Horrop as "music", after Angelica Kauffman, £2 9s.
2. Penelope weeping over the Bow of Ulysses, after the same,
proof before letters, in red, £2.
3. Physic and Agriculture, two circular prints in brown, fair(2),18s.
4. The Snuff Box, after Angelica Kauffman, circular, proof in
red, 16s.
5. Orpheus, after the same, fine, in colours, £5. (The companion
print "Eurydice" was engraved in colours by Bartolozzi).
Delaunay (Nicolas). A French engraver, born at
Paris in 1739; died there about 1792. Robert, the
younger brother of this artist, was born at Paris in 1754
and died there in 1814. The March of Silenus" after
Rubens, "The Pleasure Party," after Weenix, and "The
Good Mother," after Fragonard, are the chief prints attri-
buted to Nicolas, while Robert is credited with "Le Mariage
Conclu", after Borel, and the companion print, “Le Mariage
Rompu," after Aubrey, "Les Vendeurs d'œufs," after Van
der Werft, and "Le Malheur Imprévu," after Greuze. Not
much value attaches to any of these prints unless they are
in proof state.
Delff or Delphius (Willem Jacobszoon).-Born at
Delft, in Holland, in 1580; died there in 1638. The plates
of this artist are sometimes found marked with his name,
and occasionally with his cipher.
1. William, Count Nassau, after Mierevelt, two impressions,
one a proof before letters (2), 15s.
2. Charles Lewis, Neander, &c., proof and print, &c., fine (7), 18s.
3. George Villiers, Duke of Buckingham, fine and rare, 19s.;
the same, very fine, £1 9s.; again, extra fine, £3.
ENGRAVERS AND THEIR WORKS.
219
1
4. Frederick and Elizabeth, King and Queen of Bohemia, after
Mierevelt, fine (2), 15s.; ditto, different from the preced-
ing, (2), 16s.
5. Frederick, King of Bohemia, and his son, Frederick, Count
Palatine (2), 16s.; again, 15s.
6. Maurice and Frederick Henry, Princes of Orange, after
Van der Venne, fine (2), 15s.
7. Prince Charles, after Meytens, good, 16s.
8. Sir Dudley Carleton, after Mierevelt, fine, 17s.; again,
15s.; the same, and another (2), very fine, £3 13s. 6d.
9. Joseph del Medico Crebensis, 1628, after Duyster, brilliant,
£2 6s.
10. Henrietta Maria, wife of Charles I., £1 10s.; the same,
with Charles I., large ovals (2), £1 13s.
11. Elizabeth, Queen of Bohemia, £2 2s.
12. Christian, Duke of Brunswick, 11s.
13. Louisa de Coligny, fourth wife of William I. of Orange,
£1 13s.
14. Hugo Grotius, 1652, good, 14s.
15. M. J. Mierevelt, Dutch painter, proof before inscription, 12s.
16. William, Prince of Orange, and Frederick Henry, Count
Palatine, large ovals, after Mierevelt (3), £1.
Della Bella (Stefano).—See Bella Della.
Del Moro (Battista d'Angeli).—Born at Verona about
the year 1510, died in 1580. Though celebrated chiefly
as a painter this artist etched a number of plates in a
correct and spirited style. In conjunction with Battista
Vicentino he engraved a series of fifty plates after Titian.
These are among his best productions.
1. Two prints, each containing the figures of two Apostles,
after Parmigiano, and in the middle a cariatides, viz.,
Nos. 1-1 and 9 (Bartsch); the other cariatides not in
Bartsch, £1 10s.
2. The Monument, with and before the name Ang. Falco (2),
10s.; the same, 12s.; the same, 13s.
3. The Virgin and the Saints, after Parmigiano; the Vestal
Tucia, after Campi (2), 18s.
4. The Virgin and Child, after Parmigiano, fine, £1 1s.
5. The Marriage of St. Catherine, and a copy by Meldolla
(2), 18s.
6. The Tomb of a Bishop, with the Virgin seen above, fine, 12s.
Delphius. - See Delff (Willem Jacobszoon).
Denon (Dominique Vivant). This eminent antiquary
and artist was born at Chalons in 1747; died at Paris in
220
ENGRAVINGS AND THEIR VALUE.
1825. Denon etched the collection of portraits in the
Uffizi Gallery and reproduced many of Rembrandt's etchings
in masterly style. He was one of the large train of artists,
scientists and literary men who accompanied Napoleon
to Egypt.
Dequevauviller (François).—A French engraver, born
at Paris in 1783. His prints consist chiefly of portraits.
Another artist of this name-Nicolas--was one of the best
pupils of Jean Daullé. He was born at Abbeville in 1745,
and died at Paris in 1807.
Desnoyers (Louis Auguste Boucher).—One of the
most eminent of modern French engravers. The artist was
born at Paris in 1779 and died there in 1857. His best works
are all after Raffaelle and fine proofs of any of these are
in great repute.
1. The visitation, after Raffaelle, proof, 18s.; again, proof, open
letters, very fine, £1 12s.
2. La Belle Jardinière, after Raffaelle, 1804, proof, £1 8s.; again,
proof, very fine, £4 4s.
3. La Vierge de la Maison d'Albe, after the same, fine proof,
£18; again, presentation proof to Raimbach, the engraver,
£2 12s.
4. La Vierge au Rocher, after Leonardo da Vinci, and La
Vierge au Poisson, after the same, both good lettered im-
pressions, £3 5s.
5. La Vierge à la Voile, after Raffaelle, proof, £1 8s.
6. St. Catherine of Alexandria, after the same, 1824, fine proof,
open letters, £5 5s.
Desplaces (Louis).—An eminent French engraver, born
at Paris in 1682; died there in 1739. His best prints are
those after Jouvenet.
1. Malle Duclos as "Ariana", after Largillière, proof before
letters, rare, and a lettered impression (2), 12s.
2. Christ Washing His Disciples' Feet, after Muziano, proof,
13s. 6d.
3. Danae, after Titian, fine, large margin, 11s. 6d
4. The Calvary, after Annibale Carracci, fine, large margin, 12s.
5. Hercules, accompanied by Wisdom, after Paolo Veronese,
fine, large margin; l'Amour Heureux, after the same,
fine, large margin; Paolo Veronese between Vice and
Virtue, fine, large margin; le Respect, after Veronese,
fine, large margin; la Peinture, after Watteau, fine, large
margin (5); £5 15s. 6d.
ENGRAVERS AND THEIR WORKS.
221
Dickinson (William).—A mezzotinto engraver, born in
London about 1746; died at Paris in 1823. Some of this
artist's prints rank among the most brilliant examples of
mezzotinto engraving, and when in fine proof state
invariably command very high prices. Dickinson's most
important works are portraits (especially those after Sir
Joshua Reynolds), which are exceedingly numerous. For
further particulars of this artist, see Smith's "British
Mezzotinto Portraits," vol. i., pp. 171–203.
1. Helena Forman, wife of Rubens, after Rubens, fine but
cut, 11s.
2. George II., after Pine, full length, second state with "price
5s." erased, £1 18s.
3. Portrait of Paolo Sarpi, after Zuccaro, 17s.
4. A family piece, after Bunbury, 17s.
5. Jane, Duchess of Gordon, after Reynolds, three-quarter
length, in a ruff, fine, £2 15s.
6. Dr. Percy, after Reynolds, three-quarter length, holding a
parchment MS., fine proof before the plate was cleaned
and before letters, £5 10s.
7. Miss Stephenson, after W. Peters, three-quarter length,
with music and lyre, oval, £6 6s.
8. Lady Taylor, after Reynolds, very fine, but inscription space
cut into, otherwise good margins, £35.
9. Mary Darby, after Reynolds, three-quarter length, as
"Perdita," proof, open letters, very fine, £21 10s.
10. Mrs. Pelham, feeding chickens, 1st state, £152 5s.; again,
very choice, £173 5s.
11. The Gardens of Carlton House, after H. Bunbury, £12 12s.
12. Lady Charles Spencer, after Reynolds, fine, £5 15s.
13. Viscountess Crosbie, after the same, fine, second state, £63;
again, brilliant proof before letters, £151.
14. Mrs. Sheridan as S. Cecilia, artist's proof, £1 18s.; again,
fine proof, £106; again, first state, £94 10s.
15. Elizabeth, Countess of Derby, after Reynolds, very fine,
£14; again, £18 10s.; again, fine proof, £46.
16. Mrs. Robinson, after Reynolds, proof, £27.
17. Parsons and Moody in the West-Indies, after Mortimer,
lettered, £1.
Die, Master of the.-See Master of the Die.
Dietrich or Dietrici (Christian Wilhelm Ernst).
-Born at Weimar, in Saxony, 1712; died at Dresden in
1774. Many of this artist's prints are scarce, as he was
in the habit of destroying his plates for the purpose of
222
ENGRAVINGS AND THEIR VALUE.
re-engraving them. His subjects—nearly all small--number
about 150 and are in the style of Ostade, Lairesse, and
Salvator Rosa.
1. His works, with a proof of the title additional (90), £2 10s.
2. Lot and his Daughters, scarce and fine, £1 14s.; again,
brilliant, £2 12s. 6d.
3. St. Jerome Writing, 1731, fine, 12s.
4. Famine and Pestilence, 1731, rare, very fine, £3 15s.
5. The Alchemist, 1731, rare, £1 5s.; the same, £1 8s.
6. A Satyr entertained by a Peasant, 1739, good, 16s.
Dixon (John).—English mezzotinto engraver. Born in
Dublin about 1740; died at Kensington in or about 1780.
This artist's best engravings are after the works of Sir Joshua
'Reynolds, and one of them—a portrait of Miss Davidson
-is extremely scarce. Miss Davidson died in 1767 and
her parents are said to have destroyed not only the plate
but all the impressions from it they could obtain.
1. Mrs. Blake as Juno, fine, £9 9s.
2. Henry, Earl of Pembroke, and the Countess of Pembroke
with her Son, proofs (2), 1771, 14s.; the same, proofs,
£1 2s.
3. Ugolino, after Reynolds, proof, £1 12s. 6d.
4. Dr. Robertson, historian, after Reynolds, half length, seated,
1772; the Right Hon. Charles Townshend, after Reynolds,
three-quarter length in oval, 1770 (2), £1 16s.
5. Elizabeth and Emma Crewe, after Reynolds, proof before
letters, in the first state, before the names of the artists
were erased, £18; again (ibid), £13 13s.
6. Miss Greville and her brother as Hebe and Cupid, proof
before letters, fine, £14 10s.
7. David Garrick, as Richard III., after Dance, proof before
letters, full margin, £4 4s. ; again, fair lettered impression,
£1 6s.
8. Mary, Duchess of Ancaster, after Reynolds, proof before
letters, extremely fine with margin, £44.
9. The Misses Crieuse, after Reynolds, proof before letters,
fair, £2 4s. (see also Richard Brookshaw, nº. 1.)
10. Miss Annabella Blake, after Reynolds, good, £4 4s.
11. Henry, Duke of Buccleugh, after Gainsborough, fair, £1 4s.
12. Mr. Kirby, after the same, fair, 13s.
Dodd (Robert).-A marine painter and engraver, born
probably in 1748; living in 1816. Though noted chiefly
as an artist in oils, Dodd engraved or aquatinted many
ENGRAVERS AND THEIR WORKS.
223
plates after his own designs and those of other artists.
These he was accustomed to publish himself.
1. Pheasant and woodcock shooting, after J. Ibbetson, in
colours (2), £1.
2. View of the Whale-fishery in Greenland, 1789, good, 12s.
3. Mutineers of the Bounty, turning Lieutenant Bligh adrift,
good, 8s. 6d.
4. The Dockyards of Blackwall and Deptford (2), good lettered
impressions, 10s. 6d.
Does (Aart van der).-A Dutch engraver, born at
The Hague in 1610, living in 1649. This artist was probably
a pupil of Paul Pontius whose style he imitated. With one
exception (no. 1 below) all this artist's plates are executed
with the graver.
1. A group of five sheep, fine and extremely rare, the only
etching by this master, £2 10s.
2. Dorothea Narbona, wife of Thomas Rawlins, after Carew,
fine, 12s. 6d.
3. Portrait of the Marquis de Castello, fine, 18s.; again, 12s.
Dolendo (Bartholomeus).-Born at Leyden in 1566,
living in 1590. This artist, who was a pupil of Hendrik
Goltzius, sometimes marked his plates with his name, but
more frequently with one of his three ciphers. His prints
are not numerous, but good impressions are scarce. One
of the best is known as "Adam and Eve Taking the For-
bidden Fruit,” after Van Mander. A Dutch Merry-making,
after his own design, is also good.
Dolendo (Zacharias).-Born at Leyden about the year
1560. This engraver's plates are frequently marked with a
cipher composed of his initials. His best print is “Androme-
da," after his own design; a portrait of William, Prince of
Orange, half length in armour, 1581, is also noticeable.
Dolle (William).—Flourished 1650-60. This engraver's
portraits, though sought after on account of their rarity,
are not particularly well executed. Specimens of Dolle's
work can be seen in the first edition of Izaac Walton's
"Lives" 1670, the "Reliquiæ Wottonianæ," 1672, and
Milton's "Paradise Lost," 1674.
J
224
ENGRAVINGS AND THEIR VALUE.
1. John Cosin, Bishop of Durham, fine, 14s. 6d.
2. The Rev. Mark Frank, Master of Pembroke Hall, 12s.
3. Vera Effigies Reverendi Patris, Robert Sanderson, Bishop
of Lincoln, 15s.; the same, 12s.
4. Samuel Botley, shorthand writer, good impression, 14s.
D'Olmutz (Wenceslaus). This artist was supposed
at one time to be identical with Michael Wohlgemuth (the
master of Albrecht Dürer), who was born in 1434, but the
balance of authority now inclines to the opinion that
these artists were different persons. Some of the plates
marked “W” are ascribed to Wohlgemuth and others to
D'Olmutz, but the subject is extremely complicated. Many
late authorities credit Olmutz with the whole of the eighty-
two known pieces marked with the mysterious "W" and
this has, at any rate, the balance of convenience in its
favour. The undermentioned prices would be considerably
exceeded at the present day.
1. Christ on the Mount, The Flagellation (2), £1 10s.
2. Christ and the Twelve Apostles, small whole-length figures
(13), £2.
3. St. George, after M. Schöngauer; a lady on horseback, the
Dream (3), £1 5s.
4. A chalice, richly ornamented, (not in Bartsch), £1 11s. 6d.
Domenico Fiorentino.—See Barbiere (Domenico
del).
Dorigny (Louis).—The son of the following. Born at
Paris in 1654; died at Verona in 1742. As an etcher
this artist was of average merit. His work comprises
about fifty etchings, among them five emblems of Horace,
a view of the amphitheatre at Verona, and a set of thirty-
two vignettes for Dominique Bouhours' "Pensées Chré-
tiennes."
Dorigny (Michel).-Born at St. Quentin in 1617; died
at Paris in 1665. The most successful plates of this artist
are etchings after the pictures of Simon Vouet. Their value
is not, however, great.
Dorigny (Sir Nicolas).-The younger son of Michel
ENGRAVERS AND THEIR WORKS.
225
Dorigny. Born at Paris in 1658; died there in 1746. In
1711, the artist was invited to England by George I. for
the purpose of engraving Raffaelle's cartoons, then at
Hampton Court and now at the South Kensington Museum.
The great excellence of this engraver consists in divesting
himself of all manner of his own and transcribing faith-
fully on copper the style of the master he was following.
1. The Transfiguration, and other subjects after Raffaelle (6), 10s.
2. The cartoons after Raffaelle, (8, with the title), fine, £4 4s. ;
again, £1 16s.
3. St. Petronilla, after Guercino, 8s.; again, 12s. 6d.; again,
10s. 6d.
4. Prints after the paintings in the cupola of St. Agnes, after
Ciro Ferri (8), fine, £1 17s. 6d.; again £2 2s.
5. The Descent from the Cross, after Volterra, good, 11s.
Doughty (William).—Born at York about the year 1740;
died at Lisbon in 1782. This artist executed a few etchings
and mezzotintos of portraits, the best of which are half
lengths of Dr. Johnson and the Rev. William Mason, both
after Sir Joshua Reynolds. For further particulars, see
Smith's "British Mezzotinto Portraits," vol. i., pp. 218-
221; Northcote's "Life of Sir Joshua Reynolds," 1818,
vol. ii., pp. 33, 34.
1. Samuel Johnson, proof, etched title, fine, £36; the same,
third state, £6 6s.; the same, fourth state £5 15s.
2. Ariadne, after Reynolds, three-quarter length, fine, £1 19s.;
again, fair, 13s.
3. The Hon. Augustus Keppel, artist's proof, with the letters
etched in, £3 18s.
4. The sleeping child, after Reynolds, good, £1.
Drapentière (John).-Born in France about 1650;
living in 1691, in which year he engraved the portraits of
Daniel Burgess and the under-mentioned Henry Cutts, of
the Middle Temple. He is described as a very indifferent
engraver of portraits and frontispieces.
1. View of the House and Grounds of Tishobury, 2s.
2. Benjamin Keach, 2s.
3. Samuel Pomfret, 1s.
4. John Graham, Viscount Dundee, scarce, 14s.
5. Henry Cutts, of the Middle Temple, Oct. 21st, 1691, very
rare, £1 3s.
6. Peter Perkins, the Mathematician, good, 5s.
15
226
ENGRAVINGS AND THEIR VALUE.
1
Drevet (Pierre).-An eminent French engraver, born
at Lyons in 1663; died at Paris in 1738.
at Paris in 1738. This artist was
a pupil of Germain Audran. He confined himself entirely
to portraits which are all executed with the graver in a
firm yet highly finished style. Early states and proofs of
his best pieces are very rare and of considerable value.
1. Cardinal Fleury, after Rigaud and others (3), 6s. ; the same, 16s.
2. Jean Paul Bignon, after Rigaud, in five states; first before
the dots in the oval, before the second figure was added
to the year of his age, and before the name "Hyacinth"
was prefixed to that of Rigaud, and Pierre to that of
Drevet. In the fourth and fifth states the face is much
altered, and the age is sixty-six (5), good, 18s. (worth
much more at the present day.)
3. Louis XIV., large oval, in armour, two impressions, one
with the first address of Drevet, before the plate was
retouched and before the dedication (2), 15s.; the same,
inscribed "Ludovicus Magnus," three-quarter length, ex-
ceedingly fine, 15s. (worth much more at the present day.)
4. Charles, Duc de Bourgogne, after Rigaud, proof before
letters, very rare, £5 15s.
5. Louis, Dauphin of France, oval and armour, two impres-
sions, with and without the dedication (2), 18s.
6. Louis XV., after Rigaud, whole length, proof before the
title and before the names of printer or engraver, £2 15s.;
the same, oval, in his robes, two impressions, one a
proof before the sword-handle was engraved (2), £3 10s.
7. Marie, Duchesse de Nemours, after Rigaud, fine, with
margin, £1 6s.
8. Christiana, Margravine of Brandenburg, proof before letters,
and the same lettered (2), £2 2s.
9. The Seven Sacraments, fine (7), £1 12s.
10. Philippe de Courcillon, Marquis de Dangeau, after Rigaud,
proof before letters, &c. (2), £1 10s.
11. Jean Forest, painter, after Largillière, proof before the
inscription, and an impression with letters (2), 15s.; the
same, two proofs before letters (2), £1 5s.
12. Jean Baltazar, after Rigaud, proof before letters and before
the alteration of the crest, and the same lettered (2),
fine, £2 17s. 6d.
13. François de la Peronie, proof and a lettered copy (2), £1 8s.
14. Hyacinthe Rigaud, holding a palette and pencils, proof
before letters, £1 18s.
15. Charles Gaspard Guillaume de Vintimille, after Rigaud,
half length, fine, 18s.
16. Charles Jerôme de Cisternay du Fay, fine, 12s.
17. Louis XV. when a boy, large oval, after Rigaud, fine, with
full margin, £3 15s.
ENGRAVERS AND THEIR WORKS.
227
18. Adrienne Lecouvreur, rare second state before the final
"e" was added to the word "model," very fine and rare,
£10 10s.
19. Louise Adélaide d'Orleans, Abbesse de Chelles, fine, £3 10s.
20. Charles Montague, Earl of Halifax, after Kneller, first state,
proof before letters, very fine, £15 15s.
Drevet (Pierre Imbert). The son of the preceding.
Born at Paris in 1697; died there in 1739. The artist's
finest print is the justly celebrated portrait of J. B. Bossuet,
Bishop of Meaux, a whole length figure, standing, after
Rigaud. This artist was instructed by his father whom
he frequently surpassed in clearness and delicacy of finishing.
1. Bossuet, Bishop of Meaux, a very fine impression, before
the dots after the printer's name, £6 10s.; the same, proof,
before the top of the chair was finished, and with the
word "Trecenses" instead of "Trecensis," £12; the
same, before any dots after the printer's name, £8 15s.;
the same, with the dots, 15s.; the same, brilliant, but cut
close, £2 6s.; again, 8s.
2. Armand-Gaston, Prince de Rohan, fine, 18s.
3. Réné Pucelle, after Rigaud, proof before letters, £1 17s. 6d.
Droeshout (Jan).—This artist worked in England, for
the booksellers, in the seventeenth century. He was
probably a relation of Martin Droeshout.
1. Richard Elton, author of "A Compleat Body of the Art
Military," three-quarter length in armour, oval, inscription
beneath, If Rome unto her conquering Cæsars raise,"
&c., £1 1s.
CC
2. Jeffery Hudson, the dwarf prefixed to the "New Year's
Gift, from Lady Parvula to Lord Minimus," 1636, very
scarce, £4 8s.; the same, with verse, rare, 17s.
3. Title and Portrait to John Danes' "Paralipomena Orthogra-
phiæ," 1638, 4to (2), 12s.
Droeshout (Martin).—A Dutch engraver, living in
England in 1620; flourished 1620-51. The portrait of
Shakespeare, prefixed to the first four folio editions of his
plays, was engraved by this artist. The genuine state, as
it occurs in the first three editions, is distinguishable from
subsequent impressions by the shading on the left of the
forehead (as it faces you), which is expressed by single
lines curving inwards from left to right, without any
crossing whatever; while in the repaired states, as it
228
ENGRAVINGS AND THEIR VALUE.
occurs in the fourth edition, the lines are strongly crossed
and bent outwards. Besides this, the hair is crossed in
the repaired state, while in the original it is in single
lines. Each of the prints named below may be considered
cheap at the prices quoted, as many of the artist's por-
traits are of extreme rarity. See Bromley's "Catalogue of
Engraved Portraits," Redgrave's "Dictionary of Artists."
1. The Portraicture of the Right Honourable the Lord Mvnjoy
Blunt. A beautiful impression of a print of great rarity,
£14; the same, very fine and rare, £5 5s.
2. William Fairfax, General in the Palatinate, oval with border,
fine; ditto, looking the reverse way, very scarce (2), £4.
3. William Shakespeare, from the second edition of his plays,
1632, with a copy (2', £3 19s.
4. John Donne, Dean of St. Pauls, very fine, with full margin,
£2 10s.
Duchange (Gaspar).-Born at Paris in 1662; died
there in 1757. This artist's manner of engraving closely
resembles that of Jean Audran, though in general it is
neater. His drawing, however, is much inferior to that
of the
the master named. Prints by Gaspar Duchange,
should be before the address of Sornique.
1. Charles de la Fosse, 12s.
2. The Entombment, after Paolo Veronese, fine, large margin,
11s. 6d.
3. W. Shakespeare, proof and letters, and others of the same
by Passe, Virtue, &c. (5), £4 14s. 6d.
4. Jupiter and Io, Jupiter and Leda, Jupiter and Diana, all
after Correggio (3), good, before the address of Sornique,
£1 10s.
Dudley (Thomas).-An English engraver, living in
1687. This artist's most important work was a series of
etchings executed in 1687, representing the Life of Esop,
from drawings by Francis Barlow. He also etched the
portrait of Bishop Russel, 1679, in the style of Hollar,
whose manner of engraving he generally imitated.
Duflos (Claude).-Born at Paris about 1662; died
there in 1727. A pupil of François Poilly. This artist's
numerous plates are executed principally with the graver
and very neatly finished.
*
!
ENGRAVERS AND THEIR WORKS.
229
1. Christ and His Disciples at Emmaus, after Veronese, mar-
gin, 7s.
2. Louise Françoise de la Baum-le-Blanc, Duchesse de la
Vallière, rare and fine, 12s.
3. François de Laval, first Bishop of Quebec, three-quarter
length, in oval, fine, 10s.
4. Nicholas Lyon, Procureur du Roi, fair, 3s. 6d.; fine, with
margin, 17s. 6d.
5. The Shepherd, after Duflos, good, 6s.
Duncan (Edward).—A landscape painter, etcher and
lithographer, born in London in 1804; died there in 1882.
Several aquatints by this artist are to be seen in the
"Sportman's Repository," among them "Pheasant Shooting"
and "Partridge Shooting.
1. Returning from Ascot Races, after Henderson, in colours,
very fine, £2 12s.
2. The Lady Kennaway off Margate, after Huggins, in colours,
good, 12s.
3. Capture of the Bolodora, after the same, in colours, fair, 8s.
4. Lord Lowther, after the same, fair, 12s.
5. Brig Jane and Cutter Beaufoy in the Southern Latitudes,
in colours, fair, 8s.
Dunkarton (Robert).—An English mezzotinto engraver,
born in London in 1744; living in 1811. This artist's
prints are engraved in a clear, finished style, and when
proofs or early states are highly esteemed. See Smith's
British Mezzotinto Portraits," vol i., p. 221.
1. Lockhart Philadelphia Wharton, 12s.
2. The Right Honourable Richard, Earl Howe, three-quarter
length, in uniform, proof, £2.
3. Linnæus, Swedish naturalist, whole length, good, 10s.
4. Miss Catley in the Character of Euphrosyne, after W.
Lawrenson, first state, proof with etched letters, £3 7s 6d.
5. Miss Horneck, after Sir Joshua Reynolds, proof before
letters, very fine, £12 12s.
6. Mrs. Billington, after Downman, proof before letters, very
fine, £11 10s.
7. Mrs. Caygill, as "Louisa," after J. Russell, proof, £2 2s.
Dupont (Gainsborough).-This artist was the nephew
and pupil of Thomas Gainsborough, whose style he often
closely imitated. His mezzotints after that master are all
very successful. Dupont was born in 1767 and died in
London thirty years later.
230
ENGRAVINGS AND THEIR VALUE.
1. Colonel St. Leger, with his horse, after Gainsborough, good,
£1 4s.
2. George III, and Queen Charlotte, both after Gainsborough,
very fine, £3 15s.
Dupuis (Charles).-Born at Paris in 1685; died there
in 1742. A pupil of Duchange. One of Dupuis's best
prints is a portrait of Louis XV., after Ranc. His other
subjects include "The Marriage of the Virgin," after Van
Loo, “The Passage of the Rhine," after Le Brun, and “Ptolemy
giving Liberty to the Jews," after Coypel.
Dürer (Albrecht).—Born at Nuremberg in 1471; died
at the same place in 1528. This distinguished artist was
a pupil of Michael Wohlgemuth, and as a designer carried
the art from a state of comparative crudity to a point.
which has seldom or never been surpassed. He worked
both on wood and copper. Dürer's Small Passion was
reproduced from the original blocks by H. Cole, in
1844. The series on vellum (only six copies printed) has
sold by auction recently for £6 10s. The numbers in
parentheses below refer to Bartsch's "Le Peintre Graveur,"
where the works of Dürer are fully set forth and described
under corresponding numbers.
ENGRAVINGS IN METAL AND ETCHINGS.
1. Adam and Eve (1), a good impression, £100; again, very
fine, £125 (Dent Sale).
2. The Nativity (2), a beautiful impression, from the St. Aubyn
collection, £76.
3. A set of the Passion of Jesus Christ (3-18), very fine and
rare, (16), £50; again, £31.
4. St. Jerome, a small circle (9), rare, £5; the same, £2 2s.
5. The Descent into Limbo (16), £1 14s.
6. Christ in the Garden of Olives (19), brilliant, with margin
£6 15s.
7. The Man of Sorrows (20), fine, £3.
8. The Man of Sorrows, seated, an etching (22), fine, £4.
9. The Crucifixion, small circle (23), very fine and extremely
rare, £6 10s.
10. Christ expiring on the Cross (24), very fine, from the
Durand collection, £39.
11. Two angels holding the Sudarium (25), and copy reversed,
£4 10s; again, good, £3 10s.
ENGRAVERS AND THEIR WORKS.
231
12. Two angels bearing the Sudarium, an etching (26), fine,
£6 10s.
13. The Prodigal Son Feeding Swine (28), £1 7s.; the same,
good impression, £3 15s.; £4 6s.; £8.
14. St. Anne and the Virgin (29), fine, £3 15s.
15. The Virgin with Infant Christ, on a crescent (30), fine, £8.
16. The Virgin with a Crown of Stars (32), fine, £7 14s.; again,
£2 17s.
17. The Virgin with the child standing on a half moon (33),
proof with the monogram in Durer's autograph £3 3s.;
again, fine impression, £5 10s.; again, £4 10s.
18. The Virgin Suckling the Infant Saviour (34), very fine and
scarce, with margin, £12.
19. The Virgin Embracing the Infant Saviour (35), fine, with
small margin, £3 10s.
20. The Virgin Suckling the Infant Saviour (36), fine, £3.
21. The Virgin Crowned by an Angel (37), fine and scarce,
£6 10s.; again, £1 14s.; £1 5s.
22. The Virgin and Child, 1520 (38), fine and scarce, £6 15s.;
again, £1 10s.
23. The Virgin Crowned by two Angels (39), good, £2 17s. 6d.;
again, fine, £4.
24. The Virgin and Child seated by a wall (40), £3 3s.; again,
fine, £5 10s.; again, £6 17s. 6d.
25. The Virgin with the Pear (41), fine and scarce, £10 15s.;
again, £2 5s.
26. The Virgin and Child, with monkey (42), very fine, and a
copy by Wierix, £25.
27. The Holy Family, with a butterfly (44), very fine, £1 10s.;
again, fair, £3 3s.
28. The five Disciples of our Saviour (46–50), fine, £5 3s.
29. St. Simon (49), fine, with slight margin, £3 12s.
30. Saint Christopher (head turned to the right) (51), good,
£2 10s.; again, good, £1 16s.
31. St. George, standing (53), £1 12s.; again, £1 16s.; again,
£3 3s.
32. St. George, on horseback (54), fine, with margin, £8 12s.
again, very fine, £12 12s.
;
33. St. Sebastian, turned to the left, attached to a tree (55),
fine, £2; the same, £1 14s., the same, £1 3s.
34. St. Sebastian, bound to a pillar (56), fine and scarce, £3 15s.
35. St. Hubert kneeling before a stag (57), brilliant, £150;
again, good impression, £18 10s.; again, £9 10s.
36. St. Anthony Outside the City (58), fine, and copy by
Wierix (2), £10; again, £2 5s.
37. St. Jerome, etching on an iron plate (59), good, £5.
38. St. Jerome in his Chamber (60), and 2 copies, by Wierix
and Karturus, £130; again, fair, £5; again, fine, £17 10s.
39. St. Jerome performing Penance (61), fine, £5; again, fair
impression, £1 10s.
40. St. Génévieve (63), fine, £1 3s.; the same, St. Sebastian
232
ENGRAVINGS AND THEIR VALUE.
(55), and the Peasant and his Wife (83), very fine (3),
£1 13s.; St. Génévieve, brilliant, £13.
41. The Three Genii (66), fine impression, with slight margin,
£6 10s.
42. The Sorceress (67), fine, £4 18s.
43. Apollo and Diana (68), very fine, with margin, £38; the
same, brilliant, £42 10s.
44. The Family of the Satyr (69), fine, £2 6s.
45. A group of five figures, an etching (70), fine impression,
with slight margin, £9; again, fine, £1 9s.
46. The Rape of Amymone (71), good impression, £5 15s, again,
£2 2s.; again, £3 12s. 6d; again £1 1s.
47. The Rape of Proserpine, an etching (72), tine, with margin,
£10; the same, £1 11s.
48. A satyr with a female, &c., called "The Effect of Jealousy"
(73), good impression, £3; the same, fine and rare, £12 12s.
49. Melancholy (74), £2 8s.; the same, brilliant, in matchless
condition, £62; again, good, £11 15s.; again, £17; again,
£29 10s.
50. The Four Women (75) and Indolence (76), the latter fine
(2), £3 3s.; the Four Women only, very fine, £15 10s.
Indolence only, 16s.; the same, £3 5s.; the Four Women
only, good condition, £4; again £1 8s.
51. The Large Fortune, or Pandora (77), fine, £5 5s.; the same,
very fine, £19.
52. The Small Fortune (78), fine and scarce, Justice (79), good,
£2 2s. £3 18s.
53. The Courier (80), the Cook (84) (2), £2 10s.
54. The Courier (80), fine, £4 16s.
55. The Lady on Horseback (82), fine and scarce, £2 10s.
56. The Peasant and his Wife (83), £1 18s. 6d.
57. The Cook and the Wife (84), fine, £6 10s. ; again, good, £1 16s.
58. The Oriental and his Wife (85), very fine, £4 4s.
59. The Three Peasants (86), good, £1 12s.
60. The Standard Bearer (87), good, £2 12s; again, 4s.
61. The Assembly of Warriors (88), very fine, from the Maberley
collection, £55 10s.
62. The Dance (90), fair, £1 1s.
63. The Peasant at the Market (89), good, £1 7s.
64. Man and Woman sitting on a bank (93), fine impression,
£8; the same, good, £2 10s.
65. The Promenade, Death behind a Tree (94), brilliant, £13 10s.
the same, £2 4s.; the same, very good impression, £4 10s.
66. The Monstrous Hog (95), fine, with large margin, £37 10s.
67. The Little Horse (95), scarce, £18 18s.; again, £1 10s.
68. The Great Horse (97), good impression, in perfect condi-
tion, £6 15s.
69. The Knight of Death (98), excellent impression, £145; again,
good, from the Mariette collection, £15 10s.; again, £16.
70. The Great Cannon (99), engraved on iron, £1; the same,
£12.
very fine, with slight margin,
ENGRAVERS AND THEIR WORKS.
233
71. Shield of arms, with the cock as a crest (100), very fine,
£12 10s.
72. The shield of arms, with the skull (101), fine and scarce,
£14 14s.
73. Albert, Archbishop of Mayence (102), very fine, £6; the
same (Profile) (103), fair, £1 6s.
74. Frederik III., Elector of Saxony (104), £1.
75. Philip Melanchthon (105), fine, £5; the same, £2 2s.
76. Portrait of Pirkheimer (106), from the Mariette collection,
£3; again, very fine, £5.
77. Portrait of Erasmus (107), after a painting by Dürer, very
fine, £16.
78. J. Patenier, painter of Dinaot (108), exceedingly rare, fine
impression, with margin, £58.
WOOD ENGRAVINGS.
1. Samson Killing the Lion (2), very fine, £1 2s.; the same,
brilliant, £6.
2. The Passion of Jesus Christ (4-15), a good set (17), £12;
the same, fine impressions of the second state, with the
Latin letterpress, £18.
3. The Flagellation (8); and the Entombment (12), both from
the large set of the Passion, good, before the letter-
press (2), £2 9s.
4. The little Passion of Jesus Christ (16-52), very fine,
£52 10s.
5. The Apocalypse (60-75)), second state with the text (16),
£54; again, late impressions, £12 12s.
6. The Life of the Virgin (76-95), second state, with the text
(20), £16. A single print from this series called the Vir-
gin on the Crescent Moon, scarce, £4 10s.
7. The Coronation of the Virgin (101), brilliant, £5 10s.
8. The Virgin and Child with St. Joseph (102), £2.
9. St. George Killing the Dragon (111), good, £1 3s.
10. The Execution of Ten Thousand Martyrs of Nicodemia
(117), £2 18s.
11. The Martyrdom of St. Catherine (120), fine, £6 6s.
12. God Appearing to St. Gregory (123), £1 18s.
13. The Savage Slaying a Knight (127); the Bath (128) (2),
£3 10s.
14. The Large Column. 1517, in four sheets (129), fine and
extremely rare, £22.
15. The Rhinoceros (136), third state in chiaro-scuro, £18 18s.
16. The Siege of a City (137), on two sheets joined, scarce,
£8 10s.
17. The set of five circles of designs for Goldsmith's Work
(140-5), £3 3s.; a single piece (143), 16s.
18. Portrait of the Emperor Maximilian (153), fine, £10 10s.
19. Portrait of Ulric Varnbuler (155), chiaro-scuro, fine, £8 10s.;
again, £4.
234
ENGRAVINGS AND THEIR VALUE.
20. His own portrait (156), woodcut, first state, before the date
1527, and the monogram, fine and rare, £12; the same
(copy A), fine, 19s.
21. The arms of the city of Nuremberg (162), £6 10s.
22. The Emperor Charles V. (appendix, 41), good, £1 5s.
Dusart (Cornelis).-A Dutch engraver and painter,
born at Haarlem in 1660; died there in 1704. He was a
pupil of Adriaan Ostade, whose style he imitated, though
not with much success.
1. The Singers, first and second states; the Drunken Couple;
the Corncutter, first and second states; the Surgeon;
the Shoemaker, with and without the address of Gale
(9), 18s.
2. Interior, with boors drinking; first state, before the roulette
shadow was introduced, very rare, £4 12s.
3. The Heroes of the League, the Senses, &c., mezzotintos,
rare (26), 16s.; the same, with the title, rare (25), 18s.
4. The Dancing Dog, fine, £1 18s.
Duvet (Jean).-This artist (known also as Danet) was
born at Langres, in France, in 1485; living in 1561. He
is sometimes called the Master of the Unicorn.
1. The Marriage of Adam and Eve, Moses with the Tables,
the Crucifixion (3), £2; the Marriage only, fine impres-
sion, £13 13s.; again, £7 7s.
2. St. John writing the Apocalypse, fine, £3 18s.
3. The Martyrdom of St. John, good, £6 6s.
4. Set of four emblematical subjects, in which is introduced
the unicorn (4), £12.
5.
Two other prints of the same set, one representing the
seizure of the unicorn, the other his triumphal proces-
sion (2), £8 10s.
6. Majesty between Renown and Wisdom: Henri II. of France
Crowned by two Angels, and the subject called Poison
and Counterpoison (3), very fine, £14 10s.
7. The Unicorn destroying a Huntsman, fine, £7 17s. 6d.
8. Battle between a Lion, Dragon, Bear, Tiger, and Unicorn,
fine (perhaps not by Duvet), £2 14s.
Dyck (Daniel van den). This artist, who must not be
confounded with Anthony Vandyck, the famous painter,
was born about the year 1620, and is said to have died
at Venice at the age of 110 years. Of the five etchings
ascribed to him, three have at different times been placed
though erroneously to the credit of Vandyck. The whole of
ENGRAVERS AND THEIR WORKs.
235
1
this artist's prints are scarce and valuable, and comprise:
"A Bacchanalian Scene," "St. Catharine," "The Virgin
and Child," "Susannah and the Elders," andthe" Deification
of Æneas."
Earlom (Richard).-An English mezzotinto engraver.
Born at London in 1743; died there in 1822. This talented
artist was a pupil of Cipriani and is said to have been
the first to make use of the point in mezzotinto work.
1. The Royal Academicians, after Zoffany, fine proof before
letters, £8 10s.
2. A series, entitled a collection of prints after the sketches
and drawings of Cipriani, proofs on India paper (44),
£7 7s.
3. The Witch, after Teniers, proof, £1 12s.
4. Duke of Arenbergh, on horseback, after Vandyck, fine,
£1 10s.
5. Sir Thomas Chaloner, after Vandyck, fair, 10s.; again, 14s.
6. James Stuart, Duke of Richmond, full length, after Vandyck,
fine, 17s.; the same, and another by Houbraken, proofs,
fine (2), £3 13s. 6d.
7. The Interior of the Pantheon in Oxford Street, after
Brandoin, lettered 19s.; again £1 4s.
8. Bacchanalians, after Rubens, fine; portraits of hounds, after
Wootton, fine; a greyhound's head, after Vandyck (3),
£4 10s.
9. The Marchioness of Warton, good lettered impression, 16s.
10. Portrait of a lady sitting with open book on her knees,
after Ferdinand Bol, 15s. again, 11s.
11. W. Shakespeare, proof on India paper, £1 6s.
12. Triumph of Mordecai, after Van den Erckhaut (24 X 20),
fair, 8s.
13. The Repose in Egypt, after Correggio, and Presentation in
the Temple, after Rembrandt, both proofs before letters
(2), £2 4s.
14. The Singing Lesson, after Scalcken, proof, £1.
15. Angelica and Medora, after West, and The Smoking Party,
after Heemskerck, proofs before letters (2), £1.
16. Rembrandt, from a picture by himself, first state, before
the inscription and the motto on the arms, full margin,
£11 10s.
17. James, Duke of Richmond, after Vandyck, fine proof before
the separate plate of inscription, large margin, £6 15s.
18. Admiral Kempenfelt, after Kettle, fair, 13s.
19. Lady Hamilton, as "Alope," after Romney, fine impression
in brown, rare, £4 10s.
20. George III. reviewing the Volunteers in Hyde Park, June
4th 1799, aquatint, fine, £2 Ss.
236
ENGRAVINGS AND THEIR VALUE.
21. Flower Piece, after Van Huysum, first state, £9.
22. A Fruit Piece and a Flower Piece, after Van Huysum,
proofs before letters, very rare, £9 9s.
23 Viscount Duncan, after Copley, R. A., proof, £1 18s.
24. Elijah and the widow, after Rembrandt, fair, 4s.
25. The Porter and Hare, after Zoffany, proof before letters,
rare in this state, £1 18s.
26. Girl and Pigs, after Gainsborough, in colours, fair, £1 9s.
27. The Game-market, Fruit-market, Fish-market and Vegetable-
market, after Snyders, fine proofs before letters, with
large margins (4), £17. The Game-Market, proof before
letters, £1 7s.
Edelinck (Gérard).—Born at Antwerp in 1640; died at
Paris in 1707. This accomplished artist was a pupil of
Cornelis Galle. His brother Jean, and nephew Nicolas,
born respectively about 1645 and 1680, did some good
work, though their reputation is not nearly equal to that
of Gérard. Gérard Edelinck worked entirely with the
graver in a style that is at once bold and finished.
1. Cardinal Borromeo and the companion print of St. Louis,
both after Le Brun (2), 17s.
2. Colbert, Archbishop of Toulouse, proof before letters, rare,
£1 4s.; the same, two impressions, one before the plate
was retouched (2), 14s.
3. Louis XIV., on horseback, large sheets (2), 16s.; the same,
small oval. proof, 14s.
4. Etienne d'Aligre, Chancelier de France, after Nanteuil,
large oval, proof before letters, rare; and the same, let-
tered (2), £1 3s.
5. Jean Baptiste Lully, proof before letters, rare, £4 15s.;
again, lettered impression, 15s.
6. Martin van den Baugart, after Rigaud, two impressions,
one before the address of Drevet, (2), 16s.; the same, 12s.
7. Nathaniel Dilgerus, fine, and very rare, £1 14s.
8. Heinrich Goltzius, two impressions, one a proof before letters,
C and counterproof (3), £1.
9. Jean Jacques Keller, after Largillière, two impressions, one
a proof before letters, 18s.
10. Gedeon Berbier du Metz, proof before letters, and a let-
tered impression (2), 13s.
11. Madame Helyot, after Galliot, second state before the words
cum. pri. regis." very fine, £2 12.
12. N. Monton, after De Troy, proof before the names of painter
or engraver, £1 18s.
13. Pierre Simon, proof before letters, very fine, £1 12s. 6d.
14. Philip de Champagne, fine, and counterproof (2), £1 5s.
15. The Finding of Moses, after Mignard, proof before letters,
£1 11s. 6d.
ENGRAVERS AND THEIR WORKS.
237
16. The Virgin and Child, after Stella. proof, very rare, £1.
17. Fighting for the Standard, after Da Vinci, before the dots
on the sword, £4.
18. Christ on the Cross, on two sheets, after Le Brun, fine,
£1 15s.
19. Moses with the Tables of the Law, by Edelinck and Nanteuil,
proof before the dedication, extremely rare, £6 10s.
20. St. Jerome, after Philippe de Champagne, proof before let-
ters, 9s.
21. John Dryden, good, £1 5s.
22. The Duchesse de la Vallière, in the character of a Mag-
dalene renouncing the vanities of the world, after Le
Brun, proof before letters and the border, £6 6s.
23. The Holy Family, after Raffaelle, proof before letters, and
prior to the cross-hatchings on the sky, stated to be one of
the two proofs known to exist, £73 10s.; the same, in the
first state before the arms, £12 5s.; the same, second
state with the letters and before the arms, fine, £3 12s.
24. The Virgin at the Foot of the Cross; the Death of a Saint,
proof (2), 18s.
25. Charles Le Brun, after Largillière, fine, 13s. 6d.
26. François Tortebat, very fine, £1 5s.
27. Réné Descartes, fine, 18s.
28. Arnaud d'Andilly, very fine, 18s.
29. Francesco de Medicis, Grand Duke of Tuscany, after Rubens,
second state before the "5" at the bottom on the right,
very fine, £5 10s.
30. John Dryden, 18s.; again, good, £1 5s.
31. Charles, Duc de Berry, son of Louis, Dauphin of France,
15s.
32. Jean Paul Bignon, oval, with arms below, proof before
letters, 15s.
33. Bossuet, Bishop of Meaux, three-quarter length, after
Regnault, 12s.
34. Mre. Blaise, oval, arms at bottom, 11s.
35. Abram Teniers, 11s.
36. Berbier du Metz, French general, proof before letters, £1 4s.
Elder (William).-Born in Scotland about 1650. This
artist was an engraver of portraits, chiefly for the book-
sellers.
1. Ben Jonson, fine, 5s.
2. Dr. Theodore de Mayerne; Archbishop Sancroft; Charles
Snell, after Hargraves, fine (3), 14s.
Elliot (William).—An English engraver, born at Hampton
Court in 1727; died in 1766. This artist's prints consist almost
entirely of landscapes, the most finished being those after
Smith of Colchester. He also engraved the portrait of
238
ENGRAVINGS AND THEIR VALUE.
Helena Forman, the second wife of Rubens, after Rubens.
None of the prints of this engraver are of much value
unless fine proofs.
Elstracke (Renold or Reginald).-An English
engraver, living in 1620. This artist signed his plates either
with his name or with his initials, "R. E." His best pro-
ductions are the contributions to Holland's "BAZIAINAOгIA;
A Booke of Kings, beeing the True and Lively Effigies of
all our English Kings, from the Conquest untill this Present,”
folio, 1618. The title and the portrait of William the
Conqueror, engraved by Elstracke himself, brought at the
Bindley Sale £1 11s. 6d. and £1 17s. respectively; the other
subjects, comprising thirty pieces, first impressions, before
the plates were retouched and printed on the back, realised
the sums given below. It may be here mentioned that
the prices named are, in the absence of better materials,
taken from rather older catalogues than is usually the case,
and at the present day these prices would be considerably
exceeded. At the Duke of Buccleuch's Sale in March 1887
the thirty-two original plates of this series and a number
of proofs from the Herwologia by Elstracke and others,
altogether 228 prints, a fine and altogether exceptional
collection, realized £200.
1. Title, by Elstracke.
2. William I., by Elstracke.
3. William Rufus, by Elstracke, 7s. 6d.
4. Henry I., by Elstracke, 16s.
5. Stephen, 12s.
6. Henry II., 6s.
7. Richard I., by Vertue, 15s.
8. John, by Elstracke, 16s.
9. Henry III., by Elstracke, 16s.
10. Edward I., 15s.
11. Edward II., 15s.
12. Edward III., by Elstracke, 19s.
13. Edward the Black Prince, by Elstracke, £3 17s.
14. Richard II., by Elstracke, £1 2s.
15. John of Gaunt, by G. Yates, £5 18s.
16. Henry IV., 10s. 6d.
17. Henry V., by Elstracke, 16s.
ENGRAVERS AND THEIR WORKS.
239
1
18. Henry VI., by Elstracke, 19s.
19. Edward IV., by Elstracke, 10s. 6d.
20. Edward V., 14s.
21. Richard III., £1.
22. Henry VII., 19s.
23. Henry VIII., by Delaram, £1 13s.
21. Anne Boleyn, wife of King Henry VIII., brilliant impression,
very rare, £4 13s.; the same, very fine and rare, £7 12s.,
by Elstracke.
25. Edward VI., by Simon Passe, £3 3s.
26. Mary, rare, by Delaram, 15s.
27. Elizabeth, by Delaram, very fine and rare, £4.
28. Mary, Queen of Scotland, by Elstracke, £3 3s.
29. James I., by Simon Passe, £1.
30. Anne of Denmark, Queen of King James I., by Simon Passe,
fine and very rare, £5.
31. Henry, Prince of Wales, by Delaram, £3 3s.
32. Charles, Prince of Great Britain and Ireland, £4 4s.
Elstracke likewise engraved the following portraits among
many others:-
1. The Most Excellent Princesse Mary, Queen of Scotland,
and Dowager of France, very fine and rare, £8; again,
fair, 12s.
2. Thomas Howard, Earle of Suffolke, brilliant impression,
extremely rare, £9; the same, no address, fine, £8.
3. Lord Edmond, Baron Sheffield, brilliant impression, and
a print of the greatest rarity, £18; the same, first state,
rare, £21.
4. Sir Philip Sidney, extra fine and rare, £3 10s, His earliest
dated print.
5. Dominus Johannes Harrington, Baro de Exton, ætat. 22,
very fine, unique, £32 11s.; another portrait, oval in a
square border, fine and rare, £11 11s.
6. Sir Thomas More, rare, £1 15s.; again, £2 10s.; again,
£2 5s.; again, with margin, Ss.
7. The Right Hon. Sir Julius Cæsar, Knight. Brilliant impres-
sion of one of the rarest prints in the English series,
£22 11s. 6d.; the same proof, very rare, £10; the same,
extra fine and rare, £10 15s.
8. The True Portraicture of Richard Whitington, thrise Lord
Mayor of London, fine and rare, £10 10s.; the same,
original print, with the skull, fine and rare, £6.
9. Portraiture of the Most Famous Mr. Thomas Sutton, Esq.,
£2 10s.; again, £3 3s.
10. Thomas Wolsey, Cardinal, &c., fine and very rare, £10 15s.
11. William Perkins, of Christ College, in Cambridge, first
state, brilliant, with large margin, £3 10s.
12. The Most Excellent and Hopefull Prince Frederick Christian,
heire of Norway, £4.
240
ENGRAVINGS AND THEIR VALUE.
13. The Right High and Most Mightie Prince Christian IIII.,
£1 1s.
14. The Pourtraicture of John Oldenbarnevelt, Knight, brilliant
impression of a rare print, £5 10s.
15. M. Ant. De Dominis Co. Pal. Archiep: Spalaten, extra fine,
£1 9s.
16. The Most High and Right Potent Prince Philip III., &c.,
fine and scarce, £3 15s.
17. The Pourtraicture of the Most Illustrious Isabella Clara
Eugenia. &c., fine and scarce, £5 5s.
18. The Most Excellent Prince Sigismund III., King of Poland,
&c., very fine and scarce, £3 15s.
19. The Pourtraicture of the Most Illustrious Prince Albert,
Arch-Duke of Austria, &c., £1 5s.
20. Serenissimus Sigismundes Bathorius, &c., scarce, £1.
21. The true Pourtraicture of the Great and Most Potent Monarch
Padesha Shassallem, fine, £2 10s.
66
22. Henry, Lord Darnley, are to be sold by George Humble
&c., very fine, £8.
""
23. Tobias Mathews, Archbishop of York, very fine, with large
margin, £7 7s.
24. Robert, Earl of Essex, fine and rare, £5 10s.
25. Monument of Q. Elizabeth, fine, £1 1s.
26. The Highe and Mightie Prince, James the Sixt, fine, and
scarce, £3 15s.
27. William Cecil, Lord Burleigh, fine, £4 4s.
28. Gustavus Adolphus, the Most Victorious Prince, &c., very
rare, £6 10s.
29. William II. and King John (2), fine, £4 4s.
30. Henry VI., fine, £2 15s.
31. Edward V., fine, £3 10s.
32. The Most Excellent Princesse Marie, Queene of Scotland,
Mother to our Illustrious Soveraigne, &c., and the Most
Illustrious Prince Henry, Lord Darnley, King of Scotland,
whole lengths, standing near each other, a beautiful and
curious print, £150 (The Dent Sale).
33. James I. and Queen Anne, in their robes, with a medallion
of Prince Henry and the Genealogy in the centre, very
fine and rare, £75.
34. The Most High and Mighty Monarck James, by the Grace
of God, King of Great Britain, &c., and the most excellent
Princese Anne, Queene of Great Britain, &c., whole lengths
(face of the King altered, probably by Simon Passe), £65.
35. James I. sitting in Parliament, with Prince Henry next to
him, Lord Chancellor Ellesmere, the Earl of Dorset, and
other great officers of state standing near the Throne,
very fine, £105.
36. King James I., enthroned under a canopy of state, with
Prince Charles sitting beneath him, Lord Keeper Williams
and the Earl of Marlborough standing behind the Throne,
fine, £80.
ENGRAVERS AND THEIR WORKS.
241
37. Robert Car, Earle of Somerset, and Ladie Francis his wife,
fine and rare, £3 10s.
38. Sir Thomas Overbury, ætat. 32, Writing his own Epitaph,
twelve English verses, fine and presque unique. £77 14s.
39. The High and Mighty Prince Charles, Prince of Great
Brittayn, &c., equestrian portrait, excessively rare, £62.
40. The High and Mightie Prince Frederik the Fifth Counte
Palatine, and the Right Noble and Verteous Princesse
Elizabeth; equestrian portraits, extra rare, £23. The
same, whole lengths, with the arms of Great Britain and
the Palatinate near the head of each figure, brilliant and
presque unique, £64.
English (Josias).—This amateur etcher was a pupil of
Franz Cleyn. He died in 1718 (?). The pieces by this
artist include eleven plates etched in 1654, entitled "Variæ
Deorum Ethnicorum Effigies," and a set of fourteen plates
of grotesques and arabesques,
1. Portrait of Dobson, the painter, an etching, rare, 18s.; the
same, and also Christ revealing Himself to His Disciples
at Emmaus, after Titian, fine and rare (2), £3 10s.
2. Portrait of Dobson, the painter, fine and scarce, £3 3s.;
the same, before the alteration in the inscription,
engraver's initials, and publisher's address, very fine and
rare, £4 10s.
Episcopius.-See Bischop (Jan de).
Ertinger (Franz).-Born in Suabia in 1640; died at
Paris in 1700. This artist's prints are not in much repute;
the value of ordinary impressions may fairly be judged from
the examples given below.
1. The History of Achilles, the set complete (8), fine, 16s.
2. A Bacchanalian, after Nicolas Poussin, good, 7s. 6d.
E. S. (Master of the Initials).—See Master of the
Initials E. S."
"
Everdingen (Allart van).—Born at Alkmaar in 1612;
died at Amsterdam in 1675. This artist is celebrated as
one of the finest painters of sea pieces and storms who
ever lived, and as an etcher he also attained great eminence.
His prints of landscapes amount to rather more than a
hundred, some of the largest of which are very fine.
1. Various landscapes, several in the first state (numbered in
Bartsch, 1-16) one missing (15), 10s. 6d.
16
242
ENGRAVINGS AND THEIR VALUE.
2. Ditto, two in early states (numbered 17-29) (13), 10s.
3. Ditto, five in early states (numbered 30-39) (10), 15s.
4. Ditto, six in early states (numbered 40—51) (11), £1 5s.
5. Ditto, six in early states (numbered 52-64) (13), £1.
6. Ditto, five in early states (numbered 65-10) (16) £1 16s.
7. Ditto, one in an early state (numbered 82-93) (12),
£3 13s. 6d.
8. Ditto, four in early states (numbered 94-98) (5), £1 2s.
9. Ditto (numbered 99-103), No. 101, "The Rivulet in a
Wood," before the plate was reduced, fine and extremely
rare (5), £7 5s.
10. The History of Reynard the Fox, sometimes called "Deceits
of the Fox," fine (56), £2 10s.; the same, incomplete and
only indifferent impressions (43), 18s.
11. A collection of 104 etchings by this master mounted on
26 sheets, with many variations and extra fine impres-
sions, £34 10s.
Exshaw (Charles).-This historical painter and engraver
was born at Dublin about 1710 and died in London in
1771. His portraits of the Vanloo family, four in number,
are his best engraved subjects, his other works consisting
principally of imitations of Rembrandt.
1. Anne and Isabel Vanloo, after C. Vanloo, fine pair, scarce,
£2 5s.
2. Joseph and Potiphar's wife, after Rembrandt.
3. St. Peter in the storm, after the same, good, 18s.
4. Head of an old woman, after the same.
5. The girl with the basket of Cherries, after Rubens, good,
£1 1s.
6. Carlo Marratti's model, fair, 8s.
Faber (John, the elder).-Born in Holland in 1660;
died at Bristol in 1721. This artist was one of the first
who engraved in mezzotint. His prints, however, display
no great taste, neither are they skilfully scraped. His best
prints consist of a series of portraits of the Founders of Colleges
at Oxford, one or two of which are given below.
1. Dr. John Wallis, the Mathematician, after Kneller, good, 12s.
2. Humphrey Lloyd of Denbigh, 1717, fair, 6s.
3. Frances Lady Byron, after Hogarth, whole length, first state,
before the plate was cut, very fine and scarce, £2 15s.
4. Quin, after Hudson, fine and rare, £1 5s.
5. William Smyth, one of the founders, first state, before the
number, £1.
6. Elizabeth de Clare, one of the founders, first state, before
the number, 18s.
ENGRAVERS AND THEIR WORKS.
243
7. Margaret, Countess of Richmond, mother of Henry VII.,
one of the founders, £1 5s.
8. Jane Scrimshaw, ætat. 126, first state, with the date, &c.,
£1 5s.
Faber (John, the younger).-The son of the preceding;
born in Holland in 1684, but brought to England when
very young. He died at London in 1756. His plates
number in the whole 165, of which more than half are
mentioned below. All are mezzotints.
1. Cave Underhill, in the character of Obadiah, fine, with
margin, £1 13s.
2. Mary, Viscountess Andover, after Hudson, no states, fine,
£1 16s.
3. James, Duke of Athol, after Davidson, full length, no states,
fine, 17s.
4. Sir Godfrey Kneller, after Kneller, early undescribed state, 19s.
5. Mary II., after Kneller, full length, undescribed state, with
the address, 19s.
6. Duchess of Grafton, after Kneller, full length, with Cooper's
address, £1 2s.
7. The Duchess of Marlborough, seated, after Kneller, unde-
scribed state, 13s.
8. The Duchess of Manchester, after Kneller, undescribed state,
£1 7s.
9. The Duchess of St. Albans, after Kneller, full length, first
state, with Cooper's address, £4 4s.
10. The Countess of Clarendon, after Kneller, with Cooper's
address, first state, rather poor, £1 5s.
11. The Countess of Dorset, by Kneller, full length, first state,
with Cooper's address. £5 10s.
12. The Countess of Essex, after Kneller, full length, first state,
with Cooper's address, £4 10s.; again, lettered, 10s.
►
13. The Countess of Peterborough, after Kneller, full length,
first state, with Cooper's address, £3 15s.
14. The Countess of Ranelagh, after Kneller, full length, se-
cond state, Cooper's address erased, 14s.
15. Mrs. Scroop, after Kneller, full length, with Cooper's address,
£4 4s.
16. Lady Middleton, after Kneller, full length, first state, with
Cooper's address, £3 18s.
17. Lady Dorothy Boyle, printed in bistre, 16s.
18. Benjamin Bradley, after Pond, 13s.
19. William Briggs, M.D., 11s.
20. Augustus Wilhelmus, Duke of Brunswick, half length, in
armour, after Brunsen, 17s.
21. John Hobart, Earl of Buckingham, after Hudson, full length,
first state before the artists' names were erased, fine,
£1 12s. 6d.
244
ENGRAVINGS AND THEIR VALUE.
22. Frances, Lady Byron, after Hogarth, full length, first state
before the plate was cut, very fine, £12 12s.; again, first
state, in brown £5 5s.; the same, second state, fine, £2 18s.
23. Henry Carey, after Worsdale, first state, before the panels
of oval were scraped away, £3 10s.
24. Princess Carolina, after Hysing, no states, fine, 7s.
25. Charles I., after Vandyck, third state, with ring on finger,
£1 5s.
26. Francis Couplet, after Kneller, first state before the address.
of Torre and Co., £4 10s.
27. H.R.H. William, Duke of Cumberland, full length, after
Wootton, fine, £1 10s.
28. John Devoto, after Damini, no states, fine and rare, 17s.
29. Robert Eglesfield, after Murray, fine, 18s.
30. Queen Elizabeth, when Princess, after Holbein, fall length,
£2 16s.
31. Mrs. Faber, after Hudson, no state, good but damaged, 10s.
32. Lady Charlotte Finch, after Robinson, first state, before
the verses and title, £6 18s.
33. The Right Honourable Lady Sophia Fermor, Countess
Granville, scarce, £8 8s.
34. George Frederick Handel, after Hudson, fine, £2 3s.
35. Hugh Howard, after Dahl, 12s.
36. Thomas Hopkins, after Kneller, first state, £1 7s.
37. Richard Boyle, Earl of Burlington, after Kneller, fine. 19s.
38. Hamlet Winstanly, after himself, fine, £1 1s.
39. John Knight, with his Wife and Stepson, after Vanderbanck,
second state, before the retouch, £1 8s.
40. George Lambert, after Vanderbanck, first state, before
Faber's address, date 1727 remaining, £1 10s.
41. The Hon George Lee, LL.D., after Wills, second state, 16s.
42. Her Highness Princess Louise, after Pond, first state before
the alteration in the inscription on her marriage, £2 5s.
43. The Right Hon. George, Earl of Mansfield, after Hudson,
private plate, 19s.
44. Owen McSwing, after Vanloo, first state, before the scratches
on the space at bottom, £1 10s.
45. Her Highness Princess Maria, after Pond, £2 2s.
46. Philip Mercier, after himself, second state, before the word
"Arunga," instead of Scrutarius, very fine, £3 3s.
47. Peter Monamy, after Stubly, no states, fine, 19s.
48. Lady Christian Moray of Abercairny, full length, after
Davison, no states, rare, £2 15s.
49. Anne, Princess of Orange, after Mercier, no states, fine
and rare, 17s.
50. Humphrey Parsons, Lord Mayor of London, after Ellys,
rare, the address cut away, 6s.
51. Francis Peck, M.A., after Highmore, very fine, second state,
the flourishes crossed, £1 10s.
52. Teresia Constantia Phillips, after Highmore, £1.
53. Sir John Phillips, after Hudson, no states, fine, £1.
ENGRAVERS AND THEIR WORKS.
245
54. Alexander Pope, Ob. Ao. 1744, ætat. 57, after Vanloo, second
state, rare, £2 15s.
55. Stephen Poyntz, after Vanloo, rare, no states, £1 1s.
56. Michael Rysbrack, sculptor, after Vanderbanck, first state,
before the address of Faber, £2 9s.
57. The Right Hon. Mary, Countess of Seaforth, after Ramsay,
fine, no states, £5 5s.
58. Enoch Leeman, after himself, first state, before any inscrip-
tion, £1 14s.
59. The Honble. Charles Stewart, after Ramsay, second state,
before the plate was cut, £1.
60. Frederick de Thoms, æt. 39, private plate, very rare, fine,
£2 10s.
61. Sir James Thornhill, after Highmore, fine, first state, with
margin, £2 18s.
62. Matthew Tindall, LL.D., after Dandridge, first state, with
Faber's address, £1 10s.
63. Sir John Vanbrugh, after Richardson, very fine and rare,
only three known, £6 6s.
64. Joseph Vanhaeken, after Hudson, second state (the first be-
fore all letters), 17s.
65. Henry Vognell, after Pesne, fine, no states, £1 10s.
66. Sir Peter Warren, after Hudson, first state before the address
of Robert Sayer, £1 12s.
67. Robert Wilks, after Ellis, second state, with the address of
Bowles, £1.
68. Mrs. Wright, after Vanderbanck, very scarce, no states, £1 14s.
69. Jan Wyck, after Kneller, very fine, no states, 12s.
70. Christian Frederick Zincke, and Elizabeth his wife, after
Hysing, second state, £1 10s.
71. Boy blowing a torch or ember to light a candle, after
Schalcken, fine and rare, £1 5s.
72. George, Earl of Halifax, after Kneller, brilliant, in perfect
condition, £8 10s.
73. William Draper, Esq., fine, with large margin, £1 1s.
74. Abraham de Moivre, F.R.S., after Highmore, £2 10s.
75. Michel Maittaire, M.D., after Dandrige, fine, with good
margin, £1 1s.
76. H.R.H. the Princess Amelia, after Hysing, fine, with ample
margin, £3 10s.
77 Sir Isaac Newton, after Vanderbanck, fine, ample margin,
very rare, £12 10s.
78. Mr. Nathaniel Oldham, whole length, after Highmore, 13s.
79. Samuel Scott, after Hudson, £1 14s.
80. Admiral Sir Charles Wager, after Gibson, fine, with ample
margin, £3 14s.
81. Sir George Walter, whole length, after Hysing, fine, with
margin, £1 10s.
82. John, Duke of Roxburgh, 14s.
83. Oliver Cromwell, after Lely, 12s.
84. Gualterus Mildmay, Eques. Coll., fine and rare, £3 15s.
246
ENGRAVINGS AND THEIR VALUE.
85. Humphrey Lloyd, of Denbigh, fine and rare, £3 10s.
86. James I., after Johnson, fair, 12s.
87. Princess Sobiesky in Royal Dress, proof before letters, after
Trevisini, 5s.
88. Portraits of members of the Kit-Cat Club, after Kneller (48),
fair, £3 10s.; Arthur Maynwaring, from the Kit-Cat series,
proof before letters, 15s.
Facius (Georg Sigmund).-This artist is usually
classed with his brother Johann Gottlieb. Both were born
at Ratisbon about the year 1750, studied at Brussels, and
in 1776 came to London, where they worked for Boydell,
their prints being either in tint, black, or colours. Both
artists were living in 1802, since which date nothing more
is known of them.
1. Danæ, after Titian, stipple, in red, good, 14s.
2. Apollo and the Muses, after Carlo Maratti, 1784, fair, 6s.
3. The Bull, after Paul Potter, fair, 4s.
4. Hector and Paris, after Angelica Kauffman, in colours, very
fine, with large margin, £5 10s. 6d.
5. Cupid's Pastime, a pair, both after the same, in brown,
good, £2 4s.
Faithorne (William, the elder).-Born in London,
about the year 1616; died in Printing House Yard, Black-
friars, in 1691. This artist was one of the pupils of Sir
Robert Peake and after his release by the Parliamentary
Party, against whom he had fought in the civil war, he
opened a shop outside Temple Bar, where he sold not
only his own engravings, but those of Dutch, French and
Italian artists. He worked almost entirely with the
graver, portraits being his chief subjects. Fine proofs and
early states of these are at the present time in great
request. For an account of the work of this artist, see
Fagan's "Descriptive Catalogue of the Works of William
Faithorne," 1888.
1. Effigies Regum Anglorum, a Wilhelmo Conquestore (series
of small ovals, including the title, £11 5s.
2. Henry VIII., King of England, bust in oval, fine, £3 15s.
3. Queen Elizabeth, seated between Lord Burleigh and Sir
F. Walsingham, £1 11s. 6d.
4. Charles I., King of England, oval, in armour, £2 4s.; the
same, in his robes, crowned, and his Queen (small ovals);
Henrietta Maria (ditto); Henrietta Maria, in mourning
f
ENGRAVERS AND THEIR WORKS.
247
apparel, 12mo, proof before the address of Nat Brooke
(4), £10 10s.
5 Charles I., on horseback, with view of London, 1643; ditto
(small oval) in a title, folio; ditto, in armour, folio (3), £3.
6. Charles I. (viewed in front), George suspended by a chain
over his cuirasse, first address of Peake, £8 10s. 6d.;
again, same address, £3 5s.
7. The Most Mightie and Illustrious Prince Charles, Prince of
Great Brittaine, &c., after Dobson, brilliant impression,
and extremely rare (1), £15 15s.
8. Queen Henrietta Maria, richly habited, with pearls and
jewels at her breast, £7 12s. 6d.; again, £4 15s.
9. Henrietta Maria, in her widow's dress, proof before letters,
very fine, £25 10s.
10. Charles, Prince of Wales, and the Highe Borne Prince James,
Duke of York (small ovals on the same plate); James,
Duke of York (ditto,) different from the former (2), £3 10s.
11. Charles II., "Heire of ye Royall Martyr," oval, in armour,
the first state before the arms, and the inscription com-
mencing, "The Second Charles, Heire of the Royall
Martyr," &c., £43.
12. Charles II., crowned, "C R" on each side of the head (two
different ovals); ditto, crowned, in an ermine robe (small
square), proofs, &c. (4), £5 15s. 6d.
13. Charles II., in his robes, crowned, "C R" on each side,
six verses on a scroll under the head; the same, proof
before the inscription (2), £9 9s.
14. Charles II., ætat. 30, 1660, crown and helmet on each side
of the head, 4to; ditto (first state of the plate), two verses
instead of the king's name and title, £5 5s.
15. Charles II. Proclaimed King, &c., at Worcester, 1651, 8vo;
ditto, motto of the Garter round the oval, 4to, with and
without the inscription; ditto, in armour (4), £3 19s.
16. Charles II., when a youth, scarf thrown over his armour,
the George suspended by a ribbon to his side, proof,
£24 3s.; again, no inscription, £4 15s.
17. Carolus II., D. G., Mag. Brit. Franc. et Hibern. Rex, in
robes of the Garter, oval, large 4to. £37.
18. Carolus II., in armour, motto, "Dieu et mon Droit" over
the portrait, and the royal arms beneath, £18 10s.
19. Carolus II., D. G., &c., in his robes of the Garter, arms
of Great Britain, &c., detached at each angle of the print,
large half sheet, £26.
20. Queen Catherine of Braganza, in the habit she wore on
her arrival from Portugal, £27 6s.; the same, proof
before the inscription, £44 12s.; again, fine lettered im-
pression, £15 10s.
21. The Most Renowned and Hopefull Prince William, Prince
of Orange, sould by Robert Peake, oval half sheet, £10 10s.
22. The Most Excellent and High Borne Princesse Mary,
Princesse of Orange, sould by R. Peake, oval half sheet, £12.
248
ENGRAVINGS AND THEIR VALUE.
23. William (second), Prince, and Mary, Princesse of Orange,
Frederick Henry, Prince of Orange, and the Princess
Amelia, small ovals (4), £5.
24. Mary, Princess of Orange, and her husband (2), good im-
pressions, £6 6s.
25. Mary, Princess of Orange, after Vandyck, sould by Will.
Faithorne, at ye "Syne of ye Shipp," good, £4 5s.
26. Prince Rupert, after Dobson, brilliant, £5; the same, after
Vandyck, good, £6.
27. The Most Illustrious and High Borne Prince Rupert, after
Dobson, sould by Tho. Rowlett, first address, £16.
28. Prince Rupert, Elector Palatine of the Rhine, in armour,
after Vandyck, sould by R. Peake, first address, £28 10s.
29. James, Duke of Monmouth, in half armour, in an oval
composed of oak leaves, after Sheppard, £6 6s.
30. James, Duke of Richmond, in his robes of the Garter, after
Vandyck, £4 4s.
31. James, Duke of Richmond, after Vandyck, a brilliant im-
pression, £8 10s.
32. James, Duke of York, sash over his armour, folio, no in-
scription, £5 5s.
33. The Right Honble James, Marquess Hamilton, first state,
£4; the same, first address, £4 6s.
34. Edward Somerset, Marquis of Worcester, in armour, "Guil.
Faithorne, del et sculp," very rare, £4.
35. Montague Bertie, Earl of Lindsey, in armour, after Van-
dyck, brilliant impression and very rare, £37 16s.
36. Thomas, Earl of Elgin, first state, before the wig was
reduced, extremely fine, £12 12s.
37. James, Earl of Perth, oval in a square border, first state,
£25.
38. Charles, Earl of Carlisle; Roger, Earl of Castlemaine
Henry Lord Colerane; in the habit of a pilgrim; folio (3),
£4 10s.
39. Robert, Earl of Essex, his Excellence Generall of the Army,
after Dobson, £6 16s. 6d.
40. Henry, Earl of Holland, in armour, sould by Robert Peake,
first address, £4 18s.
41. Henry Rich, Earl of Holland, first state before Peake's
name was altered to that of Stent, £6 10s.
42. Thomas, Earl of Strafford, and Archbishop Laud (small
ovals on the same plate), sould by Robert Peake, £8 15s.
43. Margaret Smith, Lady Herbert, proof, £55; again, brilliant
lettered impression, £26.
44. Frances Bridges, Countess of Exeter, after Vandyck, fine and
rare, £7 10s.
45. The Right Hon. Lady Barbara, Countess of Castlemaine,
her hair dishevelled, head reclining on her arm (orna-
mented oval), £32.
46. Ralph Browning, Bishop of Exeter, the large plate, fine
impression, £2 12s. 6d.
ENGRAVERS AND THEIR WORKS.
249
1
47. Reverendus in Christo Pater ac Dominus D. Thomas (Morton)
Dunelmensis Episcopus, &c., £1 10s.
48. John Prideaux. Bishop of Worcester, 12mo; Jeremy Taylor,
prefixed to his Mercurius Christianus; ditto, proof before
the Latin and English quotations (3), £8 5s.
49. Edward, Lord Littleton (Lord Keeper), with the seals, after
Vandyck, £3 5s.
50. Edward, Lord Littleton, with the seals, small oval, sould
by R. Peake, two different portraits; Henry, Earl of
Manchester (Lord Keeper), small oval (3), £4 12s. 6d.
51. John, Lord Mordaunt, in armour, brilliant, £42.
52. Thomas, Lord Fairfax, inscribed "His Excellency Sir Thomas
Fairfax, General of all the English Forces," in armour,
first state, before any address, £12 10s.
53. Henry, Lord Colerane, three-quarter length, in his robes, un-
finished proof, in the state the plate was left by Faithorne,
before it was finished by Vertue, £9 9s.
54. Henry Cary, Baron dé Leppington, brilliant, £2 5s.
55. Sir James Harrington, æt. 45, 1654, £2.
56. Sir James Harrington and Lady Katherine Harrington in
octagons (2), fine, £1 12s.
57. Lady Catherine Harrington, æt. 36, 1654, £4 11s.
58. Sir William Davenant, after Greenhill, good, £1 11s. 6d.
59. Sir Richard Fanshaw, first state, the name spelt "Fanchaw,"
£4 10s. 6d.
60. Sir Beville Grenville, fine, £1 15s.
61. Sir Beville Grenville, ætat. 39, 1649, in armour, 4to, £5.
62. Sir Edward Anderson, very fine, £2 2s.
63. Sir Edward Anderson; Sir Francis Moore, folio; Francis,
Lord Bacon, Sir Philip Sidney, &c., small ovals, in the
title to the Academy of Eloquence; another title with
heads of the Earl of Worcester, Lord Bacon, &c., 12mo
(4), £2 12s. 6d.
64. Sir Orlando Bridgman (Lord Keeper), with the seals, £5 10s.
65. Sir John Fortescue (Lord Chancellor), folio (see nº. 80);
Sir William Noy (Attorney-General), 12mo, £1 11s. 6d.
66. Sir Henry Spelman, fine proof, £2 10s.; again, very fine,
£10 10s.
67. Bulstrode Whitelock, eques aurat, in armour, six Latin and
six English verses, folio, £19 19s.
68. Sir Robert Henly, proof, very rare, £2 10s.; the same, fine
proof, £37 16s.
69. Sir Thomas Fairfax, after Walker, with the address of
Rowlett, £6.
70. Sir Francis Rous, fine, £5 5s.
71. Sir Henry Coker, of the County of Wilts, Knight, High
Sheriffe, ætat. 48, 1669, oval, composed of oak leaves and
acorns, coat of arms beneath, £27 6s.
72. Sir Francis Englefield, Knight and Baronet of Wooton Basset,
in the County of Wilts, ætat. 27, 1661, in half armour,
arms under the oval, large 4to, £48.
250
ENGRAVINGS AND THEIR VALUE.
73. Sir Francis Moore de Foley, brilliant first state, Nihil (spelt
Nihill), £12 12s.
74. Sir John Ogle, fine, £1 4s.
75. Sir William Paston, fine, £2 5s.
76. Gulielmi Paston, Baronetti Effigies, 1659, arms under the
oval, half sheet, £26 15s. 6d.
77. Lady Paston, after Vandyck, the rarest of Faithorne's works,
from many noted collections; fine lettered impression, £26.
78. Sir Horace Vere, fine, 11s.; again, 19s.
79. Sir Francis Vere, 12s.; again, 15s.
80. Sir J. Fortescue (see n°. 65), good £1 10.
81. Oliver Cromwell, Lord Protector, in armour, standing be-
tween two pillars, inscribed "The Emblem of England's
Distractions, as also of her Attained and Further Expected
Freedom and Happiness," 1658, £33 1s. 6d.
82. Oliver Cromwell, in armour, with medallions of King David,
&c., at the four corners of the print, 12mo, before the
letterpress at the back, and two frontispieces to the
"Parallelum Olivæ," 1657 (3), £2 5s.
83. Oliver Cromwell, Lord Protector, in armour, on horseback,
brilliant and very rare, £8 10s.
84. Henry Terne, the Admiral, very fine and extremely rare, £38.
85. Effigies Henrici Terne, Armigeri, qui Anno 1660, Hispanorum
6 Navium Classem per 9 Horas, solus sustinuit, &c., in
half armour, after Sheppard, £18 18s.
86. William Shakespeare (medallion suspended over two theatrical
figures), John Stafford, excud. 12mo, £5 7s. 6d.
87. Elias Ashmole, proof before the introduction of the sign
Gemini (II) and other additions on the pedestal, £9 5s.
88. Elias Ashmole, bust on pedestal, fine, £4 5s. ; again, £9 15s.
89. Valentine Greatrakes, brilliant, £8 15s.
90. Henry More, of Cambridge, first state £3 10s.
91. Thomas Morton, Bishop of Durham, ætat. 95; Henry More
of Cambridge, ætat. 61, siting under a tree (2) £2 2s.
92. John Bulwer, proof before letters, £11 6s.
93. John Pordage, first state, with the Latin verses, £6 16s. 6d.
94. Endimyon Porter, after Dobson, first state, fine and rare
(1), £16 16s.
95. Thomas Killigrew, after Shepherd, fine, £2; again, £8 8s.
96. Henry Lawes (musican), oval of foliage, 8vo, £2.
97. John Smith (writing master), by Faithorne and Vanderbanck,
proof and letters, £6 16s. 6d.
98. Noah Bridges (writing master), proof before the insertion
of the initials, "G. W." under the portrait, £5 7s. 6d. ; the
same, with four verses and "G. W." under the verses, £2 5s.
99. Richard le Beloman, cogn. Zebelina (writing master), in
a cloak with plain band and tassels, Latin inscription
(quotation from Eccle. ix. and x.) under the portrait,
oval of foliage. large 4to, £14 3s. 6d.
100. Anonymous portrait of a gentleman holding up his cloak,
open sleeves, and belt over his shoulder. "Et. suæ 24'
ENGRAVERS AND THEIR WORKS.
251
inscribed on a pillar; coat of arms, gules, a chevron
between three unicorns, rampant, azure. Motto, "Nec
me mea fallit imago," supposed to be unique, £20.
101. Vera Effigies, R.P., Augustin Baker, and Dr. William Bates,
£3 18s.
102. Samuel Bolton, ætat. 48, 1654, Robert Bolton, 12mo, Dean
Colet, ætat. 53, 12mo (3), £1 5s.
103. Richard Carpenter (Jesuit), oval of foliage, four Latin
verses, 8vo, £2 14s.
104. William Gouge, first state, the lines commencing
Simile," £5 7s. 6d.
"The
105. John Hacket, Bishop of Lichfield, very fine, £2 10s.; the
same, and an unfinished proof (2), £10.
106. John Murcot, ætat. 30, 1654, six English verses, 4to, £1 17s.
107. Carew Reignell, Armiger, fine, £17 6s. 6d.
108. Vera Effigies, Josiah Ricraft, Londinensis Mercatoris, 1646,
£5; the same, twelve English verses, by J. Vickers
instead of the former inscription, £6 15s.
109. John Ogilby, brilliant, £3 17s. 6d.
110. William Harvey, discoverer of the circulation of the blood,
fine, £1; the same and John Kersey, 1672, £4 5s.
111. Richard Hooker, 16s.
112. John Kersey after Soust, good £1 5s.
113. George Rodolphus Weckerlin, after Meytens, fine, £2 10s.
114. John La Motte, Esq., obit. 1655, proof with the inscrip-
tion, £9.
115. William Oughtred, ætat. 83, proof before the age, and name
of Faithorne, £1 10s.
116. Edmund Elys, first state, £2 5s.
117. Marcus Annæus Lucian, good, £1 1s.
118. John Milton, ætat, 62, 1670, brilliant, £5 5s.; the same,
before the plate was reduced, £1.
119. John Wallis, fine, £1 10s.
120. Thomas Hobbes, first state, the name spelt "Hoobs," fine,
£8 15s.
121. Robertus Boyle, Armiger, with an air-pump, oval of foliage,
£28 17s. 6d.
122. John Bulwer, M.D., proof, £16 10s.; the same, "Cogn.
Chirosophus, M.D.," 8vo, £3 10s.
123. Samuel Collins, M.D., proof before the insertion of the
coat of arms or engraver's name, £2 5s.; the same, proof
before engraver's name, £3 3s.
124. Archbishop Laud, the small oval plate, fine, 18s.
125. Dr. Francis Glisson, ætat. 75, 4to, £1 11s. 6d.
126. Edward Boys, ætat. 66, 4to, Bishop Brownrig (two different),
folio and 8vo (3). £2 14s.
127. Edmund Castle, S.T.D., ætat. 63, 1669, from his "Lexicon
Heptaglot," folio, £1 15s.
128. Samuel Leigh, ætat. 15, 1661, motto above the portrait, and
arms beneath, 12mo, £6 10s.
129. William Sanderson, first state, dated 1658, fine, £2 2s.
252
ENGRAVINGS AND THEIR VALUE.
130. Christopher Simpson, good lettered impression, £1 4s.
131. Thomas Stanley, after Lely, £1.
132. Jakob Usher, fine, 9s.; the same and Dr. John Wallis, £1 1s.
133. Mary, daughter of Sir Edward Alston, good impression
lettered, £1 1s.
134. Maria, Edvardi Alstoni eq. aur., filia Jacobi Laing, harni
eq. aur. uxor. (of this print, three other impressions only
are known), £15 4s. 6d.
135. Honoratissimæ dominæ paston effigies, A.D. 1659,
arms
under the oval (esteemed the chef d'œuvre of Faithorne),
£42 10s. 6d.
136. Mrs. Sarah Gilly, arms under the oval, 8vo, £2 17s.
137. A set of designs for fountains, after Fanelli, fine and rare
(34), £12.
138. Set of the Evangelists, and different subjects from Scripture
and profane history (12), £4 12s. 6d.
139. Bird's Eye View of London, St. Peter's (Westminster), the
Several Churches within the Walles of London, the
Churches in the Suburbs and Westminster, and a briefe
Ichonographicall of this Famous and Honourable City,
by Ric, New Court, 1658, &c. The arms of six of the
twelve City companies were wanting, also the title and
a tablet of the description of London, £45. This print
exists in a perfect state in the Bibliothèque Nationale
at Paris.
140. Pope Leo Xth, fair, 14s.
Faithorne (William, the younger).-The son of the
preceding. Born in 1656; died about 1700. This artist
worked chiefly in mezzotinto in which he succeeded and
might have excelled, but for his erratic habits. Some of
his portraits are very fine, good proofs and early states
being held in a high degree of estimation.
1. Thomas Flatman, the painter, holding a drawing of Charles
II.; the same second state, holding a portrait, fine, £3 18s.
2. Lady Grace Gethin, after Dickson, very fine, £2 10s.
3. Sir Richard Haddock, after Closterman, brilliant first state,
with the word "Regis," and before the address was
erased, £6.
4. Lady Catherine Hyde, after Dahl, first state, before her
name was introduced, £4 8s.
5. Madame Margaret Nicholls, after Dahl, second state, before
the address of Glass, fine, £2 2s.
6. Princess Mary of Orange, after Hannaman, first state, with
Thompson's address, £2 10s.
7. Madame Plowden, after Closterman, second state, £1 10s.
8. Sir William Read, oculist to Queen Mary, fine, £1 10s.
9. Lady Mary Rooke, after Dahl, first state, before the name
of the personage, £3 18s.
ENGRAVERS AND THEIR WORKS.
253
10. Lord Henry Scott, after Closterman, fine and very rare,
with margin, £4 4s.
11. Princess Sophia Dorothea, of Zelle, after Kersaboom,
£4 17s. 6d.
12. Princess Anna Sophia, of Hanover, bust in oval, £5 5s.
66
13. Mary Commended, Martha Reprehended," after Coypel,
fine and rare, £2 5s.
14. Vertumnus and Pomona, after Parmentier, fine, £1 10s.
15. The Hon. Mrs. Marianne Herbert, after Kersaboom, brilliant, £2
16. John Moore, bishop of Ely, very fine, £2 10s.
17. William III. of Orange, King of England, 16s.
18. The Duke of Schomberg, after Dahl, fine impression,
lettered, £1 5s.
Falck (Jeremias).-Born at Danzig in 1619; died at
Hamburg about 1663. This artist's plates consist for the
most part of portraits, though he engraved many historical
subjects. He worked entirely with the graver in a bold,
free style, and though his plates are defective in harmony
his drawing is good.
1. William Blaeu, proof, good, 16s.
2. Tycho Brahé, celebrated Danish astronomer, rare, unfinished
proof before letters, £12 12s.; the same, finished, fine,
£3 15s.
3. Frederic III., King of Denmark, fine, £3.
4. Nicolaus Copernicus, German astronomer, bust in oval,
with verses below, rare, £8 10s.
5. Daniel Dilgerus, bust in oval, £1.
6. Rupert Douglass, very fine, £1 18s.
7. Jaques de la Gardie, Count de Leckoo, 10s.
8. Gabriel de la Gardie, three-quarter length, in armour, an
oval, 14s.
9. Pontus de la Gardie, three-quarter length, in armour, an
oval, £1 1s.
10. Hammerstein, Swedish General, three-quarter length, in
armour, an oval, 14s.
11. Gustavus Horn, Comte de Blornebourg, fine proof, £2 15s.;
again, good lettered impression, 12s.
12. Comte d'Axel, Oxenstjern, fine, £2 18s.
13. Axelio Lillio, bust in oval, in armour, 17s.
14. Count Boguslaus Radzenil, three-quarter length, in far-
trimmed coat, fine, large margin, £2 10s.
15. Christina, Queen of Sweden, after D. Beck, three-quarter
length, in ermine cloak, oval, fine proof, £8 10s.
16. Adrian Spigelius, of Bruxelles, proof, £3 3s.
17. Leonhard, Count of Torstenson, Swedish general, good
lettered impression, 12s. 6d.
18. George Tyozkiewicz, bishop, three-quarter length, in skull
cap, 18s.
254
ENGRAVINGS AND THEIR VALUE.
19. Arfwedo Wittemberg, Swedish general, bust in oval, 10s.
20. Nell Gwynne, after Sir Peter Lely, fine, £3 15s.
Fantuzzi (Antonio).—An Italian engraver, born at
Trent about 1508; living in 1550. This artist studied
painting under Parmigiano, but subsequently devoted him-
self to engraving in chiaro-scuro. He used three blocks.
the first for the outline and the second and the third for
the dark shadows and half tints respectively. Shortly after
1530 Fantuzzi disappeared from Bologna and was after-
wards found working at Fontainebleau under the name of
Antoine Fantose. In Italy he was known as Antonio da
Trento. Some authorities dissent from this view and regard
Antonio Fantuzzi and Antonio da Trento as entirely different
artists. See Trento (Antonio da). This artist frequently
marked his prints with a cipher composed of his initials.
1. The Forge of Vulcan, a battle-piece after Primaticcio (2),
£1 19s.
2. The Execution of the Law by Seleucus upon his Son, a
bacchanalian subject, &c. (5), £1 11s.
3. A sybil, Aurora and Tithonus (2), 12s.
4. The Story of Seleucus, a large print of ornaments (2), 18s.
5. A Sacrifice, the Fall of Phaeton, a nymph and satyr (3),
£1 2s.
6. The Holy Family, after del Sarto, fair, 8s.
7. Psyche saluted by the People, after Salviati, good lettered
impression, £1 1s.
8. The fight between the Horatii and the Curiatii, after
Romano, an etching, good, 13s.
Fariat (Benoit).-Born at Lyons about 1646; living in
1700. This artist's prints are not of much importance
and usually of but little value. He was one of the pupils
of Guillaume Chateau and followed the style of that master
with great success. Among his prints are The marriage
of St. Catherine" after Agostino Carracci, "The Holy
Family" after Pietro da Cortona, and "The Marriage of
the Virgin" after Carlo Maratti.
C
Farinati (Giovanni Battista).—See Fontana (Gio-
vanni Battista).
Farinati (Orazio).-This celebrated painter and en-
ENGRAVERS AND THEIR WORKS.
255
graver was the son and pupil of Paolo Farinati next
named. He imitated his father's style of painting and
from his superior abilities, which he displayed very early
in life, might probably have equalled the greatest masters.
He, however, died young. Very little is known of the
private life of this artist, except that he was living at
Verona in 1607. Among his etchings the following have
been sold recently at the prices affixed.
1. The Destruction of Pharaoh, after Paolo Farinati, good, 14s.
2. The Holy Family with St. John, a small upright plate,
fair, 5s.; again, very fine impression with full margin, 17s.
3. The Descent from the Cross, after Paolo Farinati, good, 8s.
Farinati (Paolo).-Born at Verona in 1522; died in
1606. This artist executed several etchings in a free and
slight, but masterly style.
1. The Magdalen, Charity, Venus and Cupid, the Satyr inebri-
ated (4), £1 8s.; the Magdalen only, 7s.
2. The Passage of the Red Sea, fine, 8s.
3. St. John the Evangelist, fine, the Virgin and Child in a
landscape, Cupids playing in the sky, Charity (4), fair, 6s.
Feddes (Pieter). Otherwise known as Pieter van
Harlingen, an eminent painter on glass; born at Har-
lingen in Friesland in 1588, and known to have been
living at Amsterdam in 1623. As an etcher he excelled
in portraits and historical subjects. None of his prints
are, however, of much value unless they are in proof state.
Felsing (Georg Jakob).-A German line engraver,
born at Darmstadt in 1802; died there in 1883. All this
artist's plates are noticeable for the clear and bold style in
which they are worked.
1. The Violinist, after Raffaelle, 1833, good, £1.
2. St. Geneviève in the Forest, after Steinbrück, fair, 7s. 6d.
3. The finding of Moses, after Köhler, 1849, good, 14s.
4. A girl at a Fountain, after Bendemann, 1835, good, Ss.
5. Christ on the Mount of Olives, after Carlo Dolci, 1828,
fair, 5s.
6. Hagar and Ishmael, after Köhler, 1848, good, 7s. 6d.
F. G. (Master of the Monogram).-See Master of
the Monogram “F. G.”
256
ENGRAVINGS AND THEIR VALUE.
Fialetti (Odoardo).-Born at Bologna in 1573; died
at Venice in 1638. This artist's plates number about 250
and all are etched.
1. The Marriage in Cana, after Tintoretto, fine, with margin, 8s.
2. The Great Ecce Homo, very fine, with margin, 16s.
3.
Diana reclining, after Pordenone, fine, 8s.
4. Lucrezia Borgia, Duchess of Ferrara, profile head, life size,
very fine and rare, £1 18s.
5. Scherzi d'amore, a set of 20 plates, fair, £1 12s.
Ficquet (Etienne).-Born at Paris in 1719; died there
in 1794. His best print, which has become very scarce,
is the portrait of Madame de Maintenon, after Pierre
Mignard.
1. Portrait of Madame de Maintenon, fine and scarce, £16;
again, fine, with large margin, £21; again, brilliant im-
pression, with margin, quite perfect, £68 5s.
2. M. Montaigne, after Du Moustier, good, 12s.
3. Pierre Corneille, proof before letters, fine, £1.
4. De la Motte Fénelon, Archbishop of Cambray, fine, 11s.
5. Jean de la Fontaine, small oval, proof, fine, 10s.
6. Lanfranc, professor of surgery, three-quarter length, oval,
very fine and rare, £1 5s.
7. Françoise d'Aubigné, small oval, half length, seated, 11s.
8. Poquelin de Molière, small square, proof, fine, 9s.
9. Jean Baptiste Rousseau, small oval, proof, fine, 8s.
10. F. de la Mothe le Vayer, three-quarter lenght in oval, 11s.
Filipepi (Alessandro).-See Botticelli (Sandro).
Fillian (John).—A pupil of Faithorne the elder, living
in 1676. His prints are few in number, but their value
is, as a rule, high.
1. Thomas Cromwell, Lord Privy Seal, three-quarter length,
very fine, £4 10s.
2 William Faithorne, the engraver, three-quarter length, oval,
fine, £2 2s.
3. Head of Paracelsus, good, 16s.
Finden (William).-A celebrated line engraver who
worked chiefly in conjunction with his younger brother
and fellow-pupil Edward Francis Finden. William was
born in 1787 and died at Highgate in 1852, while Edward
died five years later at St. John's Wood. Most of the
plates by the Findens are to be found in books, though
ENGRAVERS AND THEIR WORKS.
257
some were separately published. All alike are noticeable
for their fine and elaborate finish. Among the single
works credited to Edward Francis Finden are, Othello
telling his Exploits" after Cowper, "Captain Macheath"
after Newton, and "The Harvest Waggon" after Gains-
borough. William Finden is credited with "The High-
lander's Home" and "The Highlander's Return" both after
Landseer, "The Naughty Boy" after the same, and "Sheep
Washing" and "The Village Festival," both after Sir
David Wilkie. Prints by both the Findens will be found
in Brockedon's Passes of the Alps," 1829, Lodge's
Portraits," 1821-34; Moore's "Life and Works of Lord
Byron," 1833, and in many of the artistic annuals which
were so fashionable sixty or seventy years ago.
แ
Finiguerra (Maso).—Born at Florence about the year
1410, and usually credited with the invention of taking off
impressions on paper from engraved plates. Very little
is known of the works of Finiguerra, which are but rarely
met with, and always command high prices. The prints
mentioned below, would at the present day, be worth
much more than the prices quoted. Owing to the scarcity
of prints by this master it is difficult to give quotations.
1. The Madonna on a Throne, with the Infant Saviour, £3 13s.
2. The Adoration of the Magi, £52 10s.
3. Christ Led to be Crucified, £53 11s.
Finlayson (John).-An English mezzotint engraver,
born about the year 1730 and supposed to have died
forty-six years later. For fuller particulars respecting this
artist and his works, see Smith's "British Mezzotinto
Portraits."
1. Elizabeth, Duchess of Argyle, Brandon, and Hamilton,
bust in oval, after Catherine Read, 14s.
2. William Drummond, of Hawthornden, three-quarter length,
after Janson, rare, £1 8s.
3. David Garrick, in the character of Kitely, cloak over his
right shoulder, after Reynolds, rare and fine, £10.
4. Lady Grandison, bust in oval, fine, £5 5s.
5. Miss Winyard, after Reynolds, three-quarter length, sitting,
good, £ 4s.
17
258
ENGRAVINGS AND THEIR VALUE.
6. David Garrick, in the character of Sir John Brute, after
J. Zoffany, proof before letters, £2.
7. Samuel Foote and Thomas Weston as the President and
Dr. Last, after J. Zoffany, proof before letters, £1 5s.
8. E. Shuter with Beard and Dunstall in "Love in a Village"
after J. Zoffany, proof before letters, £2 18s.
9. Elizabeth, Lady Melbourne, after Reynolds good, £3 3s.
10. Lady Maria Broughton, after Cotes, fair, £1.
11. Henri le Grand, three-quarter length in regal attire, very
rare, fine proof, £62 10s.
12. Lady Villiers, after Calze, good lettered impression, £2 2s.
Fiorentino (Domenico).-See Barbiere (Domenico
del).
Firens (Pierre).-An engraver and publisher, born at
the commencement of the seventeenth century, most probably
at Paris where he was working in 1640. He is described
as a servile copier of anything that was placed before him,
as incapable of mending the faults as of expressing the
beauties of the original., Notwithstanding this adverse
opinion, however, good impressions from any of his plates.
invariably command high prices.
1. Anne of Austria, daughter of Philip III. of Spain, fine im-
pression, very rare, £7 10s.
2. Henri IV. of France, bust in coronation robes 1610, sixteen
lines in French, fine lettered impression, £2 6s.; again,
very fine, £12 12s.
3. Henri IV. of France, Touching for the King's Evil, good
lettered impression, £1 12s.
Fisher (Edward).-A mezzotinto engraver, born in
Ireland about 1730; died at London about 1785. His best
prints are portraits after Sir Joshua Reynolds. These possess
great merit and are much sought after.
1. Lady de Grey and her sister, proof before letters, fine,
£8 8s.
2. Colley Cibber, after Vanloo, second undescribed state, fine,
£2 12s.
3. John, Earl of Bute, after Reynolds, 12s.
4. Augustus Keppel, after Reynolds, 11s. 6d.; again, fine,
£1 10s.
5. Granville, Marquis of Stafford, after Reynolds, good, £1.
6. Laurence Sterne, after Reynolds, £4 4s.; again, before the
plate was retouched, margin, £13.
7. Lady Elizabeth Lee, after Reynolds, second state, £2 16s.
ENGRAVERS AND THEIR WORKS.
259
8. Kitty Fischer as Cleopatra, after Reynolds, fine proof,
£12 12s.
9. Lady Sarah Bunbury, after Reynolds, early impression, £15;
again, very fine, £18; again, good, £10 10s.
10. Paul Sandby, after F. Cotes, fine, large margin, £1 15s.
11. Lord Edgcumbe, proof before letters and before the coat
of arms, £4 6s.
12. David Garrick between Tragedy and Comedy, fine proof
before the separate plate of inscription, margin, £45;
again, fair lettered impression, £1 4s.
13. Sir Thomas Harrison, fair, 6s.
14. Lady Elizabeth Keppel, after Reynolds, fine, margin, £7 10s.
15. John, Lord Ligonier, proof before letters and before the
inscription space was cleared, £8 5s.
16. The Ladies Yorke, after Reynolds, brilliant impression, large
margin, £15 10s.
Fittler (James).-Born in London in 1758; died at
Turnham Green in 1835. This artist was a line engraver
of ability, and his services were in great demand for the
illustration of books. Plates by him will be found in
Forster's "British Gallery," Bell's "British Theatre," Dibden's
'Edes Althorpeanæ," 1822, and other well known works.
Among his single productions the following have recently
been sold by auction. For further particulars, see Redgrave's
'Dictionary of Artists of the English School,” 1878.
46
1. A Spanish officer, three-quarter length, landscape in dis-
tance, after Rubens, fine, 12s.
2. The Battle of the Nile, after De Loutherbourg, fine proof,
£5 10s.
3. Lord Howe's Victory, after the same, fine proof, £5 10s.
Flameng (Léopold).—A contemporary French etcher,
described by the late Mr. Hamerton as being, at one time,
the only engraver in Europe who studied etching with a
perfect faith in its power to interpret pictures. The example
of the greatest etchers of the past, he said, tended always
in the direction of original work. There are, and have been,
several etchers of the name of Flameng. Léopold Flameng
has etched many book illustrations, notably the plates for
the Paris edition of the Decameron (1873), Havard's
Amsterdam et Venice," 1876, and Delvau's "Histoire
Anecdotique des Cafés," 1862.
46
260
ENGRAVINGS AND THEIR VALUE.
1. Life-size Portrait of Shakespeare, remarque proof, £2 16s.
2. Portrait of Mr. Darwin, artist's proof, signed, £2 12s. 6d.
3. Rubens and his Wife, artist's proofs, signed, a pair, £1 1s.
4. Portrait of Mr. Seymour Haden, early proof, fine, 14s.
5. The Night Watch, after Rembrandt, proof, 7s.; again, artist's
proof on vellum, 8s.
6. The Death of St. Genevieve, artist's proof, 15s.
7. Christ Healing the Sick, after Rembrandt, proof, £3 10s.
8. The Syndics, after the same, proof, 11s.
9. François I. and the Duchess of Etampes, after Bonington,
after the painting in the Louvre, very fine, £1 1s.
10. L'Abreuvoir, after Troyon, good, 12s.; the same, fine proof
before any inscription, £1 16s.
11. Professor Huxley; Charles Darwin, by G. Flameng, both
after Hon. J. Collier, remarque proofs, £7.
Flamen (Aalbert).--Born in Holland about the year
1633, living in Paris from 1648 to 1664. This artist was
celebrated as a painter of landscapes, birds and especially
fish, the last named subjects being extremely fine. His
etchings are in the style of Hollar. They number more
than 600 and are sometimes found marked with a cipher
composed of A and B.
1. Set of sea fish (numbered in Bartsch 1-12), fine (12), £1 8s.
2. Ditto (numbered 13-24), fine (12), £1 10s.
3. Ditto (numbered 25-36), fine (12), £1 10s.
4. Fresh-water fish, the two sets (numbered 37-60) (24), £3 5s.
5. Set of birds (numbered 81-91), fine (11), £3 3s.
6. Views of the Chateau of Longuetoise, &c. (numbered 93-
104) (12), £2 5s.; a number of other views, fine (82),
£1 15s.
Flipart (Jean Charles).—A French engraver who was
born at Paris about the year 1683 and died there in 1751.
His plates, which are entirely worked with the graver,
are executed in a neat and finished style.
The Virgin and Child," after Raffaelle,
Garden," "The Penitent Magdalen," and
Daphne."
They include
Christ in the
"Apollo and
Flipart (Jean Jacques).-The son of the artist last
named. He was born in Paris in 1719 and died there in 1782.
His practice was first to etch his plates and then to finish
them with the graver. Good impressions, especially proofs,
are of considerable value.
ENGRAVERS AND THEIR WORKS.
261
1. Le Gateau des Rois, after Greuze, proof, £1.
2. Le Paralytique servi par ses enfants, after the same, proof
before the title, fine, 16s.
3. The Knitter, and the companion print, The Sleeping Knitter,
both after the same, fine, £5 5s.
4. The Dead Bird, after the same, very fine, £3 10s.
5. The Battle of the Centaurs, good, 14s.
6. A Storm by Day, after Vernet; a Storm by Night, after
the same, both marine subjects, proofs, very fine, £7 7s.
Folkema (Jakob).-Born at Dokkum in Friesland in
1692; died there in 1767. Some of this artist's plates are
in mezzotint, though he is chiefly known as a book illustrator
in line.
1. Portrait of Frank van Borselen, after Jelgersma; ditto
of Jacoba van Beieren, after the same, both very fine,
£1 8s.
2. Jacoba van Beieren, Duchess of Gloucester, proof and letters,
and her husband, Frank van Borselen (3), £1 6s.
3. Miguel Cervantes, after Cornelis Cort, fine, 12s.
Fontana (Giovanni Battista).-Born at Verona in
1533; died in 1592. This artist who is also known by the
name of Giovanni Battista Farinati, was chiefly known as
a painter, though we have several slight etchings from his
hand as under.
1. Six landscapes with figures (6), £2.
2. The Wooden Horse introduced into Troy, 17s.
3. The Prophet Ezekiel, fine, 12s.
4. Landscape, with St. John Baptising Christ, fine, with
margin, 13s.
5. Landscape with Christ and the Woman of Samaria, fine, 14s.
6. The Flagellation, very fine, £1 10s.
Forster (François).—A Swiss engraver, born at Locle
in 1790, and died at Paris in 1872. All this artist's plates
are executed entirely with the graver, which he handled
with great boldness and at the same time extreme delicacy.
The effect is unique it its way and sometimes extremely
beautiful.
1. Albrecht Dürer, half length, from his own design, with
a short beard, 1822, fine proof on India paper, before
letters, £2 17s.
2. Raffaello Sanzio, in a square border, 1835, fine India proof
before letters, £1 5s.
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ENGRAVINGS AND THEIR VALUE.
3. La Maîtresse de Titien, good, 12s.
4. Her Majesty Queen Victoria, after Winterhalter, half length,
standing, proof, £1 5s.
5. The Holy Family, after Leonardo da Vinci, fine proof,
£1 12 6.
Fortuny (Mariano.-A Spanish painter and engraver,
born near Barcelona in 1841, died at Rome in 1874.
Among his plates, which are not numerous, are the
following.
1. Arabe Veillant le Corps de son ami, fine, very rare, £3 10s.;
again, fine proof on India Paper, £6 15s.
2. Famille Marocaine, proof on Japanese paper, £1 17s.
3. "Garde de la Casbah a Tetuan," fine and early impression,
£1 18s.
4. Tireuse de Cartes; Arab of Tangier, seated; two on one
mount, £1 7s.
5. The Reader, artist's proof, very fine, £5 5s.
Fossati (Davide Antonio).—A Venetian painter and
engraver, born near Lugano in 1708; died at Vienna in
1780. This artist's prints consist of etchings of landscapes
and historical subjects, among which is a set of 24 views
of Venice and landscapes after Ricci. As a rule, the value
is small.
Fosse (Jean Baptiste de la).-Born at Paris in 1721,
died there about 1775. This artist was one of the pupils
of Etienne Fessard. His plates consist principally of portraits
of small value.
Francia Il, whose real name was Francesco di Marco
Raibolini was born at Bologna in the year 1450. As to
whether this artist ever engraved is a matter of discussion
even yet, but for the sake of convenience several plates
are attributed to him.
1. Cleopatra and Cupid, extremely rare, £14.
2. The Five Saints, a fine impression, of great rarity, £22 1s.
3. The Virgin and Child (seated), Joseph behind her, St. Anne
spinning, and St. John holding the reel, with three men
in the background, very fine and rare, but cut, £3 15s.
4. The Bacchanal, £2 2s.; the same, fine early impression
before the retouch, £13.
ENGRAVERS AND THEIR WORKS.
263
Franck (Hans Ulrich).-Born in Suabia in 1603;
died at Augsburg in 1680.
1. Etchings of military skirmishes, attack of robbers, &c.,
very fine and scarce (18), £3 15s.
2. A female supplicating a warrior; A wounded soldier being
removed in a chariot; Abraham dismissing Hagar, all
very rare (3), £3 15s.; the Woman Supplicating only,
very fine, £1 1s.
3. Alexander and Darius, the latter dying, 1644, good £1
again, ordinary lettered impression but slightly cut, 5s.
Franco (Giacomo).—An Italian designer and engraver
born at Venice in 1566; living there in 1626. He was
one of the pupils of Agostino Carracci, whose style he
imitated with great success. His drawing is very good and
his execution bold and free. Good impressions from any
of the plates of Giacomo Franco are of considerable value.
1. The Holy Family, with St. John holding a distaff, £3 5s.;
again. £4 6s.
2. The Five Saints, £4.
3. Lucretia Stabbing Herself, £4 5s.; the same, first impres-
sion, £6 15s.
4. A bacchanalian piece, £1 3s.
5. Cleopatra, £3 6s.
6. Female holding a square; a grotesque ornament (2), £3 7s.
7. Bacchus with his Attendants, £5 15s. 6d.
8. The Infant Saviour, sleeping under a canopy, £12.
9. The Madonna, on a throne, with the Infant Christ in her
lap (this print was marked on the throne with the
letters D.A.F.), £10 10s.
Franco (Giovanni Battista). This eminent painter
and engraver, who is sometimes called "11 Semolei," was,
according to Bryan, born at Udine in 1510. He was a
pupil of Marc Antonio, whose style he imitated. Franco
died at Venice in 1580, leaving behind him more than 100
etchings, many in the style of Giulio Bonasone. He usually
marked his plates BFVF (Battista Franco Venetus fecit).
1. Christ on the Cross, the Madonna and St. John below;
the Deluge (2), 13s.
2. Moses Striking the Rock, first impression; Melchisedech
and Abraham; the Ark in the Temple of Dagon, second
impression, 7s. 6d.
3. The Israelites gathering Manna, very fine, 15s.
4. The Nativity; the Holy Family (2), 13s.
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ENGRAVINGS AND THEIR VALUE.
5. Christ Disputing with the Doctors, very fine, 10s.; The
Temple of Dagon, third state with the words "Franco
Forma," 5s.
6. The History of Trajan, and two allegorical circles (3),
7s. 6d.
7. Two antique bas-reliefs on one plate; six subjects from
the History of Trajan, on one plate, &c. (4), 13s.
8. The Clemency of Scipio, proof before the name, 5s.
9. The Entombment, 12s.
10. Hercules Shooting at Nessus, first state, fine, £1.
11. The Emperor Constantine and St. Pierre, fine, 11s.
François (Jean Charles).-Born at Nancy, France,
in 1717; died at Paris in 1769. This artist is said to have
introduced into Paris the crayon style of engraving. Though
his productions are not held in the highest reputation
they are nevertheless sought after and sometimes bring
considerable amounts if in proof state. A number of his
portraits will be found in Savérien's "Histoire des Philo-
sophes Modernes," 8 vols., 12mo, 1760-73.
Frey (Johann Jakob).—A Swiss engraver, born at
Lucerne in 1681; died at Rome in 1770. The object of the
artist was to approach the style of the painter after whom
he engraved, and in this he succeeded admirably.
1. The Holy Family, after Raffaelle, fine, £1 2s.
2. St. Romualdo, after Sacchi, fine, 12s.
3. The Doctors of the Church, after Guido Reni, fine, 8s.
4. Bacchus and Ariadne, after Guido Reni, fine, 8s.
5. The Aurora, after Guido Reni, very fine, with margin,
£1 9s.; the same, proof before letters, fine, £3 18s.
6. The Rape of Europa, after Albani, good, £1.
7. St. Bernard, after Carlo Maratti, fair, 8s.
8. Portrait of Carlo Maratti, after the Painter himself, good, 16s.
9. Michael, the Archangel, after Guido, very fine, £1 1s.
10. The death of St. Anne, after Sacchi, good, 8s.
Frezza (Giovanni Girolamo).-An Italian engraver
born near Tivoli in 1659; died at Rome in 1730. This
artist was a pupil of Arnold van Westerhout, a Flemish
engraver who practised at Rome from 1720 to 1725. All
the plates by Frezza are very carefully etched and after-
wards finished with the graver in a neat style, but without
any force of colouring or boldness of execution. His drawing,
ENGRAVERS AND THEIR WORKS.
265
as Strutt says, "though not very incorrect, is nevertheless
heavy and the extremities of his figures in general, are
poorly marked."
1. The Frescoes in the Verospi Palace, a set of seventeen
plates in folio, inclusive of title, published at Rome in
1704, fair average set, 12s.
2. The Judgment of Paris, after Carlo Maratti, fair, 5s.
3. The Twelve Months, after the same, fine, £1 5s. (The
same subjects were engraved by J. B. de Poilly).
4. The Virgin and Child, after Ludovico Carracci, good, 8s.
Friedrich (Franz).-This artist who was a designer
and carver, as well as an engraver, worked at Frankfort-
on-the-Oder from 1550 to about 1585. He worked both
on wood and copper and all his prints, particularly those
from copper plates, are very rare.
1. Portrait of Heinrich Paxmann, 1580, fine impression, £1 5s.
2. Portrait of the Elector Joachim II., very fine, with large
margin, £3 18s.
Frye (Thomas).-An engraver in mezzotinto, born near
Dublin about the year 1710; died at London in 1762. For
further particulars of this artist and his works, see Smith's
"British Mezzotinto Portraits."
1. Captain Cook, three-quarter length, fair, 8s.
2. Captain Cook's wife or sister, three-quarter length, very
fine, £1 8s.
3. Queen Charlotte, proof before letters, very fine, £2.
4. Queen Charlotte, the small plate, good, 17s.
5. Frederick Prince of Wales, in his robes, fair, 13s.
6. The young woman with a cap (Smith nº. 12), engraver's
proof before all letters, fine, £3 3s.
7. The two series of life-size heads, good impressions in per-
fect condition with margins, £85 the set (Sotheby's
Dec. 10, 1895).
Old Man with spectacles in right hand.
Young Girl holding up a string of pearls.
Young Man with lighted candle by his side.
Young Woman with cap with a black ribbon.
Man with turban, his right hand raised.
Man with back of fingers of right hand to his chin.
Old Woman, her hands leaning on top of a crutch.
Man with turban, hands resting on a book.
Man with finger pressed against his cheek.
Young Woman in dark hat and mantle.
Young Man with frightened expression.
Frye's own Portrait.
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ENGRAVINGS AND THEIR VALUE.
SECOND SERIES.
"Ladies very elegantly attired in the fashion."
With lace cap, left hand holding up mantle.
Cap with pearls, right hand on left wrist.
Right hand to breast, left hand holding a closed fan.
Face in profile to left, right hand holding lace fall.
Right hand holding fur-lined robe across chest.
Head-dress of pearls and flowers, left hand holding robe.
Fyt (Jan).—Born at Antwerp in 1609, died there in
1661. This artist was chiefly celebrated as a painter,
though he left many spirited etchings.
1. The small set of animals, rare and fine, all first states (8),
£1 4s.
2. The set of dogs, first states and fine (8), £4 14 6.
3- An oblong etching, representing hares pursued by dogs,
one of which has seized the hare by the neck; perhaps
by Fyt, but more probably by Hondius; unique, £4 4s.
Gainsborough (Thomas) -This famous painter was
born at Sudbury in 1727, and died at London in 1788.
He left behind him about twenty etchings and three plates
in aquatint.
1. A man ploughing (etching), fair, Ss.; again, good impres-
sion, with large margin, 17s. 6d.
2. Evening (etching), 12s. 6d.
3. Gipsies under an oak tree (aquatint), fine, with margin, £1.
Galestruzzi (Giovanni Battista).—Born at Florence
in 1618; living in 1661. This artist studied painting under
Francesco Furini and was a friend of Della Bella, whose
style he seems to have imitated with considerable success.
All the artist's plates are etched.
1. Paris and Mercury, 11s.
2. The day of Pentecost, 8s.
3. St. John, seated, undescribed, good margin, 11s.
4. Silenus and the goat, 9s. 6d.
5. Apollo and Diana, Destroying the Children of Niobe, five
subjects, fine, £1 2s. 6d.
Galle (Cornelis).-A younger son of Philipp Galle.
He was born at Antwerp in 1576, and died there in 1656.
1. Henrietta Maria, after Van der Horst, fine, 12s.
2. St. Peter Baptising St. Priscia, after Paggi, cut, 4s. 6d.
3. Judith and Holofernes, after Rubens, fair, 8s.
ENGRAVERS AND THEIR WORKS.
267
4. Charles I. of England, after Van der Horst, very fine, with
margin, £1 2s. 6d.
5. Johannes de Falckenberg, after the same, fair, 9s.
6. Venus and Cupid, after Paggi, fair, 4s.
7. Seneca in the Bath, after Agostino Carracci, good, 12s.
8. A Banquet, musicians playing, fair, 6s.
Galle (Cornelis, the younger).—The son
born at Antwerp in 1615; died there in 1678.
best pieces consist of portraits.
of the above,
This artist's
1. Henrietta of Lorraine, after Vandyck, lettered, 8s.
2. Jan Meyssens, the painter, after the same, lettered and
cnt, 3s.
3. Justus Lipsius, good, with margin, 10s. 6d.
4. The Crucifixion, after Van Hoeck, fair, 7s.
5. The Emperor Ferdinand III., half length, in armour, after
Vandyck, 1649, lettered, 12s. 6d.
6. Godfrey Henry, Comte de Pappenheim, half length in armour,
after the same, lettered, 12s.
7. The Flight into Egypt; Christ in the Tomb, both after
Rubens, good, 18s.
8. Job and his wife, after Diepenbeeck, good, 12s.
9. St. Dominic and the Rosary, after the same, very fine
impression, with full margin, £1 12s. 6d.
Galle (Philipp).—A Dutch engraver, born at Haarlem
in 1537; died at Antwerp in 1612. This artist's prints are
very numerous, his great object, apparently, having been to
produce long series of subjects in the shortest possible space
of time. His prints appear on the face of them to have
been hastily conceived and most are executed in a stiff,
formal style.
1. Nymphs Bathing, after L. Penni, with engraver's mark,
"C.K.," £1 2s.
2. Judith with the Head of Holofernes, and the Brazen
Serpent (2), both fine impressions, £2 11s.
3. A set of the Acts of the Apostles, after Heemskerk (36),
indifferent, 11s.
4. A set of the Saints of France (52), good, £1 12s.
5. Gerard Mercator, "Etatis Suæ LXII.," with terrestrial
sphere, fair, 7s. 6d.
6. Illustrations to fables (15), fair, 8s.
7. Queen Henrietta Maria, very fine, £2.
8. Peter Wright, Jesuit, 12mo, very fine and rare, £1.
9. Portrait of Martin van Heemskerk, the painter, good, 10s.
Galle (Theodoor).--The eldest son of Philipp Galle;
born at Antwerp in 1571, and died there in 1635. He
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ENGRAVINGS AND THEIR VALUE.
learned the first principles of the art of engraving from
his father whom he imitated, the same stiffness and defects
in the distribution of light and shade being apparent in the
works of both.
1. Coriolanus before Rome, after J. Stradanus, good impression,
but cut, 6s.
2. Susannah, after the same, fair, 7s. 6d.
3. St. Jerome, kneeling, fair, 7s. 6d.
4. Life of the Virgin and St. Joseph, a set of 28 plates,
fine, £2.
5. The Mother of the Gracchi, very fine and rare, £1.
6. Count Ugolino and his children, after J. Stradanus, good, 8s.
7. Phaeton and the Chariot of the Sun, after the same, fine,
11s. 6d.
Gammon (James).-An English engraver who was
living in London about 1660. His prints, consisting entirely
of portraits, are not looked upon as possessing much merit,
but, as will be seen below, they are sometimes valuable.
1. Portrait of Edward Mascall, fine and rare, 16s.; the same
with copy, 11s.; the same with copy, 15s.
2. Sir Toby Matthews, very fine, £5 10s.
3. The most illustrious and high-born Prince Henry, Duke
of Gloucester, in a cloak, exceedingly fine impression,
and very rare, £21.
Gantrel (Etienne).-Born at Paris in 1646; died there
in 1706. Of the prints named below, nos. 2, 3 and 4 were
not in good condition nor were they very good impressions.
1. St. Margaret, Queen of Scotland, after a painting by
Largilliere, engraved by order of James II., rare, £1 5s.
2. Portrait of Louis XIV. of France, life-size, rare, but cut,
£1 3s.
3. The Israelites Crossing the Red Sea, after Poussin, fair, 8s.
4. St. Francis, after Annibale Carracci, fair, 4s. 6d.
5. Moses and the brazen Serpent, after N. Poussin, very
fine, 14s.
6. The Golden Calf, after the same, good, 6s.
7. The Descent from the Cross, after the same, good, 8s.
Garavaglia (Giovita).-An Italian engraver, born at
Pavia in 1790; died at Florence in 1835. Fine impressions
of this artist's prints are rare and invariably command
high prices.
1. The Madonna della Sedia, after Raffaelle, proof, with arms,
very fine, £3 15s.
ENGRAVERS AND THEIR WORKS.
269
2. The Infant Christ adored by St. John, after Carlo Maratti,
good, £1.
3. Beatrice Cenci, after Guido, proof before all letters, £4 12s. 6d.
4. Jacob and Rachel, after Appiani, good, 18s.
5. Hagar and Ishmael, after Baroccio, very fine, with full
margin, £1 1s.
Gascar (Henri).-Born at Paris in 1635; died at Rome
in 1701. This artist came to England to paint the portrait
of the Duchess of Portsmouth, and while here met with
such encouragement that he amassed a fortune. His
plates, all mezzotints, are, however, very inferior, though
they seem to have attracted at the time by reason of the
rich embroideries, laced draperies and other trimmings
which it was his custom to employ whenever possible. As
an engraver, Gascar stands in very bad repute and none
of his prints are of much value.
1. Portrait of Madame Sophia Bulkeley, fine proof, 14s.
2. Philip, Earl of Pembroke (his best print), fine and rare, £2.
3. The Duchess of Portsmouth, fair, 8s.
Gatti (Oliviero). This painter and engraver was born
at Parma about the year 1580 and is known to have been
working at Bologna in 1648. His style is so similar to
that of Agostino Carracci that he is usually considered to
have been one of his pupils. His plates are, however,
much inferior in every way to those of the artist named.
The extremities of his figures are often coarse and heavy,
and his designs not always correctly drawn. Among his
prints are the following.
1. Four plates representing the Creation of the World, the
Creation of Adam, the Sacrifice of Abraham, and Judith
with the head of Holofernes, all after Licinio, good,
12s. 6d.
2. St. Jerome, after Agostino Carracci, dated 1602, very fine, 18s.
3. The Virgin and Child after Il Nipote (Lorenzo Garbieri),
good, 9s.
4. Arms of a Cardinal, supported by Mars, Minerva and
Saturn, dated 1602, fair, 6s.
5. St. Roch, dated 1605, good, 8s. 6d.
Gaucher (Charles Etienne).-A French engraver,
born at Paris in 1740; died there in 1804. This engraver
资
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ENGRAVINGS AND THEIR VALUE.
studied under Basan and Le Bas but although his prints
are not destitute of merit they do not appear to command
much attention, unless they are very early impressions in
the finest condition. His plates consist of portraits and
general subjects, among which may be specially noted
"The Crowning of Voltaire," after Moreau, "The Card-
players," after Tilborch, and portraits of Maria Cecilia,
daughter of Achmet III., and Louis de Grimaldi, Bishop of
Le Mans, the latter dated 1767.
Gaugain (Thomas).—An engraver in stipple, born at
Abbeville in France in 1748. The artist came to this
country when very young, and though he originally devoted
himself to painting, seems to have practised as an engraver
from the year 1780 onward. Gaugain lived for many years
at No. 4 Little Compton St., Soho, and is supposed to have
died somewhere about the year 1805. All his prints are
in stipple and many are printed in colours. These latter
are at present in great demand.
1. Turnips and Carrots, O! after Wheatley, large margin, £1.
2. A wood Boy, and a Girl going to market; both after
Barker, fair, (2) 13s.
3. "How Sweet's the love that meets return," and The Lass
of Livingstone, both after Morland, good (2), £3 5s.;
How Sweet's the Love," fine, in colours, £13 13s.
4. Labour and Health, after Barker, in colours, good (2), £2.
5. An airing in Hyde Park, and the Promenade in St. James's
Park, both in colours, after E. Dayes, £15 15s.; again,
very fine, £25 4s.
6. An airing in Hyde Park and the Promenade in St. James's
Park, both after E. Dayes, by Gaugain and Soiron,
printed in colours, extremely fine, £58 16s.
7. Guinea Pigs, after Morland, two small prints in colours,
£2 6s; again, very fine, £4 4s.
8. A shipwrecked sailor boy, after Bigg, in colours, fair,
£1 16s. The same and also the companion print, the
Sailor Boy's return, also after Bigg, both in colours,
fine, £6 15s.
9. The Citizen's retreat, after Bigg, in colours, good, £2 12s. 6d.
10. Youth, after Prince Hoare, fair, £1 1s.
11. The blind girl of Rome, after Northcote, in colours, £1 2s.
Another impression, very fine, in colours, £10 10s.
Gaultier (Leonard).—A French engraver, born at
ENGRAVERS AND THEIR WORKS.
271
Mayence in 1562; died at Paris in 1641. This artist imitated
the style of the Wierixes, working with the graver only,
with the utmost neatness and precision, but in a stiff and
formal manner. His plates, which are very numerous,
consist of portraits and Biblical subjects.
1. Henri IV., on horseback, battle in the distance, dated
1609, fine and very rare, £1 5s.
2. Henri IV. of France, whole length in armour, drawn sword
in right hand, with verses, very fine, £6.
3. Henri IV. and Marie de Medici, with two of their children
and attendants, sixteen lines in French, very rare, fine
lettered impression, £6 6s.
-
4. Marie de Medici (when young), three-quarter length, in
oval, with inscription round, and French verses, very
fine, £3 5s.
5. Marie de Medici, Queen of France, whole length, inscrip-
tion at top, fine and rare, £7 7s.
6. Marie de Medici, Queen of France, whole length, seated
and enthroned, fine, with margin, £3 3s.
7. Alexandre Bouchart, Vicomte de Blosseville, "age de 49.
Ant. 1613," head in an oval, fair, 11s.
8. Henri de Bourbon "age de 8 1591," three-quarter length,
in a small oval, with verses, and dated 1612, fine, with
margin, £2 2s.
9. Henri de Bourbon, at the age of 16, three-quarter length,
in small oval, with verses, fine, £1 16s.
10. M. la Duch. de Nemour, three-quarter length, in widow's
dress, inscription four lines beneath, 10s. 6d.
11. A collection of 144 celebrated men-princes, warriors,
statesmen, ecclesiastics, philosophers, and men of letters,
who flourished principally in France, from 1500 to about
1600, called "Chronologie Collée," all small heads, with
the name beneath each; a rare collection, £31.
12. The Procession of the League, a satire, very rare, fine,
with margin, £1 1s.
13. The Cyclops forging thunderbolts, after Cousin, dated 1581,
good, 12s.; again, very fine, £1 5s.
14. A series of 32 very small plates of the History of Cupid
and Psyche, after Raffaelle, a good set, £1 2s.
15. The Last Judgment, after Martin Rota, after Michael Angelo,
fair, 5s. 6d.; again, good, 14s.
Gaywood (Robert).-Born about 1630; died in 1712.
This artist was a pupil of Hollar, whose manner of
engraving or rather etching he imitated, though with little
of the genius of his master. His outlines are frequently
hard and incorrect and the etching heavy and laboured.
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ENGRAVINGS AND THEIR VALUE.
Gaywood's best print represents Venus reclining, with a
man playing on an organ, after Titian. The most in-
teresting of his prints consist, however, of portraits.
1. Bulstrode Whitelocke, fine impression, £2 5s.
2. Portrait of Sir G. Croke, good, 8s. 6d.
3. Portrait of Robert May, good, 7s.
4. Doctor Faustus, "H. Rinbrant Inven. P. Stent excudit,"
fine. 18s.
5. His Excellency George Monck, Generall of all the Forces
in England, Scotland, and Ireland, very fine, £3 10s.
6. George, Duke of Albemarle, 1600, fine and extra rare,
£10 10s.
7. The same, small etching in an oval, good, 19s.
8. The Pall and Escutcheon of Charles I., 13s.
9. Adoniram Byfield, with windmill on his head, the devil
blowing the sails, 4to, very rare and fine, £5 5s.
10. Richard Lovelace as Orpheus, 12mo, fine, 12s.
11. Mme. Ann Kirk, sitting on a chair, etching, fine and very
rare, £3 3s.
12. Margaret Lemon, after Vandyck, good, 10s.
13. Barbara Van Beck, the hairy woman, 1656, good, 10s.
14. The Infanta Donna Catherina, oval 4to, fine and very rare,
£5 10s.
15. Sir Richard Temple, bust with arms, fine, 10s.
16. A study of four tigers, brilliant impression, £1 8s.
17. James Shirley, the poet, bust prefixed to his plays, rare,
and fine, £4.
18. Matthew Stevenson, the poet, four English verses, fine,
and rare, £2 15s.
19. Edward Cocker, oblong 4to, fine, £1 5s.
20. Henrietta Maria, Queene Mother, half-length, in a widow's
dress, standing, rare, £1 1s.
21. William Leybourn, with inscription "Vera effigies Gulielmi
Leybourn Philom, anno Etatis 30," good, £1 10s.
Geddes (Andrew).-A Scottish portrait painter, born
at Edinburgh about 1789; died in London in 1844. This
artist is described by Redgrave as a good etcher, in the
manner of Rembrandt." For further particulars, see David
Laing's "Etchings by Sir David Wilkie and Andrew Geddes,”
Edinburgh, 1875, folio.
1. Portrait of Sir David Allan, in Circassian dress, Colonel
Phillips, half length, Mr. and Mrs. Terry, Mrs. Geddes,
Agnes Paul, the artist's niece, Vandyck, an old woman
with a ring, two landscapes, trees in Hyde Park, a man
in a ruff. All proof etchings, and finely executed, £5 5s.
Gellée (Claude).--See Claude (Called Lorraine).
ENGRAVERS AND THEIR WORKS.
273
Geminus (Thomas).—An early English engraver, who
in the year 1545 issued a translation of "Vesalius's
Anatomy," with copper-plates executed by himself after
the original woodcuts. This work was first published at
Padua in 1542. All the prints by Geminus are very scarce
though described by Vertue as "exceedingly bad" in quality.
1. Portrait of Andrew Vesale-"An æt. XXVIII., MDXLII.,”
very rare and good impression, £5 15s.
2. Illustrations to Vesalius's Anatomy," with six plates,
including the rare and first engraved portrait of Queen
Elizabeth, fine set, £5 5s.
3. St. George and the Dragon, woodcut, a very curious print,
exceedingly rare, fair impression, £2 5s.
Genoels (Abraham).—Born at Antwerp in 1640; died
there in 1723. This artist, who is also known by the name
of "Archimedes," though chiefly celebrated as a painter,
executed several etchings of landscapes from his own
designs. They are worked in a bold, free style and ornamented
with figures and cattle.
1. A series of landscapes, with figures, garden scenes, &c.
(10), fine, £1 5s.
2. A number of various classical landscapes (12), fair, £1.
Gerretz.-See Rembrandt (Harmensz van Rijn).
Ghandini (Alessandro).—A wood-engraver who,
according to Bryan, worked for Andrea Andreani, at Rome,
about 1610.
1. The Virgin, enthroned and surrounded by saints, after
Parmigiano, fine, £1 3s.; again, fair average impres-
sion, 12s.
2. St. Catharine (a chiaro-scuro, produced from two blocks),
fine, with margin, £1 10s.
Gheyn (Jakob de).-Born at Antwerp in 1565; died
there in 1625. This artist was a pupil of Goltzius. He
illustrated a work published in folio in 1608 under the
title of "The Exercise of Armes for Calibres, Muskettes
and Pikes."
1. Abraham Gorlæus, "Etatis suæ 52 Ano 1601," good, 12s.
2. Hugo Grotius, when a boy of fifteen, three-quarter length,
fine, £1 6s.
18
274
ENGRAVINGS AND THEIR VALUE.
3. Head of a man in oval medallion, inscribed "T. Gae Loo
Gool wil. R.I.V.D.OVT. 60, 1596," fair, 5s.
4. Henricus Borbonius, bust in armour, good, £1 1s.
5. The Empire of Neptune, after Tierbo, a shield, very fine,
£2 17s.
Ghisi (Adamo).-Probably a younger brother of Giorgio
Ghisi, hereafter named. This excellent artist is said to
have been born at Mantua in 1530 and is known to have
been living in 1585, in which year he engraved the series.
of plates after Michelangelo's frescoes in the Sistine
Chapel. Adamo Ghisi is also known as Mantuano."
1. Æneas Carrying Anchises, Cupid on Dolphins, and Hercules
and the Lion, fine, 17s. 6d.
2. The Young Hercules listening to the Proposals of Vice
and Virtue, after Giulio Romano, fine, £1 1s.
3. Cupid Carrying the Arms of Mars, after Romano, very fine,
£2 10s.
4. Combat between a lion and a horse, after Romano, good, 13s.
5. The Fishermen and the monstrous fish, after Romano,
good, £1 1s.
6. Servitude, after Andrea Mantegna, good, 16s.
7. The Flagellation, after an anonymous master, good, £1 Is.
8. The Madonna suckling the infant Christ, good, 18s.
9. Two cupids mounted on Dolphins, after Romano, good, 11s.
Ghisi (Diana). This artist was the sister of Giorgio
Ghisi, and is supposed to have been born at Mantua in
1535, and to have died after 1588. Her prints are often
found signed "Diana," and sometimes with her name in
full, or a monogram composed of a D with an S inside it.
The best plates of this engraver are after Giulio Romano.
1. Virgin and Child, Virgin in the Clouds, and Regulus, all
fine, £1 15s.
2. Christ Appointing St. Peter the Head of the Church, after
Raffaelle, very fine, £1 14s.
3. Aspasia Discoursing with Socrates, fine, £1.
4. Hercules with the Apples of the Hesperides, very fine,
£1 10s.
5. The Birth of Castor and Pollux, after Romano, very fine,
and scarce, £3 18s.
6. Two women with bundles, fine, 11s. 6d.
7. The Dead Body of Patroclus rescued from the Greeks,
after Romano, fine, £1 1s.
8. Birth of Apollo and Diana in the Island of Delos, after
the same, first state before the address, £3 5.
ENGRAVERS AND THEIR WORKS.
275
9. The Charlatan with Snakes, after the same, first state
before the address of Pacificus, £1.
Ghisi (Giorgio).—Born at Mantua about 1525; died there
in 1582. Giorgio Ghisi was either the nephew or the son
of Giovanni Battista Ghisi next named. Fine impressions
of this artist's prints are sought after by collectors. There
is a great sameness of style in the drawing and marking
of his figures, so much so that it almost appears as though
he had studied from a single model and by that means
acquired a certain manner or habit of his own without
reference to the style of the masters he engraved from.
He was least successful when working after Michelangelo.
1. The Marriage of St. Catherine, after Primaticcio, good
impression, £2.
2. The Capture of Troy, fair, 11s.
3. The Farnese Hercules, large margin, fine impression, £3 3s.
4. Venus and Adonis (No. 45 in Bartsch), first state before
the additional drapery, fine, £1 10s.; the same subject
(No. 42 in Bartsch), very fine, £3.
5. The Calumny of Apelles, brilliant impression, £4 15s.;
again, £1 12s.
6. Interior of a prison, fair, 9s.; again, 13s.
7. The Last Supper, with the copy by Avibus, fair, 10s.
8. The Capture of Troy, fair impression, 5s.
9. The Birth of Memnon, fine, 12s. 6d.
10. The Dispute of the Sacrament, after Raffaelle, fine, £1 1s.
11. The Prophets and Sibyls of the Sistine Chapel, after
Michelangelo (6), £1 1s.; again, most brilliant before
the plates were cleaned, also before the address of Van
Elst, and the artists' names on the fifth plate (prints
in a similar state are in the British Museum), £80.
12. Venus and Vulcan, after Del Vaga, fine, 14s.
13. The Upright Plafonds, after Primaticcio (4), fine, £1 1s.
14. The Virgin raising a veil from the face of the Infant
Jesus, after Raffaelle, fine, £1 6s.
15. La Disputa, after Raffaelle, on two sheets, 12s.
16. St. Paul in the School of Athens, after Raffaelle, on two
sheets, very fine, £1 14s.
17. Victory, fine, with broad margin, £1 7s.
18. Venus Changing the Colour of the Roses, after Penni,
very scarce, fine, £3 18s.
19. Orion with Diana on his Shoulders, fair, 18s.
20. Cupid and Psyche, after Giulio Romano, fine, £1.
21. Hercules reclining on the ground, fine, £1 2s.
22. The Judgment of Paris, fine, £1 6s.
276
ENGRAVINGS AND THEIR VALUE.
23. An allegorical subject, called Raffaelle's Dream, very fine
and rare, £5 15s.
24. The meeting of the Virgin and St. Elizabeth, after Salviati,
first state before the address of Lafreri, £1 16s.
25. The adoration of the Shepherds, very fine, £2 4s.
Ghisi (Giovanni Battista).-Born at Mantua in 1503;
died there in 1575. This painter, architect and engraver
was successively a pupil of Giulio Romano and Marc
Antonio. His best print is that numbered 3, below, though
all his prints after Romano are very fine.
1. David and Goliath, Hercules and Antæus, and a naval
combat, all good (3), 18s.
2. The Spirit of Man Enlightened by Science, fair, 6s.
3. The Trojans Repulsing the Greeks, after Romano, fine,
with margin, £1 10s.
4. The Virgin standing upon a crescent, fine, £1 ls.
5. A soldier walking with a female, after Romano, fine, with
large margin, £1 2s.
6. The Death of Proclus, first state, 11s.
7. Hercules slaying Antæus, after Romano, fine, 19s.
8. The Loves of Mars and Venus, very fine, £1 2s.
9. Hercules reposing, from the Statue in the Farnese Palace,
very fine, £1 1s.
10. Venus and Adonis, after Theodoro Ghisi, very fine, £1 6s.
Giffart (Pierre).-Born at Paris in 1638; died there
in 1723. This artist's prints are not regarded with much
favour, but every now and then superior impressions are
disposed of for tolerably large amounts. All his plates
are worked with the graver in a neat and precise style
though without much taste.
1. Madame de Maintenon, proof, very fine, £3 16s.; again,
fine lettered impression, £1 12s.
2. Edward, son of the Count of Savoy, good, 12s.
3. Philip, son of Thomas XIII., Count of Savoy, fair, 7s.
4. A series of 20 plates, designs for chimney pieces, after
Jean Berain, fair, £1.
Gifford (George).—A portrait engraver, who was living
in the year 1640. He was employed chiefly by the book-
sellers. His plates are small and indifferently executed.
1. Hugh Latimer, Bishop of Worcester, inscription of four
lines, fair, Ss.
2. Sir Edward Marmion, very scarce, fine impression, £1 4s.
ENGRAVERS AND THEIR WORKS.
277
3. John Bate, the mechanician, 1635, good 5s. (This portrait
is prefixed to Bate's "Mysteryes of Nature and Art," first
published in 1634, quarto).
Gillbank (Henry).-Very little is known of the life
of this engraver, but it seems he was working in the early
part of the present century. His plates, which are not
numerous, are all of a simple character representing domestic
and similar subjects. They are not in much request unless
printed in colours.
1. The rapacious Steward, after W. R. Bigg (24 ins. by 19 ins.),
good coloured impression, March 25th 1802, inscription
in English and French, £1 5s.
2. The Shipwrecked Sailer Boy, after the same, good coloured
impression, description in English and French, £1 10s.;
again, printed in brown, good, 10s.
Gillot (Claude).—A French painter and engraver born
at Langres in Champagne in 1673; died at Paris in 1722.
This artist's etchings show great fertility of invention but
little judgment and less correctness, though his compositions
of grotesque and satirical subjects are unusually free from
the customary defects. Almost all the plates in the
"Fables" of La Motte-Houdart are by Gillot, who also
engraved many other subjects, though his chief title to
fame rests upon the fact that he was the Master of
Antoine Watteau.
1. The Triumph of Faunus, good, 6s.
2. The Feast of Diana broken in upon by Satyrs, fair, 3s.;
again, good impression, with margin, 8s. 6d.
Gillray (James), who is generally regarded as the most
eminent of the English caricaturists, was born in the year
1757, and was in all probability a pupil of William Wynne
Ryland. This is assumed to be the case from the style of
two engravings in the dotted manner, inscribed "The Village
Train" and the "Deserted Village," which he published
in 1784. Gillray did not at first confine his attention to
caricatures, but latterly he seems to have done so with a
success that has never been equalled, at least in this
country. Among the more serious works executed by this
278
ENGRAVINGS AND THEIR VALUE.
artist may be mentioned a portrait of Dr. Arne, after·
Bartolozzi; two portraits of William Pitt, after his own
designs; and a large plate after Northcote, inscribed "Le
Triomphe de la Liberté, ou, l'Élargissement de la Bastille,"
each and all of which are sought after by collectors as
being exceptional examples of his skill. Gillray's caricatures
are very numerous, and as a rule, fair specimens may be
met with for a small sum. Some, however, are scarce.
Gillray died in poverty in 1815, and was buried in the
churchyard of St. James, Piccadilly, where the slab placed
over his grave is still to be seen, inscribed: "In memory
of Mr. James Gillray, the Caricaturist, who departed this
life June 1, 1815, aged 58 years."
Nos. 1 to 11 consisted entirely of old coloured impressions.
1. Various Political and Social Subjects; Marriage of the
Prince of Wales, &c., 10 prints, £1 6s.
2. The proposed Peace with France; others relating to
William Pitt, &c., 12 prints, £1 14s.
3. On various Social Subjects, &c.; Sandwich Carrots; Exalta-
tion of Faro's Daughters; Twopenny Whist; and others,
9 prints, £1 15s.
1. Various, relating to Pitt, Fox, and others; Promised Horrors.
of the French Invasion, &c., 9 prints, £2.
5. A similar lot. The War with France; Suspension of Cash
Payments, 14 prints, £1 4s.
6. The Irish Rebellion; others on C. J. Fox, &c., 12 prints,
£1 14s.
7.
Portraits of Napper Tandy; Sir Sydney Smith: The Earl
of Moira; R. B. Sheridan; and others, 9 prints, £2.
8. The New Pantheon, set of 6 plates and title, 5s.
9. Social Subjects; Caricature Portraits, 12 prints, £1 10s.
10. The War with France, various Social Subjects; Catholic
Emancipation; 10 prints, £1 6s.
11. Different Kinds of Weather, 7 prints, £1 4s.
12. The Life of William Cobbett, the set of 8 prints, 5s.
13. Sophia Honour and the Chambermaid, printed in red, very
fine, £1 12s.
14. The March to the Bank, a very fine etching, good impres-
sion, £2 12s.
Giordano (Luca).-Born at Naples in 1632; died
there in 1705. This artist, though far better known as
a painter, left a few slight, spirited, and masterly etchings,
among which occur:
ENGRAVERS AND THEIR WORKS.
279
1. Sancta Anna, first impression, before "In. et Sculp.," very
rare, £1 12s.; again, good lettered impression, 12s.
2. St. Joseph and St. John, good, 7s. 6d.; the same, with
margin, £1 1s.
3. Christ Disputing in the Temple, first state, before the
address of Francisco, £1.
4. The Penitent Magdalen, fine, 8s.
Giovannini (Jacopo Maria).-A talented engraver,
who was born at Bologna in 1667 and died at Parma in
1717. He first studied under Giuseppe Rolli of Bologna
and afterwards from the works of the greatest masters,
including those of Correggio and Marc Antonio. The artist's
etchings are very numerous and in general neatly, though
feebly, executed, without sufficient depth of shadow or breadth
of light to secure a very powerful effect. His outlines are
often incorrect and the extremities of his figures undefined.
1. A series of twenty large plates, from the pictures of Ludovico
Carracci and others in the cloister of St. Michael in
Bosco at Bologna, 1696, fair, 14s.
2. St. Sebastian, after the same, fine impression, with full
margins, 12s.
3. A series of twelve prints from the frescoes by Correggio
in the cupola of St. John's Church at Parma, fair, 8s.;
again, a finer set, good impressions, £1 2s.
Prints by
Girard (Alexis François).-A French engraver, born
at Vincennes in 1789; died at Paris in 1870.
this artist are important as they shew a curious blending
of different processes in which the mezzotint, Indian Ink
and dotted styles are apparent. Good impressions of any
of the artist's prints are scarce.
1. Napoleon crossing the St. Bernard, proof, £3 12s.
2. The Death of Cardinal Mazarin, fine proof before the
plate was cleaned, £12 12s.; again, lettered impression,
good, 14s.
3. Daniel in the Lion's Den, after Ziegler, good lettered im-
pression, 12s. 6d.
Glauber (Johannes).-Born at Utrecht in 1646; died
at Schoonhoven in 1726. This artist, though chiefly cele-
brated as a painter, left a number of etchings executed in
a slight style, without any strength of shadow to relieve
280
ENGRAVINGS AND THEIR VALUE.
the foreground or to produce a powerful effect. These
are chiefly after his own designs though he also etched
from the designs of his coadjutor Gerard de Lairesse, as well
as from those of Berchem and Gaspard Poussin.
1. Landscapes, with figures, buildings. &c., fine (10), 18s.
2. Large landscapes, after Gaspar Poussin, &c., fine (9). £1.
3. Landscapes, subjects after Lairesse, &c., fine (27), £1 1s,
4. Landscapes, various subjects (6), fair, 12s.
Glockenton (Albrecht).—Born at Nuremberg about the
year 1432 and known to have been working at Würzburg
in 1485. This artist's prints are executed with the graver
alone, in a neat but servile style. He marked his plates
with the initials A.G. in a rude Gothic character.
1. The Flagellation, fine and rare, £2 12s.
2. The Passion of Christ, a complete set, good impressions
(13), £5 10s.
3. The Death of the Virgin, after Schongauer, fine, very rare
in this state, £3 10s.
4. The Almighty on a Throne, fine and rare, £1 11s. 6d.
5. The Crucifixion (1484), small oval (not in Bartsch), 7s. 6d.
6. Christ entering Jerusalem, very fine, £4.
7. Christ crowned with Thorns, fair, 10s.
8. The Descent into Limbo, fair, 9s. 6d.
Glover (George).-Born about 1618; flourished in 1640.
All this artist's prints consist of portraits, which he executed
chiefly for the booksellers. His style is bold and free
but displays little taste. His plates, which are numerous,
are executed with the graver alone.
1. Sir James Campbell, Lord Mayor of London, with his
monument, the latter by Marshall (2), fine and rare, £1
4s. The portrait only, very fine, £2 2s.
2. W. Austin, in the title to his "Devotionis Augustinianæ
Flamma," fine, 13s.
3. A Fawning Flatterer, a satirical print, with windmill, title
"Devotionis Augustinianæ Flamma," very fine, 19s.
4. Sir Edward Dering, after Jansen, fine impression, with full
margins, £2 10s.
5. Sir Edward Dering (small bust in oval), fine, 13s.
6. S. Pym, fair, 3s. 6d.; the same, Ss.
7. Charles I., with the Prince of Wales, with the lines "Gaze
on Fond World," &c., rare, £4 15s.
8. Charles II., as Prince of Wales, brilliant impression, £1 16s.
9. Samuel Kerne, ætat. 33, 1638, in an octagon, four English
verses, 8vo, very fiue and rare, £4 4s.
ENGRAVERS AND THEIR WORKS.
281
10. John Goodwin, ætat. 47, 1641, very fine, £1 6s.
11. John Lilburne, enthusiast, in prison, fair, 6s.
12. Francis, Earl of Bedford (small oval), exceedingly fine,
£8 8s.; William Earl of Bedford (small oval), very fine
and scarce, £4 10s.
13. Edward, Earl of Dorset (small oval), rare and fine, £2 13s.
14. Archbishop Laud and the Earl of Strafford, on the same
plate, exceedingly fine and scarce, £7 15s.
15. William Stokes, vaulting-master. 12mo, very rare, £1 5s.
16. Sir Thomas Urquhart, 1641, first state of the plate, fine
and rare, £6 6s.
17. The same, 1645, fine, £2 2s.
18. Sir Henry Oxenden, Bart., small oval, 1647, very fine and
scarce, £2 15s.
19. John Pym, bust, in a square, with inscription beneath,
after Bower, very fine and rare, £4 14s.
Goddard (John).—An English engraver, who flourished
about the year 1650. The print mentioned below is said
to be the only one separately published by this artist, the
rest of his works, comprising frontispieces, maps, and other
subjects, having been executed for books.
1. Martin Billingsley. writing-master, ætat. suæ. 27, 1651, oval,
four English verses, very fine and rare, £1 8s.
Godfrey (Richard B.).-Born in London in 1728.
Flourished about 1760. This artist engraved a variety of
views, plates of antiquities, &c., and in these he chiefly
excelled. He also engraved for the "Antiquarian Repository"
and for Bell's "British Theatre ".
1. Samuel Foote, comedian, bust, in an oval, very fine, £2.
2. Richard Cromwell, fair, 7s.; again, fine, £1.
3. Edward the Black Prince, very fine impression, with margin,
£7 12s.
4. Simon Forman, the astrologer, fine, 16s.
Golding (Richard).-A line engraver, born in London
in 1785; died there in 1865. The artist's best plate is the
portrait of "The Princess Charlotte of Wales" after Sir
Thomas Lawrence. This is a very fine production.
1. Sir William Grant, in his robes, after Sir T. Lawrence,
fine, £2 12s.
2. The Princess Charlotte of Wales, after the same, fin
proof before all letters, £26 10s.; again, lettered im
pression, good, £1 5s.
282
ENGRAVINGS AND THEIR VALUE.
1
3. St. Ambrose and the Emperor Theodosius, after Paolo
Veronese, good, 14s. 6d.
4. Thomas Hammersley, Esq., after Hamilton, fair, 6s.
Gole (Jacobus).-Born at Amsterdam in 1660; died
there in 1737. This artist worked with the graver and
also in mezzotint, producing a very large number of plates
of which those in the former method are the more highly
esteemed. In addition to portraits he engraved a variety
of humourous subjects after Ostade, Teniers and other
Dutch masters. The value of these is generally small.
1. Portrait of William III., first state, with double address,
fine, £1 15s.; the same in his robes, mezzotinto, £1 2s.;
the same, on horseback, 18s. 6d.
2. Portrait of Queen Mary (when Princess of Orange), in her
robes, with the high headdress, proof, £2 14s.
3. Portrait of John, Duke of Marlborough, whole length,
fair, 7s.
4. Portrait of Charles, Duke of Grafton, when young, proof,
fine, £1 5s.
5. Portrait of J. Gole (the artist himself), mezzotinto, proof, 14s.
6. Portrait of Pope Innocent XI., bust, in episcopal robes,
good, £1 1s.
7. Otto Wilhelm A. Koningsmarck, three-quarter length, in
armour, in oval, 14s.
8. Mahomet IV. Sultan of Turkey, fair, 6s.
Goltzius (Hendrik).—This celebrated painter and
engraver was born at Haarlem, in 1558. He died about
the year 1617. His plates number nearly 600, all of
which are highly esteemed. Bartsch, (vol. iii., p. 11), gives
a list of 223 of this artist's plates, arranged under the
following headings: (a) Biblical Subjects, (b) Saints and
Pious Subjects, (c) Historical and Allegorical Pieces,
(d) Fabulous Subjects, (e) Portraits, (f) Portraits of Persons
Unknown, (g) Chiaro-oscuro (h) Pieces Engraved after the
Designs of Different Masters, (j) Doubtful Pieces. To this
list Passavant has added. Goltzius was taught the art of
engraving by Dirk Cuerenhert whom he soon excelled.
Many of his compositions are wild and extravagant but
l are admirably designed and worked with a freedom
and fidelity that has never been surpassed by any other
ENGRAVERS AND THEIR WORKS.
283
J
master of the graver. Goltzius also engraved several of
his own designs in chiaro-scuro. He imitated with great
fidelity the styles of Albrecht Dürer, Lucas Van Leyden,
and other masters whose works were then held in greater
estimation than his own. This will be apparent after a
study of the series of plates known as "The Master-
pieces", below mentioned (No. 20).
1. Portrait of Henri IV. of France, three-quarter length, first
state, with the address of P. Van Honne, very fine £18;
again, second state with "Avec privil: du Roy au Palais,'
fine, £2 10s.
2. The print called The Sun, fine, £2 14s,
3. The Holy Family (small plate), and the Holy Family, after
Spranger (2), £1 5s.
4. The Annunciation, scarce, and very fine, £3 10s.
5. Portrait of Van Keiserswerdt, scarce, 16s.
6. St. John with the Lamb, fair impression, 12s.
7. The Triumph of Galatea, after Raffaelle, first state, before
the address of Visscher, £7 10s.
8. A young man standing, fair, 8s.
9. A landscape, with woman at a well (No. 244 în Bartsch),
fair, 12s.
10. Another landscape (No. 241 in Bartsch), fair, Ss. 6d.
11. Set of the Nine Muses, all very fine (9), £6 10s.
12. Portrait of an aged female seated in a chair, fine, £3 16s.
13. Set of eight whole-length figures of men in military
costume. fine, £5 10s.
14. Hendrik Goltzius, large head, fine proof before letters, £29.
15. The Temptation, after Spranger, good, £1 14s.
16. John Ball, the painter, bust in oval, fair, 16s.
17. Philippe Galle, the engraver, half length, standing at a
table, fair. 10s.
18. Robert Dudley, Earl of Leicester, small oval, engraved
in 1586 on a silver plate, rare and very fine impression.
£31 10's.
19. John Zurenus, holding a book, half length, after Heemskerck,
first proof, before the arms at the top on the right,
£14 14s.
20. The set called "The Masterpieces", engraved in different
styles, from the Durand Collection, fine (6), £4.
21. The Boy and Dog, the chef d'oeuvre of the Master, very
fine lettered impression, £12.
Goudt (Hendrik, Count de).—An amateur engraver,
who was born at Utrecht in 1585. His prints, seven in
number, are all after Adam Elsheimer. They are worked
entirely with the graver in a very neat style and have
284
ENGRAVINGS AND THEIR VALUE.
a most powerful effect, produced not by the usual plan of
strengthening the strokes but by crossing them with
additional strokes equally neat, and that five or six times one
over the other in the deep shadows. About the year 1620,
Count de Goudt was rendered insane through a love philtre
which had been administered to him by a young woman.
He is supposed to have died in 1630 without recovering
his reason.
1. Tobit and the Angel crossing a stream of water, the
former with a fish, fine, £1 14s.
2. Tobit and the Angel, large plate, fine, with margin, £1 10s.
3. Ceres in search of Proserpine, good, £1 is.
4. The Flight into Egypt, a night scene, fine, £1 15s.
5. The Beheading of St. John the Baptist, fine, with large
margin, £2 15.
6. Baucis and Philemo Entertaining Jupiter and Mercury,
fine, large margin, £2 5s.
7. The Aurora, representing the dawn of day, fine, £1 10s.
8. The works complete, with a copy of the Aurora additional
(8), fine, £6 6s.
Goya (Francisco).-A Spanish painter and etcher, born
in Aragon in 1746; died at Bordeaux in 1828. Not the
least valuable of this artist's productions are some of his
earliest his etchings of the great equestrian portraits of
Velasquez. Stirling's "Annals of the Artists of Spain"
gives much information relative to the artist's many works
in oil, for which he is chiefly celebrated. His etchings and
engravings in aquatint are, however, masterly productions,
especially "The Disasters of War" a series of seventeen
designs published in 1814, and "The Caprices", the latter
shewing humanity in its various stages of brutality and
ugliness. The finest collection of Goya's plates is to be
seen at the British Museum.
1. Six etchings of equestrian portraits, all after Velasquez,
viz: Philip II., Philip III., Marguerite of Austria, Isabelle
of Bourbon, Don Balthasar Carlos, and the Conte
d'Olivares; fine and scarce, £7 10s.
2. Equestrian portraits of Philip III. of Spain, Marguerite
of Austria, Don Balthasar Carlos, and Isabelle of Bour-
bon, all good impressions, £2 3s.
3. Scenes in the Bull Ring, a series of 33 plates, £1 12s.
ENGRAVERS AND THEIR WORKS.
285
Goyrand (Claude).-A French artist, born at Sens
about 1620; died in 1662. He resided principally at Rome
where he worked both with the point and graver. His etchings
consist of Landscapes, Views of Ruins, Gardens and a
variety of other subjects after Callot, Della Bella, Quesnel
and others. His style is neat, but greatly deficient in taste.
1. A small head of a person unknown, inscribed "Cl. Goyrand
Galls sculpsit Romæ," fair, 4s.
2. A set of Landscapes, after Callot, (12), fair, 13s. (There
an 20 prints in the complete series).
3. The chapel of Santa Maria Maggiore, at Rome, after Della
Bella, fair, 5s.
Graf (Urse).-An old wood engraver who at an earlier
period was a goldsmith and engraver on copper. Graf
appears to have been born at Solothurn about the year
1490 and is supposed to have died at Basle about forty
years later. His cuts number considerably over 300 and
were principally used for the illustration of books. They
are, for the most part, incorrectly drawn.
1. The Passion of Jesus Christ, a series of 25 cuts, published
in 1506, £3 8s. (22 cuts only).
2. Death lying in Wait, the artist's best print, very fine and
rare, £2 5s.; again, fair, 14s.
Granthomme (Jacques).-An engraver of French ex-
traction who flourished at Heidelberg about the year 1600.
This artist's prints are scarce and fine impressions invariably
command high prices. All his plates are executed with the
graver alone. They are neat, but stiff and laboured.
1. The Nativity, Adoration of the Shepherds, the Flagellation,
a child sitting among broken pillars, and Samson and
the Lion (this last undescribed by Bartsch), fine, and
rare (5), £2 15s.
2. A child sitting among broken pillars, very fine and rare,
£3 10s.
3. Samson and the Lion, very fine, £1 16s.
4. Henri IV. and his Queen, Marie de Medicis, rare, £1 7s. 6d.
5. Henri IV., King of France, small square, three-quarter
length, in armour, with inscription and verses, 1594,
fair lettered impression, 5s.
6. Frederick IV., Count Palatine of the Rhine, in armour on
horseback, with verses, fine, £2 12s.
286
ENGRAVINGS AND THEIR VALUE.
7. John, Count Palatine of the Rhine, on horseback, with city
and river at the back, inscription above and verses
below, very fine, £4 4s.
8. The stable of Bethlehem, a circle, very fine, £6 6s.
9. The Flagellation, very fine, small circle, £1 11s.
10. The Dancers, fine, £2 5s.
11. Laocoon and his two Sons, fine, £2 6s.
Gravelot (Henri).—A French engraver, who was living
in England in 1734; he died at Paris in 1773. This artist
was possessed of great fertility of invention and composed.
with much judgment, small subjects for vignettes and other
book ornaments. His finest print is the view of Kirkstall
Abbey mentioned below. Hanmer's and Theobald's editions
of Shakespeare's works are both illustrated by this artist.
1. The South-east Envelope of Kirkstall Abbey, after James
Walker, 1744, fine, 16s.
2. Medallion heads in profile of Alexander Pope and William
Warburton, good, 12s.
Graves (Robert).-Born in London in 1798; died
there in 1873. This engraver was one of the pupils of
John Romney and studied in the life-school then held in
Ship Yard, Temple Bar. Many of his plates are after
Wilkie, Copley, Landseer, Gainsborough and other celebrated
painters, and all are executed with great refinement and
delicacy.
1. The Duchess of Devonshire, after Gainsborough, whole
length, proof before any letters, and signed by engraver,
£5 10s.
2. The Duchess of Devonshire, after the same, half length,
seated on a couch, playing with child, proof before
letters, very fine, £6 6s.
3. Mrs. Graham, after the same, whole length, standing,
proof before letters, £6 15s.
4. Mrs. Siddons, after the same, half length, seated, artist's
proof, extremely fine, before the plate was cleaned,
£15 15s.
5. The Musical Bore, after R. W. Buss, 1834, good lettered
impression, 12s.
6. Cromwell refusing the Crown, after Lucy, fair, 6s.
7. The Abbotsford Family, after Sir David Wilkie, good
lettered impression, 12s.
8. Shakespeare before Sir Thomas Lucy, after Harvey, 1839,
good lettered impression, 14s..
ENGRAVERS AND THEIR WORKS.
287
1
Green (Benjamin).- A mezzotinto engraver supposed
to be the elder brother of Valentine Green next named.
Benjamin Green was born at Hales Owen about 1736 and
died in London about 1800. The plates in Morant's
"History of Essex," a work published in 1768, are engraved
by this artist who is also credited with many single works
which, when printed in colours, often command high prices.
1. Gipsies stealing a child and the child restored, two coloured
mezzotints, after H. Singleton, fair, £1 14s. (ascribed to
"F. Green.")
2. Henry Townshend, after Hudson, good. 8s. 6d.
3. The Horse and the Lioness, after Stubbs, very fine proof,
£3 5s.
4. The Horse before the Lions' Den, good lettered impression, 12s.
Green (Valentine).-A celebrated mezzotinto engraver,
born at Hales Owen in 1739; died in London in 1813.
This artist's prints are regarded as among the best
examples of the branch of art to which he devoted himself,
and early states and fine proofs of some of his portraits,
particularly those after Reynolds, sell for large sums.
plates number nearly 400.
1. The Bedford Family, fine proof, £2 2s.
His
2. Lady Talbot, whole length, very choice first state, £141 15s.
3. Lady Townshend, whole length, fine proof, £105; again,
ordinary lettered impression, good, £9.
4. Charles Newport, Earl of Blount, good, £1. 5s.
5. Venus rising from the sea, after Barry, fair lettered im-
pression, 17s.
6. Joseph Carreras, first state, with address of Boydell. £1 10s.
7. Charles, Earl of Dalkeith, after Reynolds, fair, £1 5s.; the
same, first state, before the title, very fine, £3 12s.
Mark Beaufoy, after Gainsborough, fair, 16s.
8.
9. Richard Cumberland, after Romney, proof, good impression,
£1 7s.
10. Arthur Wentworth, on horseback, fair, 8s.
11. Jane, Countess of Harrington, whole length, second state,
before the title, £18 18s.; the same, fine first state,
£130 4s.
12. Sir Joshua Reynolds, very fine first state, before the in-
scription was erased, £10 10s.
13. Sir Thomas Wharton, full length, in the marble parlour at
Houghton, after Vandyck, good, £1 4s.
14. Catherine Clarke, when Miss Hunter, half length, standing,
artist's proof, open letters, £3 15s.
288
ENGRAVINGS AND THEIR VALUE.
15. Mrs. Cosway, half length, seated, arms folded, fine, £6 15s.
16. Henry Danvers, Earl of Danby, after Vandyck, whole length,
in robes, fair, 12s.
17. Mrs. Green-wife of the engraver with her son Rupert,
proof before letters, £1 4s.; again 16s.; again, first state,
£2 10s.
18. General Washington, three-quarter length, fine and rare,
£1 5s.
19. The Entombment, after L. Carracci (18½ ins. X 14½ ins.), £1.
20. The Marquis of Huntley, after Vandyck, engraver's proof,
£1 4s.
21. The Ladies Waldegrave, after Reynolds, proof before letters,
£186; again, original impression, £61.
22. The Golden age, after West, open letter proof, £1 (see
J. R. Smith, No. 29).
23. Lady Elizabeth Compton, after Reynolds, first state, £178 10s.;
again, £294.
24. The Countess of Salisbury, after the same, first state, very
fine, £189.
25. Mr. T. Gent, after Drake, fair, Ss.
26. Lady Louisa Manners, after Reynolds, very choice first
state, £125 15s.; again, before the alteration in the
inscription, good, £17 10s.
27. Lady Betty Delmé and Children, fine proof, £68 5s.;
again, first state, £100.
28. Garrick between Tragedy and Comedy, fine first state,
£71 8s.; the same, second state, £6 6s.
29. Miss Brown, after Falconet, proof, £1 Is.
30. Miss Brusby, after the same, proof, 15s.
31. Golfers on Blackheath, 1790, after L. F. Abbot, coloured,
very fine, £21.
32. Miss Martha Ray, after N. Dance, proof with etched in-
scription, £1 16s.
33. Lady Caroline Howard, after Reynolds, first state, fine,
£57 16s.
34. Lady Louisa Manners, after the same, first state, fine,
£141 15s.
35. Mrs. Sarah Campbell, first state, fine, £89 5s.
36. Garrick standing by a bust of Shakespeare, fine proof with
full margin, £7 5s.
37. Garrick and Mrs. Pritchard in the Tragedy of Macbeth,
after Zoffany, proof with only one line inscription in
etched letters, good margin, £2 8s.
38. The Duchess of Rutland, early impression, £11.
39. Gipsies stealing a child and the child restored, both mezzo-
tints in colours, after H. Singleton, £1 14s.
40. Lord Nelson, after Abbott, printed in colours, very fine, £9.
41. William Innes, after the same, very fine, £27 6s.
42. Miss Nanette Thelluson, after Falconet, first state, £3 10s.
ENGRAVERS AND THEIR WORKS.
289
Greenwood (John).-Born at Boston in America in
1729; died at Margate, 1792. This artist practised in
England as a painter and mezzotint engraver for nearly
thirty years. His plates after Hone are generally con-
sidered to be his best productions and fine proofs of any
of these are in considerable request.
1. Miss Amelia Hone, after N. Hone, margin at the bottom,
otherwise cut close, good, £2 12s. 6d.
2. John Wesley, after the same, fair, 12s.
3. Rembrandt's Father, after Rembrandt, good, Ss.; again,
another impression, very fine with full margin, £1 2s.
Gregori (Carlo and Ferdinando). - Italian engravers
born at Florence, respectively, in 1719 and 1743. These
artists stood in the relationship of Father and Son and
together executed a considerable number of plates of
portraits and scriptural subjects, which, however, are not
of much value, unless early and good proofs. Carlo Gregori
died at Florence in 1759 and Ferdinando, at the same
place in 1804. A number of plates in the " Museo Fiorento
are by the first named artist.
Greuter (Johann Friedrich). This artist, the son of
Matthäus Greuter, next named, was born at Rome about
the year 1600. He was a pupil of his father, and executed
several plates which are in favour with collectors. Among
the best may be mentioned Hercules in the Garden of
the Hesperides." after Cortona, and “The Forge of Vulcan,"
after Lanfranco.
Greuter (Matthäus).-A German engraver, born at
Strasburg about 1564. His prints are of considerable
value, if in fine condition-which, however, is rarely the
case. Some of these are executed entirely with the graver
but most contain traces of the point. His drawing is not
always correct but his style is neat and free and many of
his prints possess great merit.
1. Sir Robert Shirley, 1609 (oval), with a copy, very rare,
£t 6s.
19
290
ENGRAVINGS AND THEIR VALUE.
2.
Pope Sixtus V., oval in ornamental border, good, 12s.;
again, very fine, with large margin, £3 15s.
3. The Burning of Troy, after Lanfranco, fine, £1 3s.
Gribelin (Simon).- A French engraver, born at Blois
in 1661; died at London in 1733. This artist's prints,
though neatly executed with the graver are cold and.
unsympathetic nor is the drawing always correct. His
prints are not, as a rule, of much value.
1. Anthony, Earl of Shaftesbury, fine proof, £1 4s.
2. T. Hickman, Bishop of Derry, fair, 5s.
3. John Hudson, fine lettered impression, 11s.
4. William Parsons, fine proof, £1 1s,
5. A set of seven cartoons after Raffaelle, fine, £1 3s.
6. The Hon. Anthony Ashley, small full length, after J.
Clostermann, fine, 12s.
7. Sir William Dawes, after the same, fine, 12s.
8. Frederick, Duke of Schomberg, proof before the name,
very fine, 17s.
9. The seven bishops sent to the Tower in 1688, fair, 8s.
10. Jupiter conveyed from Saturnus, after Giulio Romano 1712,
fair, 8s.
11. The Muses in consort with their proper Symbols, after
Tintoretto. 1712, good, 11s. 6d.
12. The Magi worship Christ, after Paolo Veronese 1712, fair, 4s.
Griffier (Jan).-Born at Amsterdam in 1645; died in
London in 1718. This artist was a celebrated painter of
landscapes, cattle, and ruins but is also favourably men-
tioned as an etcher, his plates shewing great freedom and
excellent taste.
1. Female seated in bedchamber, "Io Lloyd ex.," exceedingly
rare and fine, £5 5s.
2. Landscape with eagles and vultures, an etching, very
fine, £1.
3. View of Gorhambury House, rare, £2.
Grimaldi (Giovanni Francesco). - A painter of the
highest merit, who was born at Bologna in 1606 and died
at Rome in 1680. Grimaldi was one of the pupils of
Annibale Carracci and particularly excelled in landscapes.
He left behind him a few etchings after his own designs
which are executed with great freedom, taste and spirit.
This artist was commonly called Il Bolognese.
1. A set of eight landscapes, in circles, fine, 18s. 6d.
ENGRAVERS AND THEIR WORKS.
291
2. Two landscapes (described in Bartsch, Nos. 21 and 24),
fine, with margin, 12s.
3. Two other landscapes (Nos. 25 and 48 in Bartsch), very
fine, with margin, £1 6s.
Gronsvelt (Johan).—A Dutch engraver supposed to
have been born at the Hague about 1650. He etched a
number of views and landscapes after Van Goyen, Berchem,
Vandyck, Abraham Bloemaert and other painters, as well
as a series of portraits and historical subjects. Gronsvelt's
style was neat but appears stiff and tasteless. His best
prints include a Portrait of Dorothy, Countess of Sunder-
land, after Vandyck, Christ before Pilate, after A. Schiavone,
two sets of six and four landscapes respectively, after
Berchem and six other landscapes after Verboom. Ordinary
lettered impressions of any of these are, however, of
small value.
1. Various landscapes, after Berchem and Verboom (15),
good average impressions, 14s.
2. Christ and the Disciples at Emmaus, good, 11s.
3. Ann, Countess of Morton, sitting with Ann Kirk, after
Vandyck, fine and rare, £1 8s.
4. A man sleeping on a barrel, good with margin, 11s.
5. The Adoration of the Magi, after Paolo Veronese, fine
impression with margin intact, 9s.
6. A girl with a cat, after Abraham Bloemaert, fair, 4s.
Grozer (Joseph).-A mezzotint engraver of considerable
repute; born at London about 1755, died before 1800.
All this artist's plates are well designed and effectively
finished, many of them being printed in colours. These
latter when good impressions, command high prices.
1. Ann Yearsley, the Bristol Milkwoman, after Sarah Shiells,
fine, 14s.
2. The Industrious Mother, after W. Singleton, in mezzotint,
fine, 12s. 6d.; again with the companion print by Murphy,
both in colours, good, £6 6s.
3. The Hon. Miss Frances Harris, after Reynolds, fair, 16s.
4. The Age of Innocence, after Reynolds, good, £1 12s.; the
same, proof before letters, in brown, £6 10s.
5. The fight between Humphreys and Mendoza, old coloured
impression, good, 17s.
6. A child with a pit lamb, after J. Westall, in colours, very
fine, £11.
292
ENGRAVINGS AND THEIR VALUE.
7. Miss Johnson, as "Design" after Reynolds, in colours,
very fine, £19 8s. 6d.
8. Lady Charlotte Legge, after Romney, fine, £10 9s.; the
same, reprint £1.
Grün Baldung.-See Baldung (Hans).
Gucht (Gerard van der).—This artist was one of a
numerous family celebrated beyond the ordinary, but not
possessed of the highest order of genius. Gerard, above
named, was born in 1695, or about that year, and is sup-
posed to have died in 1776. He engraved a large number
of portraits, chiefly after Kneller, which sell for small
sums, and are usually found as frontispieces to books.
Jan van der Gucht was a younger brother of Gerard, and
was born at London two years later. His best print is
after Poussin's "Tancred and Erminia." Michiel van der
Gucht, the father of the preceeding, was born at Antwerp,
about the year 1660, and like his son Gerard, was employed
chiefly by booksellers to engrave portraits and frontispieces.
Many of the portraits to Clarendon's "History" are en-
graved by this artist. As to value, none of the prints by
these artists sell for very much unless they happen to
consist of bookplates. Some of these are of considerable
value at the present time.
Guercino. Also known as Giovanni Francesco
Barbieri.—An eminent painter, who was born at Cento
in 1591; died at Bologna in 1666. His few etchings are
executed with great freedom and spirit in a manner much
resembling his pen drawings.
1. St. Anthony, first impression, rare, £1 11s. 6d. The same,
inscribed "Cfollignon ex cum privil. Regis," fine, £1 6s.
2. St. Peter, very fine and rare, £1 5s.
3. A man in an Oriental costume, first impression before any
letters, £5 15s.
Guidi (Raffaello).—An Italian engraver, born at Florence
in 1540; died about 1610. This artist appears from his
style to have been a pupil either of Cornelis Cort or
Agostino Carracci. His plates are executed wholly with
ENGRAVERS AND THEIR WORKS.
293
the graver and manifest the hand of a master. Fine im-
pressions are rare.
1. The Burial of Christ, after Baroccio, £1.
2. David playing on a harp, after Cesari, good, with slight
margin, 17s.
3. Vulcan, after Caravaggio, very fine, £1.
4. Dædalus and Icarus, after Cesari, very fine and rare, with
large margin, £2 2s.
5. The entombment, after Baroccio, good, 12s.
Guido.-See Reni (Guido).
Gunst (Pieter van).-A Dutch line engraver, born at
Amsterdam about the year 1667, died there in 1724. The
artist's best plates consists of portraits, among which may
be specially mentioned the set of ten full-length prints,
after Vandyck, of Charles I., Henrietta Maria, and the
English nobility. His style of engraving, which was with
the graver only, is evidently formed upon the works of
the Drevets. His portraits are far superior to his other
productions.
1. The large head of Oliver Cromwell, very rare, good im-
pression, with margin, £6 6s.
2. Jane, daughter of Arthur Godwin, after Vandyck, 9s.
3. Viscount Chaworth, whole length, after Vandyck, fine, £1;
the same, fine proof, £3 12s.
4. Lucy, Countess of Carlisle, fair, Ss.
5. Charles I.. large oval, in armour, proof, £2 2s.
6. Henrietta Maria, whole length, in robes, £1 5s.
7. Frederick and Elizabeth of Bohemia (2), proofs, very fine,
£3 15s.
8. Alexandre Farnese, Duc de Parme, three-quarter length, in
oval of oak leaves. lettered, good. 14s.
9. John Churchill, Duke of Marlborough, half length, in
armour, battle in the distance, proof before letters, fine
and rare, £4 6s.
10. Peter the Great, after Kneller, bust in armour fine, £1 16s.
11. George I., after Kneller, good, 8s.
12. John Locke, after Greenhill, good, 7s. 6d.
Hackaert (Jan).-This celebrated painter was born
at Amsterdam about the year 1635. His prints, which are
only six in number, are described by Bartsch, vol. iv.,
p. 289. A set, in fine condition, sold for £5 a short
time ago. They consist of etchings of landscapes from
294
ENGRAVINGS AND THEIR VALUE.
the engraver's own designs, in the style of, but inferior
to, the works of Waterloo.
Hackert (Georg Abraham).- This artist who was
the younger brother of the engraver next named was born
at Prenzlau in 1755 and is supposed to have died at Naples
half a century later. He engraved several plates of
landscapes and views, chiefly from the designs of his
brother. Two of his best prints are "Morning" and
"Evening" both after Gaspard Poussin.
Hackert (Jakob Philipp).-Born at Prenzlau in
1737; died at Florence in 1807. Among this engraver's
various etchings the following may be specially referred
to.
All his plates are after his own designs.
1. Four views in the kingdom of Naples, Rome, 1779,
fine, 12s.
2. Six views in Sweden, "J. Ph. Hackert, fec.," good, but
cut, 8s.
3. Three landscapes, fair, 4s. 6d.
Haden (Sir Francis Seymour, Knt.).—The following
prices were realised at the sale of the collection of the
late Mr. Hamerton held in London early in 1896. The prints
are noticed here, contrary to the rule, because etchings by
this contemporary artist are in great request at the present
time, and are continually being commented upon in the
art and other journals. The numbers in parantheses refer
to Sir W. R. Drake's catalogue of the works of this artist,
published under the title of "The etched work of Francis
Seymour Haden."
1. On the Test (19), brilliant impression on india paper, £3 18s.
2. A Water Meadow (20), £1 14s.
3. Dundrum River (42), trial proof, £3 16s.
4. Twickenhan Church (95); and Sonning Bank (105), second
state, £1.
5. The Moat House (103), first state, on india paper, defec-
tive, £1 3s.
6. Mount's Bay (114), very fine, with autograph note in the
handwriting of Sir Francis Haden, £1 8s.
7. The Three Sisters (116), £3 3s.
8. Battersea Bridge (120), second state, before the plate was
reduced, £3.
ENGRAVERS AND THEIR WORKS.
295
9. The Inn, Purfleet (122), first state, £3 8s.
10. Breaking up of the Agamemnon (128), second state, very
fine, one of the artist's most celebrated etchings, £5 17s. 6d.
11. A Brig at Anchor (130); and The Mill Wheel (136), second
state, £1 12s
12. Calais Pier, after J. M. W. Turner (140), second state, one
of fifty impressions, £25.
13
Windmill Hill, No. 1 (146), very fine, £4 12s.
14. The Compleat Angler (149), £1.
15. Dutsy Millers (165), second state; and Grim Spain (168), £1 16s.
16. Greenwich (184), trial proof, with the boat white and
entire £5 10s.
Hadfield (Maria Cecilia Louisa).—This lady whose
maiden name was Hadfield, married Richard Cosway "the
painter. She was born at Leghorn in 1745 and died at
Lyons sometime after 1821. All her etchings are after
either Rubens or her husband.
1. Ann, Marchioness Townshend, after Cosway, rare, £1 10s.
Haecken (Alexander van).- A Dutch mezzotinto
engraver, who was born in 1701. The date of his death
is not known, but he was living in 1750. His best plates
consist of portraits many of which are of great merit.
1. Laurence Delvaux, the sculptor, after Isaac Whood, proof
before the artist's name and date, £1 1s.
2. King George II., fine, with margin, 15s.
3. Caroline, Queen of George II., good, 12s. 6d.
4. General Wentworth, after Ramsay, fair, 3s.
5. Field Marshal Keith, after the same, fine proof, £1 18s.
Haeften (Nicolaas van).-A Dutch engraver who
from the dates on his prints appears to have been working
between 1677 and 1709. He etched as well as engraved
in mezzotinto. Some of his plates are very poor. Bartsch
(vol. v., p. 445) gives a list of nine prints by this artist,
six of which are etched.
1. His own portrait, the Grace, the Smokers, man and
woman singing at a window, man smoking (5), all fine
and rare, £2 2s.
2. A man smoking, singers at a window, an old woman (3),
rare, £2 11s.
3. The Fisherman, the Water Doctor, woman holding a pipe,
and a man's head, unknown to Bartsch, fine and rare
(4), £2 2s.
296
ENGRAVINGS AND THEIR VALUE.
4. The large Grace, the Courtship, portrait of Baron Beben-
berg, all unknown to Bartsch, fine and rare (3), £2 2s.
5. Portrait of Baron Bebenburg, unknown to Bartsch, fine
and rare, £1 1s.
Haen (Willelm de).-An artist who was working at
Cologne about the beginning of the 17th century. Most
of his works are copies, chiefly after Dürer.
1. Portraits of Ernest, Archduke of Austria, Margarita of Austria
Maria of Austria, Philip the handsome, Peter Ernest,
and Count Mansfelt, a general of Charles V., five out of
the twenty portraits illustrating Adriaan Van Meerbeeck's
Chronicke van de ganstche werelt," published at Antwerp
in 1620, folio, fair impressions, 15s.
Haghe (Louis).—Born at Tournay in Belgium in 1806;
died in 1885. This artist was one of the first masters in
the new art of lithography, and when only seventeen had
a very considerable share in the production of the book
"Vues Pittoresques de la Belgique." Haghe's last lithograph
was after Roberts' "Destruction of Jerusalem."
1. Naval action between the Shannon and the Chesapeake,
four large lithographs, after J. C. Schetky, fine, £4 15s.
2. The Destruction of Jerusalem by the Romans, after Roberts,
good, 7s. 6d.
Haid (Johann Jakob).-A German painter and engraver
in mezzotinto, born at Süssen in 1703, died at Augsburg
in 1767. There were several engravers of the name of
Haid, notably Johann Elias, the son of Johann Jakob, who
was born at Augsburg in 1739 and died in 1800, Johann
Gottfried, born at Augsburg in 1710 and died at Vienna
in 1776, Johann Lorenz, born at Augsburg in 1702, and died
there in 1750, and finally Johann Philipp, the son of the last
named, who was also born at Augsburg in 1730 and died
in 1806. The mezzotints by these engravers are described
as "capable," and "meritorious," but they do not as a rule
sell for much unless they are proofs, early states, or
exceptionally fine impressions.
1. Marie Antoinette, guillotined at Paris, October 16th., 1793,
bust in oval frame after Millitz, fine, £1 15s. (by Elias
Haid).
2. Samuel Foote in the character of Major Sturgeon, after
ENGRAVERS AND THEIR WORKS.
297
Zoffany, proof before letters, £2 2s. (by J. G. Haid);
again (ibid.), £1 16s.
3. David Garrick in "The Farmer's Return", after the same,
proof before letters, £3 3s. (by the same).
4. The Musician, after Amoroso, proof before letters, £1 2s.
Haig (Axel H.).—A contemporary artist whose etchings
frequently appear in the auction rooms and when proofs
or early states, often command high prices. The following
short list compiled from sale catalogues of recent date
will give some idea of the value of a few of these admirable
productions.
1. Interior of Upsala, artist's proof, £5 15s. 6d.
2. Exterior of Upsala, artist's proof, £5 5s.
3. Pampluna, Returning from the Fair, £2 15s.
4. Schloss Zwingenburg on the Necker and The Basilica of
St. Gilles (2), £5 10s.
5. L'église des Dominicans, Arles, 18s.
6. Magdalen College, Oxford, £4 10s.
7. Toledo Cathedral, and North Porch, Chartres, £4,
8. Interior of Toledo Cathedral, aquatint and etching, £10;
the same, artist's proof, £21.
9. Lubeck, Waiting for the Ferry, artist's proof, £2 15s.
10. North Chancel Aisle, Westminster, artist's proof, £3 15s.
11. View from St. Edmund's Chapel, Westminster, artist's proof
£3 10s.
12, The Tower of St. Pierre, Caen, artist's proof, £2.
13. Washing Day, Chartres, artist's proof, £1 4s.
14. Regent's Canal, £1.
15. The Fountain of St. George, £4.
16. The Pulpit of St. Fermo, Maggiore, Verona, £2 15s.
17. Darwin's Studio and Westminster-set of five small etchings-
unframed, artist's proofs (6), £4 4s.
18. Burgos Cathedral, exterior, £2 2s.; the same and also the
interior, both artist's proofs, £30 10s.
19. Burgos Cathedral, interior, artist's proof, £21.
20. Limburg-on-the Lahn, artist's proof, £10 10s.
21. The Cathedral of Chartres, artist's proof, £8 8s.
22. Exterior and interior of Burgos, both artist's proofs, £30 10s.
Halbeeck (Jan).-Born at Copenhagen about 1590;
working in 1618. This artist worked with the graver only
in a rough and crude style.
1. Henri IV., equestrian portrait in armour, verses in French
beneath, scarce, £3 3s.
2. The Heads of the Emperors from Julius Cæsar to Fer-
dinand II., in a single large sheet, fair, 4s.
Hall (Charles).-A line engraver of considerable repute,
298
ENGRAVINGS AND THEIR VALUE.
born in England about the year 1720; died at London in
1783. His best works consist of portraits, which do not
however command high prices as a rule.
1. John Digby, Earl of Bristol, Henry Fitz Alan, Earl of
Arundel (after Holbein), Robert De Vere, Duke of
Ireland (3), 14s. 6d.
2. Sir George Barnes, Lord Mayor of London, fine, 10s. 6d.
Hall (John).-Born at Wivenhoe, near Colchester, in
1739; died at London in 1797. This artist was one of the
pupils of Ravenet. His best print is The Battle of the
Boyne," which he presented to George III., in 1785, when
he was appointed historical engraver to that King.
1. Within Sight of Palmyra, after Hamilton, 1775, fair, 5s.
2. Pope Clement IX, after Carlo Maratti, fair, 4s. 6d.
3. Timon of Athens, after Dance, fair, 7s.
Hameel (Alart du).-A French engraver who appears
to have been living in the 15th century. This artist's few
plates are all very scarce. For a list see Bartsch vol. vi.,
p. 354.
1. The Last Judgment, after Jerom Bosch, exceedingly fine
impression, with large margin, very rare, £17; again,
fair impression, £2 15s.
2. Constantine at the head of his army, extremely rare and
very fine, £84.
Hamilton (James). This painter and engraver was
born in Ireland in 1819, and died in the United States in
1878. Many of his designs are found in books, notably in
Kane's Arctic Explorations, published in 1857 at Philadelphia.
1. Children playing, in colours, fair, 11s.; the same in black,
fair, 7s.
2. Morning and Evening, in colours, fair (2), 6s.
Hamilton (W.).-The Months, see Bartolozzi (F.).
Hardy (Thomas).-An English artist who flourished
at the end of 18th century. His prints, which consist entirely
of portraits, are chiefly in mezzotint.
1. Edmund Burke, after Sir J. Reynolds, three-quarter length,
in frame, face to the right, published in December 1780,
fine and rare, £2 2s.
ENGRAVERS AND THEIR WORKS.
299
2. John, Duke of Dorset, after the same, 1799, good, 16s.;
again, fine proof, £2 12s.
3. Sir Henry Gould. after his own painting, 1794, good, 12s.
4. Prince William of Gloucester, after Sir William Beechey,
1802, good, 14s.
Harlingen (Pieter van).—See Feddes (Pieter).
Harris (John).—An engraver who worked in London
during the first half of the present century. His plates
consist, almost entirely, of sporting and similar subjects,
many of them being after Robert Pollard, a painter and
engraver who was himself very successful in this class of
composition.
1. Couching Scenes, after Harrison, both in colours, fair,
7s. 6d.
2. Race for the great St. Leger Stakes, 1836, after Pollard,
in colours, very fine, £1 18s.
3. Scenes on the Road to Epsom, after the same, good old
impressions, coloured (4), £2 18s.
4. At Fault, a hunting scene, after the same, good old im-
pression, coloured, 16s.
Harvey (William).—This distinguished pupil of Thomas
Bewick was born at Newcastle-on-Tyne in 1796 and died at
Richmond in 1866. In conjunction with W. W. Temple,
he engraved most of the cuts in Bewick's Fables, 1818.
One of the best cuts engraved by Harvey during his
apprenticeship was a vignette for the title page of "Cheviot:
a Poetical Fragment" printed at Newcastle in 1817. His
best print of all is, however, the large cut of "The Death
of Dentatus," after Haydon. After 1824 this engraver devoted
himself exclusively to designing for others.
Hauer (Hans).-A German engraver born at Altenburg
in 1586; died at Nuremberg in 1660. By this artist we
have a series of large woodcut portraits of the Electors of
Saxony which he executed in conjunction with Moses Thym,
and a number of small portraits on copper. The value of
his prints is small.
Haussard (Jean Baptiste). This engraver is said to
have been born at Paris about the year 1680 and to have
300
ENGRAVINGS AND THEIR VALUE.
died there in 1749. It does not appear by whom he was
instructed, but he imitated the style of Benoit Audran with
great success. His drawing is invariably correct and his
plates shew much taste. The best prints of the artist are
those he executed for the Crozat collection, inclusive of
the first four named below.
1. Moses striking the Rock, after Romanelli, fair, 5s.
2. Christ driving away the money-changers, after Manfredi,
good lettered impression, 8s.
3. Lazarus and Dives after Domenico Feti, good lettered
impression, 7s. 6d.
4. St. Michael, the Archangel, after Raffaelle, fine, 12s.
5. The Four Ages, after his own designs, small plates, length-
ways (4), fair, 3s.; again, a good set, 8s.
Havy (De).-See Heuy.
Haward (Francis).-Born in London in or about 1759;
died there in 1797. This engraver devoted himself in the
first instance to mezzotint, but subsequently abandoned it
in favour of the stipple manner. His best prints in the
former style are, perhaps, those after W. Hamilton, known
as Juno, Hebe, Flora and Zephyr, and the portrait of Master
Bunbury, after Sir Joshua Reynolds, 1781. Mrs. Siddons
as the Tragic Muse, also after Reynolds, is a fine and well-
known work in stipple by this artist, whose prints, if in fine
condition, are much sought after, especially when in colours.
Heath (Charles).—A son of James Heath, next named;
born in London in 1785, died there in 1848. This artist
was, like his father, a line engraver. His plates, remarkable
for their extreme delicacy of finish, may be met with in
profusion in "Heath's Book of Beauty," "The Keepsake,"
and many other publications which were known at the
time as
Drawing Room Books," and enjoyed a large and
fashionable circulation. Heath's best plates consist of a
series of illustrations to "Lalla Rookh" and "Ivanhoe."
There is also a good portrait by him of Sir Benjamin West,
after Newton's painting. As a rule, plates by Charles Heath,
especially those of small size, are of small value.
ENGRAVERS AND THEIR WORKS.
301
Heath (James).-Born in London in 1757; died there
in 1834. Many of this engraver's plates were executed for
books and will be met with in Bell's "British Theatre."
British Poets" and other publications of the day. He
also engraved a number of separately published plates,
among them the following. All his works are in line.
1. The death of major Pierson, after J. S. Copley, proof before
letters, £2 2s.
2. Mrs. Jordan, good impression in brown, rare, £3 3s.
3. Mrs. Siddons, after Sir Thomas Laurence, fine proof, £5 15s.
4. The Death of Nelson, after Sir B. West, fair lettered
impression, 11s.; again, proof, £2 5s.
5. General Washington, after Stuart, good, 14s.
6. St. John, after Guido, fair, 6s; again, fine, £1 1s.
Hecke (Jan van den).-Born near Oudenarde about
1625; died at Antwerp about 1670. This artist was chiefly
celebrated as a painter, but spirited etchings by him are
sometimes met with. His style greatly resembles that of
Cornelis Bloemaert with whom he sometimes worked conjointly.
A list of his plates is given by Bartsch, vol. i., p. 103.
1. A number of animals of various kinds, complete set (12),
very fine, £2.
2. The sleeping dog chained, in two states; the three Dogs (3).
very fine, £1.
Heemskerk (Marten van).-See Veen (Maerten
van).
Heiss (Elias Christoph).—A German painter and
mezzotinto engraver, born at Memmingen about the year
1660; died there in 1731. All this artist's plates are of
extremely large size and executed in a dark heavy style.
His drawing is often defective, the extremeties badly
defined and his heads devoid of character and expression.
His plates are scarce and on that account much sought after.
1. The Salutation of the Virgin, after Maschesinus, a large
upright plate, 3ft. lin., by 2ft. 2ins., good impression.
£2 12s. 6d.
2. Christ praying on the Mount, after Carlo Maratti, fair, no
margin, 5s.
3. Portrait of Augustus I., King of Poland, after Hoyer, good.
£1 1s.
302
ENGRAVINGS AND THEIR VALUE.
Helman (Isidore Stanislas).-Born at Lille in 1743;
died at Paris in 1809. This artist was one of the pupils
of Le Bas.
1. A collection of fifteen prints, representing various events
connected with the French Revolution, after C. Monnet,
fair impressions, £1 10s.
2. Joseph and Potiphar's wife, after Lagrenée, good, 8s.
Henriquez (Benoit Louis).—Born at Paris in 1732;
died there in 1806. This artist studied under N. G. Dupuis
and produced a number of portraits and other subjects
engraved in a careful and neat style.
1. Louis XVI., King of France, three-quarter length, in oval,
with arms at bottom, and inscription, after J. Boze, £1
2. Marie Arouet de Voltaire, three-quarter length, in oval,
open book in his hand, after Barat, fine, £1 1s.
3. Marie Adélaide, Duchess of Chartres, after Duplessis, good
lettered impression, 14s.
Hertocks (Abraham).—An English engraver who was
working in London from about 1626 to 1663. Most of the
artist's productions are to be found as portraits and frontis-
pieces to books. He worked with the graver only in a
neat, but stiff style.
1. W. Chamberlain, poet, fine, £2 2s.
2. Gideon Harvey, fine, £1 15s.
3. Lord Chief Justice Rolle, proof before the name, very fine,
title "Ecclesia Anglicana," £2 14s.
4. Lawrence Rawdon, Alderman of York, very fine, £5 10s.
5. Robert Rawdon, Governor of St. Thomas's Hospital, very
fine, £5 10s.
6. The True and Lively Portraiture, &c., of Sir Francis
Wortley, 1653, in armour, folio, oval of laurel, a print of
extraordinary rarity, £65.
7. Oliver Cromwell, small print, in armour, good, £1 10s.
8. Hugh Crompton (poet), ætat. 18, fine and scarce, 12mo, £6 6s.
9. Alexander Brome, poet, good, £1 2s.
10. Charles I., kneeling, after Fruytiers, very rare, fine, £8 8s.
Hess (Karl Ernst Christoph).--A German engraver,
born at Darmstadt in 1755, died at Munich in 1828. His
plates, which are executed entirely with the graver, show
great boldness and freedom of execution and are highly
esteemed.
ENGRAVERS AND THEIR WORKS.
303
1. Rubens and his first wife, after Rubens, in colours, margin
at bottom, otherwise cut close, £2 2s.
2. The Holy Family, after Raffaelle, his best production, fine
impression, lettered, £1 6s.
3. The Market Crier, after Gerard Dou, good, 12s.; again,
very fine with full margin, £1 14s.
Heusch (Willem de).-A painter who was born at
Utrecht about 1638. The date of his death is not certainly
known but is fixed by some authorities at 1712. Two other
artists of the same family, Abraham de Heusch and Jakob
de Heusch, who were born respectively at Utrecht in 1650 and
1657 are also credited with a few etchings, after their own
designs. Willem de Heusch executed a set of twelve etchings
of landscapes with figures, which are very scarce. Ten of
these are described by Barsch, vol. i., p. 325.
1. Landscape with a stone bridge, fine impression, £4 17s. 6d.
2. Landscape with two oxen, fine, £2 5s.
3. Landscape with the draughtsmen, very fine, £7 10s.
Heuy. An artist described in vol. xvi. of Bartsch.
p. 368, and identified there with De Havy or Hevy. Beyond
this little seems to be known of him.
1. A group of five children with grapes, dated 1757, fair
condition, with slight margin, £1 1s. (the artist's only
print); again, described as very fine, 14s.
Hevy. See Heuy.
Hibbart (William).—An English etcher who was
residing at Bath in 1760. His works, which consist
exclusively of portraits, greatly resemble those of Worlidge.
1. Portrait of John Ray, fair impression, 2s. 6d.
2. Portrait of Samuel Rogers, fair, 2s.
3. Portrait of Laurence Delvaux, the sculptor, fair, 6s.
Highmore (Joseph).—A well known painter, born in
London in 1692; died at Canterbury in 1780. The name
of this artist is affixed to some large portraits in folio, very
indifferently executed, but scarce and often valuable.
1. Savage, colourman in Newgate Street, 1721, an etching,
J. Highmore, pinx. et fecit. 1723, very rare, £1 9s.
2. Le Sage, author of Gil Blas, good, £1 1s.
Hire (Laurent de la).-A French painter, born at
Paris in 1606; died there in 1656. Though chiefly known
304
ENGRAVINGS AND THEIR VALUE.
as a painter, this artist etched several plates from his own
designs. They are slight in finish and have been retouched
with the graver. His landscapes are by far his best productions,
especially those in which the figures are subordinated.
1. Various Scriptural and other subjects; Children at play,
landscapes and etchings (19), all fair average impressions,
£2 5s.
Hirschvogel (Augustin).-An old German enameller
and engraver, born at Nuremberg in 1506; died at Vienna
in 1569. This artist's plates are usually found marked with
the cipher "A.H.F." and the date. His landscapes are
considered his finest productions many of them displaying
the touch of a master. There is a set of engravings,
published at Nuremberg in 1543, marked with an owl
attacked by two small birds, which has been attributed,
though on very slight evidence, to this master.
1. Landscape, with a man shooting ducks, fine £1 5s.
2. The Massacre of the Innocents, Cupid and the Satyr, and
the portrait of the artist himself, £1 10s.
3. Various landscapes (3), good, 18s.
4. The Village and the wooden bridge, dated 1546, fine im-
pression with full margin, £1 6s.
Hoare (William).-Though better known as a portrait
painter, this artist etched a few plates, in a bold free
style and often from life. William Hoare is said by Bryan
to have been born at Eye in Suffolk in 1706 and to have
died at Bath, where he resided for many years, in 1792.
Among his etched portraits are those of Ralph Allen, of
Bath, marked ad. viv. Will. Hoare, William Warburton,
Bishop of Gloucester, Maria Walpole, Duchess of Gloucester,
after Sir Joshua Reynolds, and Sir Isaac Newton.
1. Maria Walpole, Duchess of Gloucester, the artist's best
plate, proof, fine, £3 15s. ; again, ordinary lettered im-
pression, fair, 14s.
Hodges (Charles Howard). - Born in 1774; died at
Amsterdam in 1837. This artist painted many fine portraits
but is better known as an excellent engraver in mezzotint.
Early states of some of his plates, particularly those after
Sir Joshua Reynolds, are rare and valuable. It is probable
that he was a pupil of John Raphael Smith.
ENGRAVERS AND THEIR WORKS.
305
1. Admiral de Winter, Dutch admiral, three-quarter length,
face to the right, after Manskamp, fine, £1 3s.
2. Sir Abraham Hume, after Reynolds, fine impression,
inscription etched in, £1 15s.
3. Mrs. Musters as Hebe, after Reynolds, first state, inscription
in etched letters, £19 (damaged); again, £13 (damaged).
4. The Ship Builder and his Wife, after Rembrandt, fine
proof, £10 15s.
5. Lady Dashwood and Child, after Reynolds, £2 2s.
6. John Foster, Speaker of the Irish House of Commons,
open letter proof, good, £1 8s.
7. Children spouting Tragedy, after R. M. Paye, in colours,
£1 14s.
Hoefnagel (Georg or Joris).-Born at Antwerp in
1545; died at Vienna in 1600. This artist designed some
of the plates for the well-known work "Theatrum Orbis
Terrarum," by Abraham Ortelius, and seems chiefly to have
engraved maps and views for books. He worked entirely
with the graver in an indifferent style and without any
taste. His prints are, however, scarce.
1. Landscape with ruins of Temple of Apollo; the Palace
of Nonsuch, coloured; view of the City of "Nordovicum"
(3), £1 7s.
2. The Palace of Nonsuch, from Braun's
Terrarum," fair, 5s.
Civitates Orbis
Höfel (Blasius).-An engraver on wood and metal,
born at Vienna in 1792; died at Salzburg in 1863. This
artist is chiefly known for his technical improvements in
the practical part of engraving on wood. His prints, which
are usually of small value, include portraits of the Empress
Maria Theresa, and several other members of the Imperial
Family, and also "The Dead Christ," after Andrea del
Sarto's painting in the Palais Pitti.
Hogarth (William).—This famous painter was born
in the parish of St. Bartholomew the Great, London, on
December 10th, 1697; died October 26th, 1764. His
father kept for some time a school in Ship Court, Old Bailey,
and tried, though unsuccessfully, to augment his income by the
production of school-books. Hogarth, seeing the difficulties
under which his father laboured, begged to be taken from
20
306
ENGRAVINGS AND THEIR VALUE.
school, and was then apprenticed to a silver-plate engraver.
His first work of any merit was "The Taste of the Town,"
engraved in 1724. It was a sharp satire on the follies
of the day, and so popular that it became profitable to
pirate the piece, Hogarth thus losing much of its fair value.
He then practised portrait painting, at which for some years
he did little more than earn a living. His two series of
pictures, "The Harlot's Progress" and "The Rake's Pro-
gress," at once made him famous as the most masterly
delineator of combined humour and tragedy that the world
has ever seen. Various collections of Hogarth's prints are
to be met with, among them a large elephant folio
volume, published by Baldwin and Cradock, in 1822, the
impressions in which are from the original plates though
restored by Heath. In a secret pocket at the end of the
volume should be found the three suppressed plates.
Boydell's edition of Hogarth (no date), contains 108 prints,
with the three suppressed plates loosely inserted. Cook's
edition of the whole work, containing 107 plates, was
published in 1801, and Trusler's edition, 2 vols., 4to, 1827
or 1833, is also often met with. Separate prints are
frequently encountered, but most of these are from worn
plates, and many not from the original plates at all.
Hardly the same interest is taken in prints by or after
Hogarth as was once the case, though collectors of the
earlier states are still numerous. It must be remembered
that his plates had an immense popularity at the time of
publication and that large quantities of impressions were
produced in order to satisfy the demand. Many if not
most, of the prints offered for sale at the present day are
either copies or from worn or retouched plates and these
are practically worthless. Valuable impressions are always
of fine quality, and more often than not possess many
points in difference from those belonging to the later and
ordinary issues. These distinctions will be found catalogued
in Nichols' and Steevens' "Genuine Works of William
ENGRAVERS AND THEIR WORKS.
307
1
Hogarth," 3 vols., 4to, 1808, and with greater accuracy in
F. G. Stephens' Catalogue of Satirical Prints in the
British Museum."
1. The Harlot's Progress, first states, before the alterations
and the Latin crosses, fine (6), £3 12s, again, fine, £5;
Marriage à la Mode, second states (6), £3 15s.
2. Marriage à la Mode, by Earlom 1795-1800, the set of six
plates good, £4. The same, very fine, from Sir Joseph
Banks' collection, £4 18s.
3. The Rake's Progress, chiefly first states, fine (8), 12s.; the
same, described as an old set, 8s.
4. The Four Times of Day, first states, fine (4), £2 5s.
5. Beer Street and Gin Lane, the former with and without
the Frenchman (3), 5s.; the same, 4s. 6d.
6. Beer Street and Gin Lane, and the Four Stages of Cruelty
(6), fine, £1 4s.
7. Strolling Actresses Dressing in a Barn, with the head-
dress, fair, 4s.
Provocatives"; Eneas
8. Masquerade Ticket, first state, with "Provocatives
in a Storm, very fine and rare (2), £1 12s.; Eneas only,
very fine, with large margin, 18s.
9. The Five Orders of Periwigs, first state before the "e,"
very rare, the same in the usual state (2), £1.
10. The Bench, first state, with the dedication to Colonel
Townshend, very rare; the same, in the ordinary state
(2), £1 1s.
11. Receipt for Garrick in Richard III.; the Arms of John
Holland, first and second states (3), rare, 16s.
12. Angel holding a palm-branch (the shop bill of Ellis
Gamble), fine and rare, £1 1s.
13. Shop bill of Mary and Ann Hogarth, rare, £2 2s.
14. Plates (18), to "La Motraye's Travels," with some vari-
ations (35), 17s.
15. The Gate of Calais, and France and England (3), very
fine, 18s.
16. The plates to " Apuleius," fair (4), 6s.
17. Portrait of Lord Lovat, good, Ss.
18. The Pool of Bethesda, by and after Hogarth, good, 12s.
(a copy appeared in 1748).
19. The Beggar's Opera, first state, fine, with large margin,
£3 5s.
20. The Political Clyster, first state, inscribed "The Punishment
inflicted on Samuel Gulliver," exceedingly rare, £11 11s.
21. The Discovery of a Black Woman in Bed, very rare and
fine, £18.
22. Masquerades and Operas, first state, with
CC
Pasquin
inscribed on the label in the barrow, and with the
lines Could not dumb Faustus." &c., very rare, with
margin, £3 7s. 6d.
308
ENGRAVINGS AND THEIR VALUE.
I
23. Tartuffe's Banquet, published in 1736, fine, with large
margin, £1 18s.
24. Taste, or Pope's epistle to Lord Burlington, fine, with
large margin, rare, £7 5s.
25. Emblematic print on the South Sea Scheme, first state
before any letters, 16s.
26. The Lottery, early state, with margin, £1 5s.
27. Sarah Malcolm, executed in Fleet-street, March 7th, 1732,
proof before the "&c. sculpsit" was introduced, very
fine and excessively rare, £8.
28. March of the Guards towards Scotland, 1745, with the
one "s" in Prussia, and dated December 30th, 1750,
£1 12s. Engraved by Luke Sullivan.
29. The Funeral, the larger plate, £2 10s.
30. Before and After, second state, 12s.
31. Portrait of John Wilkes, very fine, before the retouch,
17s. 6d.
The finest collection of prints by or after Hogarth which
has been sold of recent years was that formed by Dr. Joly
of Dublin and brought to the hammer at Sotheby's in
February 1892. Hogarth's plates are not particularly
numerous, but this remark does not apply to the variations
in the impressions taken from them. A slight alteration made
in the plate would, of course, be followed by a corresponding
alteration in the impression, and Dr. Joly's collection contained
no fewer than 6097 prints. These comprised nearly, but
not quite, the whole of the prints with their variations,
engraved by or after Hogarth. The price realised was
£500, much less than would have been obtained half a
century ago.
Hogenberg (Franz).-Born at Mechlin probably about
the year 1530; died at Cologne in 1590. This artist lived
in England for many years working for English employers
and producing a considerable number of portraits of local
celebrities. That of Queen Mary of England is very scarce,
as also is that of Erasmus.
1. Erasmus, sitting with a book before him, 1555, fine and
rare, £7 10s.; again, brilliant, described as the finest
impression known, £25 10s.
2. Book-plate, "Torne Papers Blowne into the Ship." "F. H.,
fe." very rare, £2 2s.
3. Ferdinand Alvarez of Toledo, fine and rare, 12s.
ENGRAVERS AND THEIR WORKS.
309
4. Don Carlos, son of Philip II. of Spain, 17s.
5. Sir Henry Brooke Cobham, small oval, fine, £1 is.
6. Elizabeth, Queen of England, in a circle, dated 1604,
large margin, rare, 10s.; again, whole length, gloves
in left hand, £1 3s.; again, three-quarter length, in oval,
dated 1559 on inscription round, very rare, £2 5s.
7. Francis II., King of France, 15s.
8. Henri II., King of France, fine and rare, £1 15s.
9. Mary Stuart, Queen of Scots, full length, arms above, in
a border, very rare, fine, £18 10s.
10. Philip II., King of Spain, fine, £2 5s.
11. Mary I., Queen of England, three-quarter length, in an
ornamental oval, 1555, fine, £8.
12. The Funeral of Frederick II. of Denmark, dated 1592,
a series of 21 large etched plates by Franz Hogenberg
and Simon Novellani.
Hogenberg (Remigius).—A brother of Franz Hogen-
berg, whom he accompanied to England. This artist worked
with the graver only in an indifferent style. All his plates
are, however, scarce. He is supposed to have been born
at Mechlin about the year 1530.
1. Queen Elizabeth, on a throne, coloured print, very scarce,
and fine, £10 10s.
66
2. Map of Montgomerie," coloured, 4s.
3. Archbishop Parker, supposed to be the first print taken
from the plate, exceedingly fine and very rare, £25.
Hogg (Jacob).--Little is known of this engraver, except
that he flourished during the latter part of the 18th century.
He worked in the dotted manner after some of the most
talented painters of the day.
1. The Milk Maid, after Cosway, a circle, printed in two
colours, framed, £1 5s.
2. Margaret, Queen of Henry VI., after Borel, £1 12s.
3. Erminia, after Angelica Kauffman, oval, in red, good, 12s.
4. The frail Sisters, after J. R. Smith, good, 12s.
5. The Duchess of C- rescued from a cave, dated 1785,
after J. F. Rigaud, fine and scarce, £1 2s.
Holbein (Hans the younger).-Born at Augsburg in
1497; died at London in 1543. This famous painter also
designed on wood, the most remarkable of his productions
being a set of fifty-eight cuts, known by the name of
The Dance of Death" which were engraved by Lützel-
burger. A complete and original set of these prints is
310
ENGRAVINGS AND THEIR VALUE.
L?
excessively rare. The first impressions date from about th
year 1530, and another edition was published at Lyons in 1538.
1. Portrait of Erasmus, standing under a Gothic arch, first
and second states, with an engraved copy (3), £3 3s.
2. Woodcuts and title-page of Bible, printed at Leyden,
1547, scarce, £1 4s.
3. Henry VIII., on a charger, and dressed for a tournament,
half sheet, excessively rare, £12 10s.
Hole (William).—An English engraver who flourished
about the year 1615. He worked entirely with the graver
in a stiff laboured style, devoid of all taste and principally
for the booksellers. His prints are sought after on account
of their scarcity rather than for their merit.
1. Joannes Florus, ætat. 50, A.D. 1611, fine and rare, 18s.
2. Henry, Prince of Wales, with a lance, 17s.; ditto, proof,
before the tournament, rare, £3 15s.
3. Sir Francis Drake, with terrestrial hemisphere: Sir Thomas
Cavendish, with terrestrial hemisphere (2), fine, £1 5s.
4. Lord Chancellor Ellesmere, in a high-crowned hat, oval,
4to, very fine and rare, £6 15s.
5. John Clavel, ætat. 25, 1628, with motto, 4to, very rare,
£3 3s.
6. George Withers, ætat. 21, 1611, eight English verses, 12mo,
fine and scarce, £2 11s.
Holl (Francis).—Born in London in 1815; died at
Milford in 1884. This artist worked in several styles, frequently
on the same plate, though some of his prints are entirely
in the line manner. His productions are extremely well-
known and are frequently met with.
1. Coming of age in the olden Time, after Frith, artist's proof,
signed, £2 12s.; again, good lettered impression, 10s.
2. The Railway Station, after the same, ordinary lettered
impression, 14s.
3. My Mother bids me bind my hair, after James Fisher,
good, 8s.; again, proof with open letters, £1.
Hollar (Wenceslaus).-Born at Prague in 1607; died
in London in March, 1677. Notwithstanding the fact that
this engraver worked industriously all his life and possessed
artistic genius of the highest order, he died in a state of
destitution. It is said that he used to work for the book-
sellers at the rate of 4d. an hour by the glass, and was
ENGRAVERS AND THEIR WORKS.
311
so scrupulously honest and methodical in all he did that
he constantly prevented the sand from running even when
talking to his employer on his own business matters.
Speaking generally, Hollar's work was performed with the
point and very few of his plates shew evidence of the
graver. His prints are extremely numerous and comprise
portraits and almost every variety of subject, some of
which are very rare and command large prices. His style
was light, free and spirited and his drawing accurate,
except when he attempted the human figure.
1. The Adoration of the Magi (a Dutch winter scene), 1646.
fair, 15s.
2. The Royal Exchange, inscribed "Byrsa Londinensis Vulgo,
&c.," before the introduction of the medal of Sir Thomas
Gresham, very fine, from several noted collections. £20 10s.
3. A set of twenty-four small German views, with title
inscribed "Amorenissima Aliquot Locorum," fine, £2 10s.
4. Views of Dordrecht and "Tot Antwerpen," both indifferent
impressions, 4s. 6d.
5. Subjects from the Book of Genesis, forty-two compart-
ments on
three plates, the complete set, first states
before the descriptions at the top of each subject, fine
and rare (3), £1 1s.
6. Esther before Ahasuerus, after Paolo Veronese, first state,
the large plate with the portraits in the Florence Gallery
at the top, £8 10s.
7. The great Ecce Homo, fair, 12s.; the same, fine, £3 3s.
8. The Passion of our Lord, after Holbein (15), fine and rare,
£4; the same, but inferior impression, 9s.
9. The Dance of Death, after Holbein, with some additional
plates and copies (44), 12s.; the same (30), exceedingly
fine, £10 10s.
10. The Trial and Execution of the Earl of Strafford, fine (2),
£1 18s.
11. The siege of a town in Flanders, rare, Ss. 6d.
12. The Hospital, fine and rare, 8s.
13. Plates to Ogilby's "Virgil," including several proofs, before
the inscriptions (16), £1 7s. 6d.
14. View of London from the top of Arundel House, fine, 17s.
15. The small view of the Savoy, fine, with large margin, a
rare print, £3 5s.
16. The north view of Arundel House, fine, £1 10s.
17. The long view of Albury, fine and rare, with the copy (2),
£2 14s.
18. Views of Albury, a fine set, with large margins (6), £6 10s.
19. The long view of Greenwich, fine, £2 10s. This print is
312
ENGRAVINGS AND THEIR VALUE.
on two large plates for engraving which Hollar is said.
to have received 30s. from a grasping publisher named
Stent.
20. Set of small views near Prague, first states, fine (24),
£2 5s. 6d.
21. Set of Dutch shipping (12), 15s.; again, £1 4s.
22. Antwerp Cathedral, first state, with a single line of inscrip-
tion, rare, £8 15s., again, lettered, 14s.
23. Small costumes of females of different countries, with the
titles, fine, many proofs (98), £2 11s.
24. Set of butterflies (12), good, £1 12s.; again, 18s.
25. The set of shells (41), proofs before letters of reference,
exceedingly fine condition, £6 6s.; part of the set (25),
very fine, £2 10s.
26. The Elephant Exhibited at Frankfort in 1629, 17s. 6d.;
again, very fine, £1 14s.
27. The Arundel vases, after Holbein (12), £1 13s.
28. The Hanging Hare, after Peter Bael, first state, very
fine, £8.
29. The Jealous Lover, good, very rare, £1 16s.
30. Groups of Children, after P. van Avout, fair (16), £1 4s.
31. Set of Cupids, five missing, fair (25), £1 18s.
32. Westminster Hall, first state, rare, £1 1s.
33. The Muff with Ribbon, fine, 19s.
34. A Muff with Brocade band, fine, 18s.
35. A Muff and Furs, good, 16s.
36. A Muff with Mask and Neckcloth, 19s.
37. A Muff and Fur, 12s.
38. Five Muffs, Collars, Fans, Gloves, &c., a good impression,
£1 14s.
39. The Seasons, full lengths (4), 18s.; again, £1 2s., again
extremely fine, £23 10s.
40. The Chalice, after Andrea Mantegna, very fine, £4 10s.;
again, fair, 12s.
41. David before Saul, very fine, £1.
42. The World is Ruled and governed by Opinion, rare satirical
print, £3 5s.
43. Ships of War, fifteen in a line (1), £2 10s.; again, fine,
£2 2s.; again, £3 8s., a very rare print.
44. Groups of various muffs, handkerchiefs, &c., brilliant im-
pressions, £3 10s.; five small muffs, very fine and rare,
£1 16s.
45. The Hollow Tree at Hampstead, very rarẹ, £2 12s.
The following portraits are by Hollar:
1. Edward VI., with a rattle, good impression, £2 10s.
2. Princess Elizabeth, daughter of Charles I., large margin, £1.
3. Philip, Earl of Pembroke, small oval, before the retouch,
15s.; the same, first state, before the alteration of the
hair, and before any address, £5 15s.; the same, with
the address of Stent, 8s.
I
ENGRAVERS AND THEIR WORKS.
313
1
4. Anne Dacres, Countess of Arundel, after Vorsterman, fine,
one of the rarest of Holler's portraits, £10 10s.
5. Sir Thomas Chaloner, after Holbein, fine and rare, £15 15s. ;
the same, brilliant impression, £53 11s.
6. Dr. Chambers, after Holbein, 10s.; again, fine, 17s. 6d.
7. Vera Effigies Henrica Colthurst Londini Natus, rare, 11s.
S. Robert Devereux, Earl of Essex, printed for John Part-
ridge, brilliant, and very rare, £8 10s.; again, £5 2s. 6d. ;
again, before the address of Stent, £6; with the
address, £21.
9. Lord Denny, after Holbein, fair, 12s.
10. Elizabeth Harvey, fair, 7s.
11. Hollar's own portrait, fair, Ss.
12. Philip IV. of Spain, good, 18s.
13. Portrait of a young man, after Leonardo da Vinci, another
Portrait of a young man, after Holbein, good (2), £1 17s. 6d.
14. The Lady Catherine Howard, fine, 17s.; the same, brilliant
proof before letters, £7 17s. 6d.
15. Thomas Killigrew, sitting, in a cloak, rare, £4.
16. Madame Killigrew, very fine impression, with large margin,
£2 6s.; again, exceedingly fine, £5 5s.
17. James Stanier, of London, after Garrett, £1 8s.; again,
14s. 6d.
18. Thomas, Earl of Strafford, after Vandyck, first state, and
very fine, £2; again, £2 6s.; again, a brilliant impress-
ion. £8.
19. Reverendiss. in Christo Pater Arthurus Lake, ætat. 59,
arms at top, very rare, £3 15s.
20. Henry VIII., Anne Boleyn, and Jane Seymour (3), fair,
£1 14s.; Anne Boleyn, very fine, £4 15s.
21. Anne of Cleves, fair, 11s.
22. Jane Seymour, after Holbein, fine, 16s.
23. Junius, after Vandyck, fine, but no margin, 11s.
24. Sir A. Denny, fair impression, 9s.
25. Hans van Zurch, fair, 10s.
26. Charles I., view of Whitehall, good, £1 12s.
27. Charles I., the oval portrait, with the inscription
Charles
by the Grace of God," &c., and the same in a large hat,
view of Westminster and Whitehall, both good (2), £4.
28. Charles II., in armour, with emblems of the rising sun
after Diepenbecke, very fine, £10 5s.
29. Charles II., view of Whitehall, second state, £1 10s.;
Charles II., folio size, fair, 3s. 6d. : the same, 8vo size, 4s.
30. James II., when Duke of York, in an oval of palms, from
the Martin Collection, very fine, £52 10s
31. Augustin Wichmann, very fine, £3 5s.
32. Franz Vanden Wyngarde, good, £1.; again, Ss.
33. Sir William Waller, Sergeant-major General, small oval,
£1 14s.
34. Sir Samuel Morland, fine, £1 12s.
35. Henry Howard, Earl of Surrey, ætat. 25, after Holbein,
M
314
ENGRAVINGS AND THEIR VALUE.
half sheet, fine and rare, £2 6s.; the same, choice proof
before the flowers on the drapery, £14 14s.
36. Thomas à Becket, with scimitar in his skull, after Van Eyck,
dated 1647, 12mo, exceedingly rare and very fine, £8;
the same, with inscription, £1 11s. 6d.
37. Charles I. and Queen Henrietta Maria (ovals on the same
plate), 1641, extra fine and very rare in this state, £35.
The Queen only, single plate, fair, 16s.
38. Charles I. (oval surrounded with palms), a complete set of
four prints, very rare, £22 10s.
39. Two portraits of Henrietta Maria, fine, £2 12s.
40. Apotheosis of the Earl of Arundel, after Schut, fine proof,
£15 15s.
Holloway (Thomas).—An English line engraver, born
at London in 1748; died at Norwich in 1827. This artist's
reputation rests almost entirely on his engravings of the
cartoons of Raffaelle, which occupied him for several years.
He illustrated, however, Lavater's essays on Physiognomy,
published in 5 quarto volumes, 1789 -98, and many separate
prints for Boydell and other publishers.
1. Bentivoglio, three-quarter length, towards the right, after
Vandyck, fine, 14s.
2. Portrait of Charles, Earl of Camden, good, 8s.
3. Portrait of Mrs. Montague, fine, 12s.
4. The Cartoons, after Raffaelle, fair (7), £1. (Inferior impres-
sions from these plates are principally seen in furniture
shops and at small auction sales, at prices which seem to
average, inclusive of frames, about 15s. the set. These
indifferent specimens are extremely common and practically
worthless).
Holsteyn (Cornelis).—A painter and engraver, born
at Haarlem about 1625; died there about the year 1680.
1. Portrait of a Lady, half length, sitting, after Giulio Romano,
proof before letters, 14s. 6d.
2. Infant Bacchanalians, in six sheets, very rare, margins cut,
but otherwise good impressions, £2 14s.
Holsteyn (Pieter).-Born in Schleswig about 1580;
died at Haarlem about 1662. This artist was the father
of Cornelis Holsteyn, previously mentioned. He worked
chiefly with the graver, without much taste except when
he engraved in the style of Lucas Vorsterman. Most of
the artist's prints are portraits, among which may be
noted:
1
ENGRAVERS AND THEIR WORKS.
315
1. Johann Torrentino, the painter, ætat. 39, 1628, in an oval,
very fine, £1 12s.
2. Cardinal Fabio Chigi, afterwards Pope Alexander VII.,
good, 12s. 6d.; again, with margin. 18s.
3. Johannes Saenredam, sculptor, good, with large margin, £1.
Hondius (Hendrik, the elder).-This artist, the uncle
of the next named, was born at Duffel, in Brabant, in
1573, and was living at the Hague in 1662. He executed
a large number of portraits, chiefly of the Reformers,
somewhat in the manner of Jan Wierix, whose style he
imitated. They are not, however, equal in merit to, nor
so valuable as, those of Hendrik the Younger.
Hondius (Hendrik, the younger).-Born in London
about the year 1588; died there about 1658. This artist
was instructed by his father, Jodocus Hondius and completed
some of the plates left unfinished by him at the time of
his death. The style of the two artists is very much
the same.
1. The Seasons, views in Flanders and others (26), good
impressions, £1 2s. 6d.; the Four Seasons only, fair, 3s.;
the same, proofs, before the verses, very rare, £6.
2. Portrait of William Prince of Orange, after Cooper, ditto
of Princess Mary, after Vandyck (2), fine and rare, £1 13s.
3. Portrait of Theodore Bernardi, of Amsterdam, fine, £1.
4. Portrait of Antonio More, the painter. fine, 18s.
5. A woman on horseback, riding to market, after a design
by Titian, fine, £1.
6. Elizabeth, Queen of England, oval, with motto, fine, £1
7. John Ernest, Duke of Saxony, after Mireveld, very fine, 19.
8. Frederick, King of Bohemia, good, £1 1s.
9. The Emperor Ferdinand, bust in large oval, 1634, very
fine, £2 2s.
10. Isabella Clara Eugenia, daughter of Philip II. of Spain,
three-quarter length, in large oval, £1 1s.
11. Theodore de Weerdenburg, three-quarter length, in large
oval, fine, £1 3s.
12. Robert, Earl of Salisbury, 4to, fine, £1.
Hondius (Jodocus).-Born at Wacquen in 1563; died
at Amsterdam in 1611. This artist marked his plates with
his initials, I. H., and occasionally he added a hound
baying, with the inscription "Sub Cane Vigilante." Some
316
ENGRAVINGS AND THEIR VALUE.
of his portraits are very neatly executed and these constitute
his best productions.
1. Portraits in medallions, with arabesque frames, of Henry IV.,
V., and VI.; Edward IV., V.; Richard III., and Henry VII.,
and his Queen, Elizabeth (7), fair impressions, £1.
2. Map of the "Countie of Nottingham," 1615, 3s. 6d.
3. Sir Francis Drake, with two globes, fair, 5s. ; again, with
slight margin, 17s.
4. Thomas Cavendish, the navigator, good. 14s.
Hondius (Willem).-Born at The Hague about the
year 1600; worked there and also at Dantzic, up to the
year 1637, and is supposed to have died in Holland in
1652. This artist was a son of Hendrik Hondius (the elder)
previously mentioned. His best plates are after Vandyck.
1. Portraits of Frederick and Elizabeth, King and Queen of
Bohemia (2), 15s.; Frederick alone (1), 8s. 6d.
>
2. Henry Cornelius Lonkins, very fine, with margin, £1 4s.
3. Peter Hein, good, 16s.
4. Marie Eleonora, wife of Gustavus Adolphus, very fine, £2 16s.
5. Ladislaus IV., King of Poland, good, 10s.; again, very fine,
with full margin, £1 3s.
6. His own portrait, after Vandyck, good, 16s.
7. Prince Maurice of Austria, dated 1613, fair 4s.; again, good
impression, 12s.
Hooghe (Romeyn de).-A Dutch designer and engraver,
born at The Hague about 1646; died at Haarlem in 1708.
This artist handled the point in an admirable manner and
his distance figures are usually expressed in a masterly
style. His principal figures and foregrounds are, however,
quite otherwise, being executed in a harsh, coarse style
with an inferior harmony between the light and dark
shadows.
1. Set of the fêtes at Brussels on account of the capture of
Buda, and others (11), £1 2s.
2. Ornamental fountain and ruins, &c., fair, 8s.
3. The Sufferings and Death of John De Witt (2), fair impres-
sions, 11s.
4. A set of figures in different postures, wrestling, (70), fair
average impressions, £2.
5. A set of emblematical subjects, relating to the death-bed
of a Christian (41), fair, 14s.
6. King William and Queen Mary, historical prints relating to
the Revolution (2), good, 12s.
ENGRAVERS AND THEIR WORKS.
317
7. The Battle of St. Denys, on two sheets, good, £1 2s.
8. The fair at Arnheim, good, 8s.
9. Entry of Louis XIV. into Dunkirk, after Van Der Meulen,
fine, 12s.
Hopfer (Daniel).—A German engraver born probably
at Kaufbeuren about 1470; living in 1531. This artist
worked with the point only, in a bold, free style, and
excelled in buildings and ornaments of all kinds. He was
the eldest of three brothers who worked in the same
manner and marked their plates with their initials and
a device, which was at one time mistaken for a candlestick,
but is now universally regarded as a hop plant. For this
reason, these artists are sometimes, even yet, styled "The
Masters of the Candlestick."
1. Eight ornamental designs, rare, 12s. 6d.
Combats of marine monsters, proofs before the numbers
"97" and "98" (2), 15s.
3. The Last Judgment, the Presentation of the Virgin in the
Temple, and the Marriage of S. Catherine, all proofs
before the numbers (4), £3 3s.
4. Adam and Eve (with large margins), David and Goliath,
Christ and the Apostles, the Last Judgment, and the
Great Altar (the three latter first states before the
numbers) (6), £4 5s.
5.
The Triumphal Arch, with the Nativity, first state, 8s. 6d.;
the same, fine, before the number, £1 12s.
6. Portrait of Clement VII., before the number, good, 15s.
7. Leopold Dick, jurisconsult, three-quarter length, standing,
good, 12s.
8. The Emperor Maximilian I., half length, face in profile,
very fine, £2 10s.
9. The Woman Taken in Adultery, and Christ Leaving the
Temple, fine (2), 18s. 6d.
10. Three old women chastising the Devil, proof before the
number "108," £1 13s.
11. The Presentation in the Temple, first state before the
number "55," £1 10s.
12. The interior of a church, before the number "47," very
fine, £1 8s.
Hopfer (Hieronymus).—This engraver was the younger
brother of Daniel Hopfer. The place and date of his birth
are both uncertain, but he is known to have been living
in 1530. He etched in the same style as his brother and
copied many of the engravings of Dürer.
318
ENGRAVINGS AND THEIR VALUE.
1. St. Jerome, brilliant allegorical figure of Rome, the cannon,
all proofs before the number (6), 18s. 6d.
2. St. Jerome, fine, 8s.
3.
The Two Armies, portrait of Erasmus (2), fair impressions,
6s., Portrait of Erasmus, proof before the number “70," 12s.
4. Battle of the Cutlass, with margin, 9s.
5.
St. Christopher, before the number, 15s.
6. Adoration of the Magi, proof, before the number "3," 12s.
7. Man and woman dancing, before the number, 12s. 6d.
8. The Emperor Charles V., three-quarter length, in hat and
fur cloak, face in profile, very fine, £1 10s.
9. The Temple of Diana at Ephesus, fair, 9s.
Hopfer (Lambert).-This artist was the youngest
brother of the family of engravers bearing this name. His
prints are mostly after Albrecht Dürer. They are all etched
in a tasteless manner, without expression or correctness.
The dates of the birth and death of Lambert Hopfer are
not known, but Strutt says that he flourished about the
year 1530.
1. The Conversion of St. Paul, scarce, 12s.
2. Large Panel of Ornament; Two Ornamental alphabets (3), 15s.
Houbraken (Arnold). - Born at Dordrecht in 1660;
died at Amsterdam in 1719. This artist's principal work
is of a literary character and consists of "De groote Schou-
burgh der Nederlantsche Konstschilders en Schilderessen,"
published at Amsterdam in 3 vols, 8vo, 1718-31, with
portraits. He spent some time in England making drawings
from the pictures of Vandyck which were afterwards en-
graved by Pieter van Gunst and is also credited with a
few etchings of little importance.
1. Mars and Venus, fair impression, 8s.
2. The Disciples at Emmaus, four states, fine and rare (4), £1.
3. A set of eight mythological subjects, fair, 7s. 6d.
Houbraken (Jacobus).- A Dutch engraver, the son
of Arnold Houbraken. This talented artist was born at
Dordrecht in 1698 and is supposed to have died at Amsterdam
in or about the year 1780. His great excellence lay
in his portraits, some of which are exceedingly fine and
have never been surpassed, his imitation of the flesh and
ENGRAVERS AND THEIR WORKS.
319
hair, and determination of the features being masterly in
the extreme. Jacobus Houbraken worked entirely with
the graver. Many of his portraits can be seen in the
"Heads of Illustrious Persons of Great-Britain," published
in folio, in 1747. See also A. Verhuell's "Jacobus Hou-
braken et son œuvre," Arnhem, 1875-77, 8vo.
1. The Earl of Arlington, fine proof, £1 18s.
2. Lord Cottington, proof, 17s.
3. Lord Chancellor Talbot, proof, 10s.
4. Daniel, Earl of Nottingham, rare, Ss. 6d.
5. Thomas, Marquis of Wharton, good, 16s.
6. Sir Thomas More, after Holbein, 5s.; the same, fine proof
with margin, £2 17s.
7. Sir Thomas Smyth, after Holbein, fine, £í 1s.
8. Anne of Cleves, Catherine Howard, and Edward Seymour,
Duke of Somerset (3), very fine, £2 17s. 6d.
9. Charles Howard, Earl of Nottingham, after Zuccaro, good, 13s.
10. John Fisher, Bishop of Rochester, three-quarter length, in
illustrated oval, proof before letters, £2 2s.
11. Cromwell, Earl of Essex, three-quarter length, in oval, no
inscription round, fine, with large margin, £3 10s.
12. Ann Bullen, illustrated oval, £1 10s.
13. Sir Nicholas Bacon, statesman, an illustrated oval, fine, £1;
the same, fine proof before the inscription round the oval,
and address, &c., £2 15s.
14. Sir Francis Walsingham, three-quarter length, in oval, proof
before letters, fine, with margin, £3 12s.
15. George Villiers, Duke of Buckingham, in illustrated oval,
proof before letters round the oval, £3 10s.
16. John Thurloe, three-quarter length, in an illustrated oval,
fine, £2 12s.
17. Sir William Temple, three-quarter length, in illustrated oval,
fine proof, with large margin, before any letters, £2 12s. ;
the same, after letters, with margin, £1 8s.
18. John Dryden, three-quarter length, in illustrated oval, fine
proof before letters, with large margin, £5 12s. 6d.
19. Sir Robert Walpole, three-quarter length, in illustrated
oval, proof before letters, very fine, £2 2s.
20. John, Lord Somers, after Kneller, 1745, good, 12s.
21. John, Duke of Argyll, after Atkinson 1735, good, 15s.
22. His own Portrait, proof, 12s.
23. Thomas Wentworth, earl of Strafford, proof, good, £1 12s.
24. Earl of Godolphin, Lord Treasurer, proof, fair, £1 1s.
25. Sir Walter Raleigh, proof, fine, £2 7s. 6d.
26. Henry, Prince of Wales, proof before letters, fine, £1 11s.
Houston (Richard).—Born in Ireland in 1721; died in
London in 1775. This artist was an engraver in mezzotint
320
ENGRAVINGS AND THEIR VALUE.
1
of portraits and general subjects of great merit. His plates.
are numerous and frequently command high prices.
1. Domestic Employment, three pieces, representing Needle-
work, Knitting, and Washing, fine, £1 8s.
2. The Fair Nun Unmasked, after Morland, 12s.
3. Princess Louisa Ann, good, 18s.
4. William Pitt, when Earl of Chatham, good, 7s. 6d.
5. Henry, Earl of Rochford, fair, 4s.
6. William Kingsley, after Reynolds, fine impression. with
margin, £1 1s.
7. Mary, Duchess of Ancaster, after Reynolds, proof, 18s.
8. Mrs. Gurney, "The Fair Quaker," supposed portrait "of
the lady to whom George III. was attached," scarce,
£1 15s.
9. The Syndicate of Burgomasters at Amsterdam, in 1661,
after Rembrandt, touched proof in the first state, with
the artist's name and time of publication, August 28th,
1774, very rare, £2 11s.
10. Miss Harriet Powell, afterwards Countess of Seaforth, after
Reynolds, half length, in the character of Leonora, and
verses, £1 14s.; the same, after Caroline Read, half
length, seated with guitar, proof, £6 12s. 6d.
11. Miss Elizabeth Greenway, after Reynolds, half length.
seated, good impression, 13s.
12. Maria, Countess of Waldegrave, and her daughter, Lady
Elizabeth Laura, after Reynolds, half length, sitting,
very fine, £3 5s.
13. The 21 mezzotint Plates to Holt's "Lives of the Reformers,'
published in 1759, fair, 22s.
14. Elizabeth, Duchess of Hamilton, rare, good, £1 8s.
15. Mrs. Woodhull, after Zoffany, proof, £1 9s.
16. George II., after Worledge, fine proof, £3 18s.
17. George III., after Meyer, proof, £1.
18. The Duke of Gloucester after H. Morland, proof, £1 18s.
19. Christian VII., of Denmark, after Angelica Kauffman,
proof, £1.
20. The set of six horses, after Spencer, good, £2 5s.
Hove (Frederik Hendrik van den).—A Dutch
engraver born at Haarlem about 1630; died about 1692
in which year he executed a plate of King William
on Horseback, prefixed to the "Epitome of War." His
prints are described as very indifferent and executed against
time for the booksellers.
1. Jacob Cornelisz., after Cornelis Visscher, an upright plate,
arched at the top, the engraver's best print, good, 10s.
2. Sir Matthew Hale, fair, 5s. 6d.
ENGRAVERS AND THEIR WORKS.
321
3. Thomas Butler, Earl of Ossory, good, 8s.
4. John Hopkins, the Poet, good, 6s.
5. Several of the Plates to Quartes' "Emblems".
6. Charles II., in oval, with trophy of arms, fine, 16s.
7. Richard Baxter, ætat. suæ. 76, with eight verses, fine,
£1 5s.
8. Mr. Hanserd Knollis, ætat. suæ. 93, fine, £1 8s.
9. John Taylor, with terrestrial sphere by his side, good, 10s.
10. A Monk of the Carthusian Order, fine, £1 1s.
11. James and Anne, Duke and Duchess of Monmouth (a pair
of ovals), coats of arms beneath, fine and scarce, £2 6s.
Hove (Paul de la).-An excellent engraver who was
working at Paris at the commencement of the 17th
century. Beyond this nothing seems to be known of the
artist. Each of the following plates is executed with the
graver.
1. Henrietta de Balsac d'Autriche, very fine, £2.
2. Maximilien de Béthune, Duc de Sully, three-quarter length,
very fine, £1.
3. Henry, Duc de Montpensier, three-quarter length in an
oval, 13s.
4. The Emperor, Rudolph II., fair impression, 10s.
Howitt (Samuel). - This artist, who confined himself
to sporting subjects and illustrations of natural history,
was born at Nottingham about the year 1765, and died at
London in 1822. His designs are carefully drawn, spirited
and truthful.
1. Wild Sports of the East, 36 old coloured impressions in the
wrappers with descriptive text; after J. Wickstead, good.
£9 17s. 6d.
2. The Wild Beasts at Exeter change, 1813, good, 5s.
3. Miscellaneous etchings of Animals, a complete set of 50
plates, 1803, good, £1 12s.
4. In Full Cry, a Hunting subject, in colours, good., 18s.
Hübner (Bartholome).—A German engraver, born at
Augsburg in 1727, living at Basle in 1795. This artist's
prints are not of much importance, except, perhaps, those
after Holbein, which are superior to his other subjects.
These include the Last Supper and portraits of Holbein's wife
and children, Sir Thomas More, Erasmus, and Johann Froben
the printer of Basle.
21
322
ENGRAVINGS AND THEIR VALUE.
Huchtenburgh (Jan van). - This excellent artist was
born at Haarlem about the year 1645; died at Amsterdam
in 1733. Though more celebrated as a painter of battle
scenes, encampments and similar subjects, he etched in a
masterly manner, sometimes finishing his plates with the
graver and is known to have scraped seven plates in
mezzotint. These last are rare in any condition and good
impressions are extraordinarily scarce.
1. View of Lille with the French Army, after Van der Meulen,
good, 14s.
2. A Battle between the French and Germans, after D. Hoog-
straeten, good impression of a fine print, £1 3s.
3. William III., reviewing his Army near Arnhem, good, 12s.
4. A Cavalry Charge, after Van der Meulen, fine, 16s.
5. A Dutch Horse Fair, after D. Hoogstraeten, fair, 6s.
Hudson (Henry).-This engraver was an artist in
mezzotint whose works are dated between 1782 and 1800,
during which period he seems to have lived in Great Russell St.,
Bloomsbury. No particulars of his life are readily available
beyond the meagre details stated. His plates shew
considerable artistic taste, though his drawing is
frequently out of perspective and often crude.
1. The Comforts of Industry; the Miseries of Idleness, both
after Geo. Morland, engraved in 1790, good uncoloured
impressions, £1 17s.
2. David and Bathsheba, after Castelli, good, 12s.
3. Belshazzar's Feast, after Rembrandt, very fine, full margin,
£1 15s.
4. Frances and Emma Hinchliffe, as
fine and rare, £4 10s.
Music" after W. Peters,
5. Sir William Hamilton, after Sir Joshua Reynolds, good,
£1 10s.
Huet (Paul).—A French landscape painter, who was
born at 1804; he died at Paris in 1869. This artist executed
a considerable number of etchings, wood-cuts and lithographs.
1. Six landscape subjects, proofs on India paper, £1 3s.
2. Sources de Royal, proof, fine. £1 8s.
Hughtenburg (Jan van).-See Huchtenburgh.
Hull (E.)—.A lithographer and designer living at the
time William Harrison Ainsworth published his well known
ENGRAVERS AND THEIR WORKS.
323
novel "Rookwood," 3 vols., 8vo. 1834. This work was not
illustrated until 1836 when a single volume edition appeared
with a portrait of the author after Maclise and 12 full
page etchings by George Cruikshank. The plates mentioned
below appear to have been issued to supply the deficiency
in some slight degree though they are much too large to
be conveniently bound up with the work.
1. A set of six prints illustrating episodes in the Life of
Dick Turpin, based upon Ainsworth's "Rookwood" 1.
Capture and Death of Tom King, 2. Turpin's flight through
Edmonton, 3. Stopping the York Stage, 4. Turpin and the
Gipsey, on Gonerly Hill, 5. Turpin mistakes Luke Rook-
wood for the Phantom of Tom King, 6. Death of Black
Bess. Lithographs (17ins. by 14ins.), 1834, fair, 15s.
Hulsberg (Hendrik).—A Dutch engraver, born at
Amsterdam about the year 1730; died in London in 1792.
This artist excelled in architectural views and large build-
ings, which he executed in a neat, but tasteless style,
resembling that of Simon Gribelin. His portraits all seem
to have been engraved for the booksellers. None of his
prints are of much pecuniary value.
1. Mr. Aaron Hill, good impression, 8s.
2. Bulstrode Whitelocke, fair, 3s. 6d.
3. Views of Whitehall Palace, after Inigo Jones (4), good, 16s.
4. A Prospect View of Portsmouth and Gosport, from St. Helen's,
after Lightbody, rare, 8s.
5. Various plans and elevations from Castle Howard (14),
good, 7s. 6d.
6. The Monument of London, according to Wren's first design,
good, 8s. 6d.
Humphrey (William).--An English mezzotinto en-
graver, born about the year 1740. The date of his death is
not known, but he practised towards the close of last century
and was certainly living in 1795. His mezzotints after
Reynolds, possess very high merit. This artist also executed
a few etchings and occasionally handled the graver.
1. Colonel R. King, good, 11s.
2. John Sturt, engraver, after Faithorne, fine, 12s.
3. Sir William Monox, yrst state, 14s.
4. George Vertue and Margaret his Wife, “in the habits in which
they were married, Feb. 17, 1720," coloured, after Vertue,
very fine, full margin, £2 15s.
324
ENGRAVINGS AND THEIR VALUE.
5. Madame Schinderlin, after Reynolds, three-quarter length,
fine, £1 6s.
6. Miss Fitzroy, proof before letters, 13s.
7. Dr. Arne, after Dunkarton, good, 11s.
8. Georgiana, Duchess of Devonshire, after Reynolds, fine
lettered impression, £3 16s.
Hunt (Charles).-An engraver of sporting subjects
after Robert Pollard and others. This artist's prints have
always been popular with sportsmen on account of their
great fidelity to nature and careful execution. Most of
them, too, are coloured and this also adds to their attraction.
C. Hunt was practising in London during the earlier years
of the present century. The following have all been sold
by auction within the last few months.
1. The Life and Death of Tom Moody, after Pollard, the set
of 4 plates, coloured £1 1s.
2. Coming in for the Derby, after Turner, coloured, fair. 9s.
3. The Field, The Road, both after Turner, coloured, fair, 10s.
4. The New London Royal Mail, after Pollard, good, 12s.
5. View on the Highgate Road, after Pollard, old impression,
but laid down, £1 16s.
6. The Cambridge Telegraph Starting from Fetter Lane, after
the same, old impression, but laid down, £1 10s.
7. The Four-in-Hand Club in Hyde Park, after the same, in
colours, rare, £1 14s.
8. The Sportsman Preparing, after E. F. Lambert, fair. 8s.;
the same, in colours, good, £1 12s.
9. The Sportsman's Visit, after the same, good coloured im-
pressi on, £1 15s.
10. Orlando, the Winner of the Derby in 1844, after J. F. Herring,
in colours, good, £1.
11. The Rival Whiskers "They look not like the inhabitants.
o' the earth and yet are on't (1234ins. by 10½ins.). after
Theodore Lane, in colours, fair, 10s.
Huret (Grégoire).-A French engraver, who was born
at Lyons about 1600. He worked for some years at Paris,
and died there in 1670. The engravings of this master
are very numerous and many of them from his own designs.
He worked entirely with the graver in a coarse, heavy
style, apparently in imitation of that of François de Poilly.
1. An allegory of Louis XIII., seated on a cloud, fair, 6s.
2. Mary Stuart, Queen of Scots, half length, her execution in
the distance, rare, £2 7s.
ENGRAVEKS AND THEIR WORKS.
325
3. Various religious subjects, some of which were proofs (18),
£1 5s. 6d.
4. Thomas à Becket, Slain at the Foot of the Altar, scarce,
£1 5s.
5. The Crucifixion, 1664, good lettered impression, with margin,
12s.
Huter (Simon).-This artist who was apparently a
German, engraved very neatly in wood, frequently from
the designs of Jost Amman. He also worked conjointly
with Virgil Solis in a style somewhat resembling, but
distinctly inferior to, that of Amman. His cuts, though
not devoid of merit, are deficient in that fire and animation
which are so often seen in the works of the older masters.
His prints include a portion of a set of small cuts from
the History of the Bible executed conjointly with Virgil
Solis and other masters and also several of the small prints
in a work entitled "Neuwe Biblische Figuren," printed at
Frankfort in 1564. None of those are of much pecuniary
value though complete sets are seldom met with.
Hyrtl (Jakob).—An Austrian engraver, born at Vienna
in 1799; died there in 1868. This artist's plates, though
not of much importance, are occasionally sought for to
compare with those of Joseph Fischer, who instructed him
in the art of engraving. The following have been sold
recently.
1. The Enchanted Rose, after Machold; The Catacombs, after
Joseph Platzer; The Prison, after Steenwijck (3), good, 12s.
2. Christ before Pilate, after Houthorst, very fine, 12s. 6d.
Ingouf (François Robert).-A French engraver, born
at Paris in 1747; died there in 1812. This artist was one
of the pupils of Flipart, and worked principally for the
booksellers, engraving vignettes and similar small subjects.
Among his larger works are the following.
1. Pierre Guillaume Simon, with margin, good, Ss.
2. The Return of the Labourer, after Benazech, good, 6s.
3. A Winter's Night, after Freudenberger. proof, fine, 14s.
4. Gerard Dow, playing a violin, after his own painting,
good 7s. 6d.
326
ENGRAVINGS AND THEIR VALUE.
Ingouf (Pierre Charles).-This artist was the elder
brother of the preceding. He was born at Paris in 1746
and died there in 1801. Like his brother he was a pupil
of Flipart.
1. Jean Jacques Rousseau, engraved after a model in wax,
his best plate, fine, 15s.
2. The Contented Mother, after Wille, fair, 2s. 6d.
3. The Discontented Mother, after the same, fair, 2s. 6d.
4. Blowing Soap Bubbles, after Mieris, good, 8s.
Ireland (Samuel).-An engraver and draughtsman, who
was born in Spitalfields about the year 1725; he died in
the year 1800 at London. This artist executed a number
of mezzotints for several works brought out by him, viz.:
"Picturesque Views on the River Thames," "Picturesque
Views on the River Medway," and other books of a similar
kind. None of these prints are authentic representations
of the scenes delineated, for Ireland either trusted to the
authority of other persons, or, in some instances, drew
entirely from his imagination.
1. Etchings representing Anne of Austria and some monkish
saint, after Vandyck, fine (2), 12s.
2. Views on the Medway and Wye (3), fair, 5s. 6d.
3. A
set of the plates from "Picturesque Views of the
Warwickshire Avon," (33). Ordinary impressions coloured,
18s.
1
Isac (Jaspar).—A Dutch engraver, who was working at
Paris during the first half of the 17th century. His
principal engravings consist of portraits executed with the
graver in a neat style, but devoid of taste. He also
executed a number of ornamental frontispieces for books
published from time to time at Paris.
1. Michel de Castelnau, bust in an oval, verses at foot,
fine, £1 1s.
2. Charles Loyseau, oval, with wreath of oak leaves round, and
inscribed "Bonis Avibus," fine, £1.
3. Etienne Pasquier, oval, with inscription, fine and scarce
£1 5s.
Isselburg (Peter).-A German engraver who was born
at Cologne about the year 1580. This artist worked at
his native town and also at Nuremberg, and is supposed
ENGRAVERS AND THEIR WORKS.
327
to have died at the latter place about the year 1630. He
is said to have been a pupil of Crispin de Pass, the elder,
and to have worked entirely with the graver in a rough
and inferior style.
1. Henry VIII., King of England, dated 1616, three-quarter
length in oval, rare, good impression, 12s.; again,
brilliant, £1 2s.
2. Frederick of Bohemia, good, with full margin, £1.
3. James I., King of England, good, 12s.
Jackson (John Baptist).-An English wood engraver,
who was probably a pupil of the person who engraved the
small headpieces and ornaments in Maittaire's Latin Classics,
published by Tonson in 1713. Jackson was first apprenticed
to Elisha Kirkall, but though an excellent artist, could
find no employment in England. In 1726 he went to Paris
and afterwards to Rome and Venice, finally settling down
about the year 1750 at Battersea in a paper hanging
factory. His principal work consists of a set of 17 large
cuts in chiaro-scuro from the works of Titian, Caliari
and others and a "Descent from the Cross," after Rembrandt.
This latter is a fine production.
Jackson (John Richardson).—An engraver in mezzo-
tint, who was born at Portsmouth in 1819, and died at
Southsea in 1877. This artist first practised line engraving
under the tuition of R. Graves, but soon abandoned that
method in favour of mezzotint. His plates in this style
are all portraits, distinguished for their brilliant and refined
execution.
1. William Gilpin, Treasurer of Christ's Hospital, 1859, three-
quarter length, resting left hand on book, proof, open
letters on India paper, £1 5s.
2. Archbishop Trench, after Richmond, proof, 12s.
3. Henry, Marquis of Lansdowne, after Grant, fine, 16s.
4. Otter and Salmon, after Landseer, date 1847, proof, with
margins intact, £1 16s.
5. The Duke of Edinburgh, after Saye, good, Ss. 6d.
Jackson (Mason).-A wood engraver, the son of John
Jackson, one of the authors of Chatto's "Treatise of Wood
328
ENGRAVINGS AND THEIR VALUE.
Engraving." Several of the plates in Bohn's Illustrated
Edition of Walton's Angler, are by this artist. He flourished
about 1850.
1. Peg Woffington, after J. F. Lewis, second state, very
fine, £24.
Jacob (Louis).— Born at Lisieux, Normandy, in 1712;
died at Paris in 1772. This artist, who was a pupil of
Jean Audran, worked entirely in line. His works are not
numerous nor are they, as a rule, of much value. Most of
them are very deficient in point of effect and still more so
in the drawing of the human figure.
1. St. John the Evangelist, after Alessandro Tiarini, presenta-
tion proof, 10s.
2. Rebecca at the Well, after Paolo Veronese, fine, with
margin, 14s.
3. The Israelites Driven from Egypt, after the same, good, 6s. 6d.
4. Perseus and Andromeda, after the same, fine, with margin, 10s.
5. The Adoration of the shepherds, after the same, fair, 4s.
Jacobé (Johann).-A German mezzotinto engraver,
who was born at Vienna in 1733; he died there in 1797.
During a visit to London in 1779 he scraped a number of
portraits, but most of his work was done in Germany.
Really fine impressions of his English portraits are very
valuable.
1. Omai, an Otaheitan Chief, whole length, in native costume,
after Sir Joshua Reynolds, fine, £1 10s.
2. Miss Meyer, as Hebe, full length, after the same, very
fine, £16 10s.
3. A bull baited by dogs, after Rembrandt, good, 12s.
4. Stag-hunting by moonlight, after Casanovo, good, with
large margin, 16s./71/55
Laby Cork.
5. The Honourable Lady Moncton, finé proof, £125 15s.;
again, fine lettered impression, £31.
6. The Life Class-Vienna, after Queideil, fine proof before
letters, £5 10s.
7. William Hayley, after Romney, good, £1 1s.
8. Lord George Germain, after Romney, fair, 8s.
Jacobsz.-See Leyden (Lucas van).
Jacquemart (Jules Ferdinand).—A French painter
and etcher; born at Paris in 1837; died at Nice in 1880.
This artist supplied the plates for his father's well-known
ENGRAVERS AND THEIR WORKS.
329
"Histoire de la Porcelaine," one of the best works of its
class extant. He also executed a number of etchings,
among his best known works of this character being ten
plates from the pictures in the Museum at New York, a
portrait of Rembrandt, "The Head of Christ," after Leonardo
da Vinci, The Reader," after Meissonier, and a number
of subjects from Ostade, Frans Hals, Heemskerck, Sir Joshua
Reynolds and others.
66
Jacquet (J.).-See under Meissonier (Jean Louis
Ernest).
Janinet (Jean François).- A French engraver, born
at Paris in 1752, died there in 1813. This artist is celebrated
for a method of colour printing which he invented.
His process
is not obvious, but he seems to have used
a succession of engraved plates each charged with a different
colour, thus building up his picture, so to speak, little by
little until the desired result was obtained. In effect, this
process would be substantially the same as that followed
by engravers in chiaro-scuro with the difference that many
plates of metal, instead of three, or at the most four
blocks, would be used. The process is perhaps the same
as that afterwards successfully carried out by George
Baxter (q. v.).
1. Le Repos des Moissonneurs and companion print, in
colours (2), good, £3 3s.
Jardin (Karel du).-This well-known artist, a pupil
of Nicolaas Berchem, was born at Amsterdam about the
year 1625, and died at Venice in 1678. The number of
his etchings amounts to fifty-four. They are executed in
a style resembling that of Waterloo, but are more neatly
finished and determined. They consist entirely of land-
scapes enriched with animals and figures.
1. Cows and sheep, fine impression, 12s.
2. The cow and calf, proof before the number, 12s.
3. The two dogs and the pigs, proofs before the number (2), 16s.
4. The village on a mountain and a landscape with rocks,
proofs before the numbers (2), £1 6s.
330
ENGRAVINGS AND THEIR VALUE.
5. Landscapes with ruins, proofs before numbers, £1 13s.
6. The two hogs and horses, proofs before numbers, £1 11s.
7. The portrait of De Vos, fine and rare, £1 5s.
8. The works of Karel du Jardin, with the numbers, fine set
of early impressions (52), £6.
9. The Mules, before the numbers (2), very fine, £2 16s.
10. The two horses, before the number, very fine, £1 6s.
11. Frontispiece, The Fountain in Ruins, before the address of
Falk and P. Schenck, fine, 10s.; the same, proof before
the inscription, £2 2s.
12. The Three Pigs, sleeping near their sty, before the number,
very fine, £3 5s.
13. The Shepherd behind a tree, before the number, very fine,
£4 16s.
Jardinier (Claude Donat).-This artist appears to
have been born at Paris about the year 1725, and to have
died there fifty years later. He was one of the pupils of
Laurent Cars, whose style he imitated to some extent,
though his works contain much evidence of originality.
His touch is invariably light and pleasing, his drawing correct,
and the gradations of light and shade well managed.
Among the artist's plates are:
1. The Virgin and Child, after Carlo Maratti's painting in the
Dresden Gallery, good, 12s.; again, fine with full margin, 16s.
2. An allegorical subject after Annibale Carracci representing
"The Genius of Glory and Honour;" a figure flying in
the clouds surrounded by Cherubs and holding a crown,
very fine, £1 1s.
3. Two Soldiers playing at Cards, after Valentin.
4. A mother with three children, after Greuze.
Jazet (Eugène).-A French mezzotint engraver, born
at Paris in 1816; died there in 1856. This artist was the
son of Jean Pierre Marie Jazet, an engraver who is chiefly
celebrated for his series of battle pieces after Vernet, and
his mastery of the art of working in aquatint. Jazet, père,
was born at Paris in 1788 and died there in 1871.
1. Napoleon I., after Vernet (by Jazet the elder), good, £2 8s.
2. Queen Elizabeth dying, after Paul Delaroche (by Jazet the
younger), good, £1 5s.
3. The Simoom in the Desert, after Pierre Biard (by the same),
fine, £1 7s. 6d.
Jeaurat (Edme).-A French engraver, born at Paris
in 1672; died there in 1738. This artist was a pupil of
ENGRAVERS AND THEIR WORKS.
331
Bernard Picart. His plates are superior in merit, though
not equal in neatness to those of Etienne Jeaurat (1699—.
1789), who executed a few plates of little consequence.
Edme Jeaurat made more use of the point, and his land-
scapes and foregrounds, though rougher, are far more natural
and pleasing than those of his namesake. The following
plates are by him.
1. The Finding of Moses, after Paolo Veronese, fine, with
large margin, 17s. 6d.
2. The Resurrection, after Vleughels, fair impression, 7s.
3. Telemachus at Calypso, after the same, 3s.
4. Pan and Syrinx, very fine, with ample margin, £1.
5. The Rest in Egypt, after Mola, good,
margin, 12s.
with slight
6. Christ Disputing in the Temple, fair impression, 5s. 6d.
Jegher (Christoffel).-A talented wood-engraver, who
was born at Nuremberg in 1592; he died in Holland about
the year 1665. Jegher worked almost entirely after Rubens,
whose name frequently appears as publisher of his prints.
When this is the case the impression is more valuable
than it would have been had the name of Jegher appeared
instead. He was employed by Rubens to engrave some of
his designs and after the death of the great painter, Jegher
purchased the greater part of the blocks and substituted
his own name. These blocks are engraved in a bold, free
style with large powerful strokes, the imitation of cross
hatchings with a pen being finely expressed.
1. The Virgin and Child, in a landscape, after Rubens, with
his address, good, 16s.
2. Our Saviour Tempted, Silenus, both after Rubens. (2).
fair, 12s. 6d.
3. The Infant Christ, and St. John Playing with a Lamb.
after Rubens, address of Jegher, fair, fs.; again, with the
address of Rubens, fine, 17s. 6d.
4. The Repose in Egypt, after Rubens (chiaro-scuro), fine,
with the address of Rubens, £1 12s.
5. Hercules Destroying Fury and Discord, after Rubens, with
his address, fine, with margin, £1 4s.
6. The Drunken Silenus, after Rubens, with the address of
Jegher, good, 6s.
7. The Garden of Love, after Rubens, in two sheets, with the
address of Rubens, very fine, £1 18s.
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ENGRAVINGS AND THEIR VALUE.
Jenichen (Balthasar).-This is the name of an engraver
which is affixed to some slight etchings of foliage and orna-
ments and small historical subjects in circles executed with
the graver. A number of wood-cuts by this artist are also
extant and most of his subjects are dated from Nuremberg
between 1560 and 1577. The value of his productions is,
as a rule, small.
Jenkenson (Anthony).—An artist who was living in
England about the year 1560. His work consists entirely
of maps and plans of various descriptions.
1. Map of Russia, Moscow, and Tartary, very rare, 16s.
Jenner (Thomas). This artist, who flourished about
the year 1650, was an engraver and printseller in London.
His best print is that known as the "Soverayne of the
Seas," mentioned below.
1. Sir William Ward, Lieutenant of the Tower, good impression,
and very rare, £1 15s.
2. The "Soverayne of the Seas, Builte in the Yeare 1637,"
an etching dated 1653 (the sails are numbered, so there
evidently ought to be a key), good, and very rare, £3 3s.
3. Oliver Cromwell, good, but cut, 12s.
4. William Sommers, King Henrye's Jester, are to be sold by
Thomas Jenner, at the White Bear in Cornehill, good,
14s.; again, very fine impression, full margin, £2 18s.
Jervas (Charles).-Born in Ireland about 1670. This
artist was a pupil of Sir Godfrey Kneller, and is supposed
to have taught drawing to Alexander Pope, who has im-
mortalised him in his "Epistle to Mr. Jervas." Prints by
Jervas are not highly esteemed, as, notwithstanding Pope's
eulogy it is generally admitted that his productions are
remarkable only for their inferiority. Jervas died at London
in 1739.
1. Title to a Catalogue of the Collection of Charles Jervas,
Esq., consisting of pictures, &c., rare etching, 12s. 6d.
2. Dean Swift, after his own painting, good, 15s.
Jesus Christ.- Needless to say, this could not have
been the real name of this artist, who, with what motive
it is impossible to say, was accustomed to mark his prints
ENGRAVERS AND THEIR WORKS.
333
in this manner.
He flourished between the years 1561-72.
Nothing whatever is known of him, but his prints, though
badly executed, sell well.
1. The Marriage of St. Catherine, after Parmigiano, fine, not
mentioned by Bartsch, £2 5s.
2. The Annunciation, dated 1566, fine and rare, slight margin,
£2 10s.; again, cat, £1 1s.
3. Diana at the Bath, good impression, scarce, £1 5s.
66
4. A Sibyl, No. 13 in Bartsch, known as The Sibyl of Samos,"
good, 14s. (There are Eleven plates in the complete set
of the Sibyls, all numbered).
Jode (Arnold de).-Born at Antwerp in 1638, living
in 1680. He was the son of Pieter de Jode, the younger.
This engraver's best prints are portraits, but even these
have no great merit to recommend them. His plates,
which are all executed with the graver, are weak in design
and frequently very incorrect in drawing.
1. Sir Peter Lely, large three-quarter length, wearing a wig,
with inscription, 7s.
2. Justus Lipsius, three-quarter length, ruff, and fur collar to
coat, very fine, £3 3s.
3. Charles Gustavus Wrangel, bust in armour, in lace collar
and scarf, illustrated oval, fine, £1.
4. Cardinal Antonio Pallavicini, after Titian, very fine, £3 6s.
5. Alexander Browne, after Huysmans, fair, 11s.
Jode (Pieter de, the elder). -- Born at Antwerp in 1570;
died there in 1634. This artist's plates which number about
a hundred are neatly executed though stiff in style. He
was one of the pupils of Hendrik Goltzius and is said
to have also engraved upon wood.
1. The Five Senses, after his own designs, good, 12s.
2. Portrait of Boccaccio, after Titian, fine, £1.
3. The Coronation of St. Catherine, good, 10s. 6d.
Jode (Pieter de, the younger).-Born at Antwerp in
1606; date of death unknown. This artist was the son of
Pieter de Jode the elder, whom he far surpassed in taste
and the art of handling the graver, though he can hardly
be said to have equalled him in correctness of drawing,
particularly when confined to the human figure. His best
plates are after Rubens and Vandyck.
334
ENGRAVINGS AND THEIR VALUE.
1. The Nativity, after Jordaens, first state before the address
of Sayers, very fine, £2 10s.
2. Mary, Daughter of Charles I., William, Prince of Orange,
small half lengths (2), good, £2.
3.
Henrietta Maria, after Vandyck, choice proof before any
letters, £9 9s.
4. Gaspard de Coligny, Maréchal de France, half length in
armour, 12s.
5. Petrus A. Francavilla, three-quarter length, in an embroidered
coat, 8s.
6. Henry, Prince of Wales, eldest son of James I., bust in
armour, in small oval, rare and fine, £5 10s.
7. James VI. of Scotland and I. of England, three-quarter
length, in jewelled hat and ermine cloak, good, £2 4s.
8. Jean Tserclaes, Count Tilly, third state, with the "G. H.,"
fine, with large margin, £2 2s.
9. Count Albrecht Wallenstein, Duke of Friedland, half length
in armour, second state, fine, £1 1s.
10. Erycius Puteanus, second state, with the name of the
engraver, 5s.
11. J. Oxenstiern, a fair impression, 8s.
12. Martin of Tours Performing a Miracle, after Jordaens,
proof, very rare, £2 10s.; the same, proof, before the
cartouche underneath was finished, £2 17s. 6d.
Johnson (James).—A mezzotinto
engraver, who
flourished in London about the year 1750. His prints are
mostly after Correggio, Le Brun and Rubens.
1. A maiden, with an attendant, about to bathe, after Le
Moyne, fine, £1.
2. Lady Erskine, after Ramsay, good, £1 16s.
Johnson (Laurence).- This artist, who lived early in
the 17th century, is but little known. His chief work
consists of a series of heads for the General History of
the Turks," published in 1603. He worked entirely with
the graver but in a style described as very indifferent.
Nevertheless, fine impressions of his works, often command
high prices.
1. Portrait of James the First, in a hat and feather, holding
an orb and sceptre, coats of arms on the print, half
sheet, dated 1603, very fine and rare, £45.
2. Othman the First, "Rex Turcorum," 1300, profile bust in
oval, dated 1603, 11s.
3. Tamerlane, fine, 12s.
Johnson (Thomas).-A mezzotinto engraver, born at
Boston, in Lincolnshire, in 1708; died there in 1767.
This
ENGRAVERS AND THEIR WORKS.
335
artist worked principally in London and scraped some
excellent portraits. It has been questioned, however, by
some authorities whether "Thomas Johnson
Thomas Johnson" was not in
reality a pseudonym used by Johan Faber, the younger, in
cases where he wished to issue plates below his usual
standard of excellence. This question will probably never
be settled.
1 Thomas Britton, Small Coal Man, after Woolaston, first
state before the word “ Smalcoal" was altered to "Small
Coal," rare in this state, £1 14s.
2. Mr. William Bullock, comedian, no states, exceedingly
rare, £5 5s.
3. Edward Hyde, Earl of Clarendon, after Zoust, good, £1 2s.
4. Adam and Eve, a small plate, very fine and rare, 17s. 6d.
Jones (John). - Born about 1740; died at London in
1797. This artist's reputation rests on his mezzotint en-
gravings, some of which are extremely fine and often
command very high prices. He practiced also in stipple
and produced a large number of plates, chiefly from portraits
by Reynolds, Romney and other contemporary painters,
which, with few exceptions, he published himself in Great
Portland Street, London.
1. John Still, Bishop of Bath and Wells, mezzotint, fine,
£1 10s. Only twenty impressions were taken from the
plate.
2. Thomas Legge, LL.D., Master of Gonvile and Caius Colleges,
proof and another with inscription (2), £1 2s.
3. The Honourable Thomas Erskine, half length, 18s.; the
same, proof, £1 2s.
4. Mrs. Davenport, after Romney, three-quarter length, head
to the front, very fine proof, rare, £12 5s.
5. The Right Hon. Charles James Fox, half length, standing,
brilliant proof, £11 10s.
6. Lady Emma Hamilton, after Romney, three-quarter length,
seated, proof before letters, £35 14s., again, in colours,
very fine, £61 19s.
7. Samuel, Lord Hood, half length, leaning on a rock, in
naval uniform, proof, open letters, £4 4s.
8. Miss Kemble, three-quarter length, in a white dress, proof
before the name, fine, £34.
9. Miss Kemble, three-quarter length, frilled black dress,
brilliant, early proof, £32.
10. Lady reading, after Romney, £3 10s.
336
ENGRAVINGS AND THEIR VALUE.
11. Lord Mansfield, after Vaslet, good, 17s.
12. Lady Caroline Price, three-quarter length, hair frizzed and
powdered, after Reynolds, first state, fine, £65.
13. Robert Adair, proof, open letters, £1 Ss.
14. C. J. Cholmondeley, after Reynolds, 12s.
15. Sir Busick Harwood, M.D., 8s.
16. John Henderson, good, but cut, 6s.
17. Lady Gertrude Fitzpatrick, in the character of "Cellina."
after Reynolds, fair, £1 15s.
18. Lady Ann Fitzpatrick, in the character of "Sylvia,” after
Reynolds, 17s.; again, good margins, £1 10s.
19. Mrs. Tollemache as "Miranda", after Reynolds, good £7;
again, first state, £57 15s.
20. Collina, after Reynolds, fair, 11s.
21. Dulce Domum and Black Monday, both in colours, after
Bigg, fine, £9 10s.; again, both very fine impressions, £21.
22. Lord Sheffield, after Reynolds, good, £2.
23. Miss Sneyd, as Serena", rare, £5.
24. Robinetta, The Sleeping Girl, both after Reynolds (2), £1 18s.
25. Miss Farren and Mr. King. as Sir Peter and Lady Teazle,
after Downman, proof before letters, rare, (2), £7 10s.
26. Mrs. Edwards, after Lauranson, fine first state, £9 9s.
Joullain (François).—A French engraver, born at
Paris in 1697; died at the same city in 1779. This artist's
style of engraving bears а resemblance to that of
Laurent Cars under whom he probably studied. His prints
are, however, inferior to those of that engraver both in
point of correctness and facility of expression.
1. Mercury and Herse, after Paolo Veronese, fine, with margin,
13s.
2. Marsyas Flayed by Apollo, after Paolo Veronese, fair, 8s.
3. A Boar Hunt, after Desportes, good, with slight margin, 15s.;
again, fair, 5s.
Juster (Joseph).-Born in France; working at Venice
between the years 1690-1700. This artist's plates are
coarsely etched and finished with the graver. His best
prints are contained in the collection published by Patin
at Venice in 1691 under the title "Pitture Scelte e Dichiarate
da Carla Caterina Patina Parigina accademica."
1. Plates to Cupid and Psyche (10), 12s. 6d.
Kabel (Adriaan van der).-Born at Ryswick near
The Hague in 1631; died at Lyons in 1705. This artist's
prints, which are few in number, are well executed and
ENGRAVERS AND THEIR WORKS.
337
usually bring fair prices. He was a pupil of Jan van
Goyen and excelled in painting landscapes, sea-ports and
cattle. His plates are all etched.
1. Four mountainous landscapes, after N. Robert, good, 16s.
2. Thirty landscapes and marine subjects, fair, £1 5s.
Kartarus (Marius). This artist was probably of
German birth though he seems to have resided at Rome
for many years. He was living there in 1578 when he
published a work on perspective entitled "Prospettive
diverse." Bartsch, vol. xv., p. 520, gives a list of twenty-
seven works by this master, all coarsely etched and some-
times finished with the graver.
1. The Martyrdom of St. Catherine, first impression, the Last
Judgment, after Michaelangelo, the Landscape by Moonlight
after Titian (3), £1 4s.
2. The Last Judgment, first impression, and fine, £1 7s.
3. The Conversion of Saul, good 15s.
4. The Holy Family attended by St. Mark, after Romano, with
and without the address of Lafreré (2), 13s.
5. Angels Crowning the Virgin, fair, Ss.
6. Christ praying in the Garden, after Albrecht Dürer, dated
Roma, 1567, good, 18s.
Kauffman (Angelica).-Born at Coire in 1741; died
at Rome in 1807. This artist, though chiefly celebrated
as a painter, executed a few etchings which shew great
taste and spirit, Among the best are
1. The marriage of St. Catherine, after Correggio, fair, 8s.
2. L'allegro; Il Penseroso, the pair, good, £1 4s.
3. Portrait of an artist with a pencil in his hand, fair, 5s.
4. The Virgin and Child, after the artist's own design, good, 12s.
Keating (George).-This engraver, who was one of
the pupils of William Dickinson, was born in Ireland in
1762 and practised in London towards the end of the 18th
century. He worked in mezzotint and stipple and his
numerous plates, especially coloured impressions after
Reynolds and Morland, are highly esteemed and often bring
high prices. See also under Morland (George).
1. Camilla fainting in the arms of her Father; Camilla
recovering from her swoon, both after W. Singleton,
fair (2), 12s.
22
338
ENGRAVINGS AND THEIR VALUE.
2. The Offer of Love, no margin or inscription space, fine,
£9 12s.
3. William Pitt, after De Koster, open letter proof, £1.
4. Saint Cecilia, after J. Romney, printed in colours, very
fine, £15 15s.
5. The Deserter, after Morland, set of four plates, coloured
very fine, £30.
6. The Anglers' Repast and a Party Angling, both after Morland,
coloured, fine, £25.
7. Trepanning a Recruit; The Recruit Deserted, both after the
same, good, £6.
8. The Deserter, Trepanning a Recruit, Recruit Deserted,
and Deserter taking leave of his wife, four fine impres-
sions in colours, after Morland (4), £61.
9. The Family Dinner at the Cottage Door, after F. Wheatley,
1798 (13% ins. by 10%, ins.), and Tenderness Persuading
Innocence (after the same), same date and measurement,
both in colours, fair, £2 12s.
10. The Earl of Derby, after T. Gainsborough, open letter
proof, good, £1 5s.
11. The Cottager's Wealth, after Morland, in colours, good,
£1 10s.
Keller (Joseph von).-This artist was a German
engraver, born at Linz in 1811; died at Dusseldorf in 1873.
He worked entirely with the graver in rather a rough
style. His prints are not of much importance.
1. The Queen of Heaven, fair, 3s.
2. The Holy Trinity, after Raffaelle, good, 7s. 6d.
3. Mater Dolorosa, after Deyer, good, 8s.
Kellerthaler (Johann).-A German engraver who,
according to Bryan, was born at Dresden about the year
1530; date of death not stated. This artist appears to have
engraved a number of plates after Nosseni, an Italian
architect who flourished at Dresden in 1575. These include
"The Destruction of Babylon." "The Pope receiving the
Homage of Charlemagne," "The Building of the Tower of
Babel" and a few other prints, none of which are of much
value.
Kessel (Theodorus van).-Born in Holland about the
year 1620; died about 1680. This artist's works consist
principally of etchings, which, when he did not attempt
to drawn the human figure are free, spirited, and as a
ENGRAVERS AND THEIR WORKS.
339
rule, correct in design. The reputation of this engraver
is not, however, high.
1. The Martyrdom of St. Barbara, after Vandyck, fine, £1 4s.
2. Susannah and the Elders, after Guido, fine and rare, 12s. 6d.
3. The Virgin and Child, after Vandyck, good, 12s.; again,
very fine, £1 5s.
Kilian (Bartholomäus, the younger).-This engraver
was the youngest son of Wolfgang Kilian, second son of
the founder of the well-known family of artists. He was
born at Augsburg in 1630 and died there in 1696. The
artist's works consist almost entirely of portraits which he
executed with great success. His plates are worked with
the graver in a very neat manner, the fleshy parts of the
human figure being finished with dots. His portraits are
very numerous, but unless proofs in the finest state, are
not valuable.
Kilian (Lukas).—This artist was born at Augsburg in
1579, and afterwards worked in Germany and Italy; he
died at Augsburg in 1637. His plates are worked entirely
with the graver.
1. Augustus, Duke of Brunswick, three-quarter length, oval.
with Latin verses beneath, 1621, 14s.
2. Christian IV., King of Denmark, three-quarter length, in
armour, oval, with Latin verses beneath, 10s.
3. Albrecht Dürer, two whole-length figures, the left as he
was in 1509, and the other as in 1517, fine, £1 2s.
4. Count Walter Leslie, illustrated oval, three-quarter length
in armour, inscription round oval, 10s.; again, fine and
rare, £2 15s.
5. Hans Sachs, German poet, three-quarter length, small square,
scarce, good impression, 12s.
6. Johann Tzercles, Count Tilly, half length, in armour, 1629,
very fine, £1 10s.
Kilian (Philipp Andreas).-Another engraver of the
same family, born at Augsburg in 1714; died there in
1759. His best plates are after the pictures in the Dresden
Gallery.
Kilian (Wolfgang).—This artist, the younger brother
of Lukas Kilian, was born at Augsburg in 1581; he died
340
ENGRAVINGS AND THEIR VALUE.
there in 1662. His style greatly resembles that of Lukas
Kilian.
1. Bonaventura Baro: Hibernus Clonmeliensis, ætat. 52, 1662,
folio, fine and scarce, £1.
2. Ernest, Count of Mansfield, fair, no margin, 3s.; again,
good, 6s. 6d.
3. The Archbishop of Treves, rare, with large margin, brilliant
impression, £2.
4. The Resurrection, after Bassano, very fine, 18s.
King (Daniel).-An English engraver, who, according
to Bryan, flourished about the year 1650.
Several of his
prints appear in Dugdale's "Monasticon Anglicanum."
The two mentioned below are out of a set of fifty executed
for a publication known as "The Cathedral and Conventual
Churches of England and Wales." Of this number King
engraved forty-seven.
1. Canterbury Cathedral (after Thomas Johnson), Ely Cathedral,
both good impressions (2), 12s.
2. West Prospect of the Church of Beverley, South Prospect
of York Cathedral, both very fine (2), 16s.
Kingsbury (Henry).-This engraver was working in
London from 1750 to 1781. His plates are executed entirely
with the graver in a neat but somewhat stiff style.
1. Miss Stanley, three-quarter length, in oval, after R. Smith,
good, £1 1s.
2. The Countess of Jarnac, dated 1781, fair, 9s.
3. A beggar with a dog, after Kitchingman, 1775, very fine,
with large margin, £1.
4. Miss Kemble, after Downman, very fine, in colour, £11 11s.
5. Girl and Pigeons, after Hoppner, scratched letter proof,
£2 8s.
Kirkall (Elisha).-Born at Sheffield in 1695; died in
London in 1751. This artist worked both in mezzotinto
and chiaro-scuro, and produced some curious effects by
employing the two styles on one plate. His reputation
indeed rests on this invention, by means of which he
produced prints in chiaro-scuro, by a blend of etching and
mezzotint, steel plates and wooden blocks being used
indifferently. The outlines were always etched, the dark
shadows being supplied in mezzotint and the half tints by
woodcuts.
ENGRAVERS AND THEIR WORKS.
341
1. Apollo and Daphne, a mezzotint in green, rare, and
fine, £3 15s.
2. The bust of Jesus Christ, after Raffaelle (mezzotint),
fine, £1 5s.
3. Æneas and Anchises, from the woodblock by Ugo da Carpi
after Raffaelle, dated 1722 (chiaro-scuro), fine and rare,
with margin, £3 3s.
4. St. Jerome, fine (chiuro-scuro), £1 5s.
Knight (Charles). This engraver, who is said to have
been a pupil of Bartolozzi, was born in 1743 and was living
in 1826. A very fine print by this artist known as "The
Spirit of a child borne into the presence of the Almighty," is
often ascribed to Dickinson. Nearly all his works are in
stipple.
1. A Dancing Bear, after Bunbury, in brown, fine, 8s.
2. The Favourite Rabbit; Tom and his Pigeons, both after
J. Russell, fine, in colours (2), £2 18s.
3. Damon and Musidora; Palemon and Lavinia, after Angelica
Kauffman, in colours (2), £5.
4. Idleness and Industry, after Morland, ovals in brown (2), £9.
5. Love and Hope, after Bunbury, circular, 12s.
6. Rosina, after Stothard, coloured, good, £2 14s.
7. Children feeding Chickens, after Hamilton, in colours,
fair, £1 18s.
8. Cupid's Revenge, and Cupid Disarmed, after Benwell, both
in brown, fine, £8 8s.
9. The Landlords Family; the Tenants Family, both after
Stothard, large upright plates, in brown, fine, £8 12s.
Kohl (Andreas). An obscure German engraver who
flourished in 1620.
1. Frederick II., oval, inscription in frame of ivy leaves,
good impression, £1 2s.
Kohl (Clemens).-This artist was born at Prague in
1754; he died at Vienna in 1807. He was the drawing
master of the Empress Maria Theresa.
1. Gazerin, Prince de Serge, bust in circle, proof before any
letters, 12s.
2. The Astrologer, 1775, fair, 5s. 6d.
Koogen (Leendert van der).-Born at Haarlem in
1610; died there in 1681. Most of this artist's prints are
in the style of Salvator Rosa. They are etched in a neat,
precise style.
342
ENGRAVINGS AND THEIR VALUE.
1
1.
Six prints of soldiers, two to each series, and dated
1664-25-'6, respectively, fine, with margin, £1.
2. Ecce Homo, 1664, good, 5s.
3. A sacrifice, tomb close by, good, 6s.
4. The head of a woman, dated 1664, good, Ss.
Kraft (Jan Lodewyk).-This engraver was born at
Brussels about the year 1705; the date of his death is not
known, but he was living in 1744. He has been described
as a very indifferent engraver whose etchings are executed
in a slight, tasteless style, and such appears to be the
case. In 1733 he published 150 plates in a series known
as "Le Trésor des Fables choisies des plus excellents
Mythologistes," and in 1744 engraved the portraits to the
Histoire Générale de la Maison d'Autriche." Among his
separately published works are :
1. Venus and Cupid, after Rubens, fair, 3s. 6d.
2. Job and his wife, after the same, good, 5s.
3. The Village Goatherd, after Teniers, good, 6s. 6d.
Kraus (Johann Ulrich).-This engraver was born at
Augsburg in 1645, and died there in 1719. He imitated
the style of Le Clerc and even copied the Life of Christ
by that artist. His prints are very numerous, and consist
chiefly of subjects from the Old and New Testament. As
a rule their value is small.
Kretschmer (Eduard).—A wood-engraver, born at
Leipsic in 1806; living in 1846. None of this artist's prints
are of much value from a pecuniary point of view. He
illustrated the "Illustrirte Zeitung," published at Leipsic
and the cuts in this work are among his best.
1. Death of Gustavus Adolphus, after Kirchoff, fair, 1s. 6d.
Krug (Ludwig).-Born at Nuremberg about the year
1450. This artist is sometimes called the "Master of the
Pitcher," from the way he marked his plates-"krug"
signifying a pitcher. His prints which seem to be modelled
on the style of Lucas van Leyden are all very rare.
1. Adoration of the Kings, scarce, £1 11s.
2. Two naked women, scarce, fine, £4 16s.
ENGRAVERS AND THEIR WORKS.
437
7th Nov. 1782, and died at London in 1874. He was one
of "Turner's engravers," having been employed by that
master to engrave some of his best works, notably "The
Temple of Jupiter, at Ægina," "The Rialto, at Venice,"
"The Castle of Ehrenbreitstein" and many others. He
also edited the well-known publication Pictures from
the National Gallery." See also Turner (J. M. W.).
Quadt (Mathias). This artist was born at Cologne
in 1575, and is known to have been working at Frankfort
in 1603. His prints are not numerous.
1. Charles de Gontault, Duc de Biron, in armour, small oval,
fine and rare, £2.
Queboren (Crispin van den).-A Dutch engraver,
who was living at the Hague about the year 1630, and
who was chiefly employed on small portraits which he
executed for the booksellers. He worked with the graver
only in a stiff, unpleasing style, though some of his prints
are not by any means destitute of merit. Queboren is
best known for the plates which he engraved for Thibault's
Académie de l'Epée," a work published at Antwerp
in 1628.
1. William Brog, Scotch general, three-quarter length, in
armour, fair. Ss.
2. Elizabeth, daughter of James I. of England, very rare, not
a good impression, 9s.
3. Frederick, King of Bohemia, girt with a sword, and holding
truncheon in right hand, fair impression, 7s.
4. Louisa, daughter of Frederick Henry, Prince of Orange,
large head in oval, fair, 5s.
5. Maurice, Prince of Orange, three-quarter length, fair, 9s.
6. Mary, Princess of Orange, daughter of Charles I.—the Prince
of Orange, both after Honthorst, fair 8s. 6d.
Queverdo (Louis Ive).-This engraver, who was one
of the pupils of Regnault, the historical painter, was born
at Paris about the year 1790; the date of his death is not
known. He executed a number of plates for the "Musée
Filhol," and the "Recueil des Prix Décennaux."
Rabel (Daniel).—A landscape painter of average merit
438
ENGRAVINGS AND THEIR VNLUE.
who was working at Paris in 1612. According to Nagler,
he died in 1628. His prints are but seldom met with, and
do not as a rule bring high prices. They are etched in a
style closely resembling that of Israel Sylvestre, and consist
for the most part of landscapes.
1. The Emperor Charles V., in armour, in a small oval,
inscription round, "Imperator Cæs. Carolus V. Aug.,'
fair, no margin, 8s.
Radclyffe (William).—This artist who worked entirely
in line, was born at Birmingham in 1796, and died there in 1855.
His best plates will be found in Roscoe's "Wanderings in
North and South Wales." A son of this artist, Edward
Radclyffe (1809—63), also engraved with some success, chiefly
for the "Drawing Room Books" which were at one time
so popular. Plates by these artists are not of much pecuniary
value, and when extracted from books, of little or none.
Rademaker (Abraham).-This excellent painter is
credited with a set of small etchings of Views in Holland
and the Netherlands. The complete series was published
at Amsterdam in 2 vols., 4to, 1731. Though executed in
a masterly style their value is not great. Rademaker was
born at Amsterdam in 1675, and died there in 1735.
Radi (Bernardino).—The name of this engraver, who
seems to have flourished about the year 1618, is found
affixed to a set of architectural ornaments, monuments, &c.,
published at Rome in 1618 under the title, "Varie inventioni
per depositi di Bernardino Radi Cortonese." These etchings
are very slight and of little merit. Their value is very
small.
Raibolini (Francesco di Marco).—See Francia Il.
Raimbach (Abraham).—An engraver of great eminence,
who was born at London in 1766. He died at Greenwich
in 1843. Smirke and Forster's edition of the "Arabian
Nights," 5 vols., 8vo, 1802, are illustrated throughout with
engravings by this artist, who obtained such credit by
}
ENGRAVERS AND THEIR WORKS.
343
3. The Nativity, fine, £6.
4. The Nativity, Virgin and Child (undescribed), and the two
women (3), fine, £2 14s; the two naked women, early
impression, £1.
5. The Wise Men's Offering and the two women (2), fine and
rare, 16s.
Kyte (Francis).-An English mezzotinto engraver, who
was living in 1730. Having been detected in some coining
experiments, Kyte was, in the year 1725, put in the pillory
and after suffering this disgrace, changed his name to Milvius.
Among his best plates-all now very rare-he scraped
two portraits of Thomas Gay, after Aikman. These are
interesting because the artist's real name is affixed to one
and his assumed name to the other.
1. Portrait of Countess Godolphin, after Kneller, fine, with
good margin, £4 4s.
2. Portrait of Mr. George Whitfield, after his own painting.
fine impression £3 11s.
Labacco (Antonio).—An architect of Rome, who was
living in 1558. All his prints relate in some way to
architecture. They are seldom met with, and are rarely
of any pecuniary value.
1. A section of Sangallo's design for the Church of St. Peter
at Rome, good, 12s.
Laer (Pieter van).-Born at Haarlem in 1582, or as
some authorities say, in 1613; died there in 1642 or according
to other accounts, 1673. This artist is better known by
the name of Bamboccio. His rarest print is that of a
blacksmith shoeing a mule. All his plates are etched in a
slight, free style.
1. Horses and other animals (9), fair, 9s.
2. Set of horses (6), very fine, with large margin, 15s.; the
same, 12s.
3. Horses and other animals (8), good, 16s.
4. A blacksmith's shop, fair, 4s. 6d.
5. The Cavalier, rare, fine, 13s.;
Lafrery (Antoine).-Born at Salins in 1512; died
there about 1580. This artist was a well-known dealer in
344
ENGRAVINGS AND THEIR VALUE.
prints at Rome. Among his own productions may be
noted:
1 Giovanni de Velleta, Grand Master of the Knights of Malta,
bust in armour, proof before the address, but with the
engraver's name, 15s.
2. Jupiter slaying the Giants, after Raffaclle, proof, £1 3s. 6d.
3. The Birth of Adonis, after Salviati, very fine, full margin,
£1 14s.
Lairesse (Gerard de). - Born at Liege in 1641; died
at Amsterdam in 1711. This artist etched a large number
of plates from his own designs, in a very free and bold
style. His lights are broad and powerful, but his outlines
are not always correct. Nevertheless, his prints are said
to be extremely useful to young artists, and are certainly
in many respects fine examples of artistic taste. Among
these may be noted:
1. Diana and Endymion, very finc, with full margin, £2 5s.
2. Anthony and Cleopatra, fair, 8s.
3.
Silenus sleeping, fair, 5s. 6d.
4. Joseph and his Brethren, fine, 14s.
Landry (Pierre).-A French artist born at Paris about
1630; died there in 1701. He was much employed by the
booksellers for whom he executed a variety of portraits
and frontispieces. All his plates are worked with the
graver in a coarse, stiff style, with little taste. Their
value is usually small, though some of his portraits
occasionally command a fair price.
1. The head of St. John, after Annibale Carracci, fair, 5s.
2. Charles de Bourbon, Bishop of Soissons, datod 1660,
good, Ss. 6d.
3. Louis XIV. of France, after J. François, good, 14s.
4. Dr. Abel Brunier, dated 1661, good, Ss. 6d.
Landseer (Sir Edwin Henry).-The youngest son
of John Landseer, A.R.A.; born at No. 83, Queen Anne St.
East, London, on March 7th 1802; died at St. John's Wood
in 1873. This artist-the most famous animal painter this
country has produced-etched a few plates as under:
1. The set of etchings, seventeen in number, comprising Low
Life, the Beggar, the Mountain Torrents, the Eagle,
ENGRAVERS AND THEIR WORKS.
345
Woburn Abbey, Game Cards (2). Sweeps Riding a
Horse and others, all proofs on India paper, £4.
The same, first published state, before the numbers,
£2 5s; the same, unique set of original proofs, on old
paper, printed for Jacob Bell, in the rarest state before
the rebiting, £6 16s. 6d. Published by Gambart and Co.
in 1848.
2. Ladies Pets, Crossing the ice (2), 10s. 6d.
3. Retriever and Rabbit; Horse and Snake (2), 17s.
4. Two etchings of dogs, with the artist's autograph £2, 12s. 6d.
Though etchings by Landseer are far from numerous, the
engravings and etchings after his works are otherwise,
and as it has become the fashion of late years to collect
these, a selection of prints by different engravers is given
below. The prices quoted were realised for the most part
at the Montrose sale held by Messrs. Christie, Manson and
Woods, on May 1st, 1895. The numbers in parentheses
refer to Mr. Algernon Grave's Catalogue of the works of
Sir Edwin Landseer, London (1875), 4to.
Ordinary lettered impressions unless otherwise stated.
1. Brutus and Dead Rats (32). Engraver's proof and the can-
celled plate, £1 10s.
2. Annals of Sporting: Brutus (88); the Alpine Mastiff (105),
both engraver's proofs, £1 10s.
3. Queen Victoria, by Hanfstaengl (259); Countess of Blessington,
by F. C. Lewis (215); the same by R. J. Lane, all
scarce, £1 15s.
1. Huntsman and Hounds (223), by Miss C. Wardrop, only
three known; Poodle Byng (47), a Lithograph very rare;
Brutus (26), by Outram; £3 10s.
5. Persian Cats (28), by T. Landseer; Lord Cosmo Russell (99),
by Lady Elizabeth Russell; Paganini (284) by Hulmandel. £1.
6. Sir Walter Scott, by W. Mayor (163), only two copies known;
Fox's Head, by H. Beckwith (121), £1 14s.
7. Annals of Sporting: To-ho (71); Down Charge (72); and
Pheasant Shooting (73), two sets of each, one either
engraver's proof or early state before alterations, £?.
8. Duchess of Bedford's Etchings, after Sir Edwin Landseer:
Keeper with Dogs (112); Forest Lodge (113); Dog's Head
(115); Duchess of Bedford (116); Stag's Head, large (117);
Stag's Head, small (118); Rabbit Warren (124); Groups of
Animals (125); Highlander (126): Lady R. Russell and
Fawn (180), all original proofs printed at the time, only
two or three of each done, £3 3s.
346
ENGRAVINGS AND THEIR VALUE.
9. Miss Blanche Egerton, by H. Robinson (248); Marmosette,
by T. Landseer, A.R.A. (313); and The Intruder, by
Beckwith (34), engraver's proofs, £3 3s.
10. Her Majesty's Private Letter and Note Paper Headings, by
T. Landseer, A.R.A. (369-70), artist proofs, £12.
11. Dead Red Deer, by J. R. Scott (161); and Forest Joust, by
T. Landseer, A.R.A. (256), proof before letters and
engraver's proof, £2 5s.
12. Pug Dog (157); Glen Firkie (132); and Highland Dogs
(255), all by T. Landseer, A.R.A., rare unpublished
states, £3 5s.
13. Carnivora, by T. Landseer, A.R.A.; Lion and Sceptre (61),
proof and touched proof; Contending Group (63), India
proof; Tiger and Bullock (64), proof and engraver's
proof; Lioness and Bitch (65), proof and engraver's
proof, 10s. 6d.
14. October (322), by T. Landseer, A.R.A., only two copies
known; and A Cat asleep, by Mrs. T. Landseer (2),
ditto £ 10s.
15. Vixen (82); Lady Louisa Russell feeding a donkey, by
Jessie Landseer (107), £1 14s.
16. Shepherd's chief mourner (233), by Jacob Bell, surrounded
by comic figures, only three known, £3 10s.
17. Hafed, unpublished lithograph by T. Fairland (not des-
cribed); Cæsar, etched by Sir E. Landseer (41); Alpine
Mastiff, etched by Sir E. Landseer (not described), the
only copy known of each of these, £1 14s.
18. The Hay Waggon (298), etched by H. M. the Queen in
1842, after Landseer, very rare, £2 10s.
19. Mendicant for Royal School of Industry (245); Head of a
Dog (140), the only copy known-by Miss Harriet Clarke,
£1 15s.
20. Dog Looking out of a Kennel (244), by Miss Harriet
Clarke-only two proofs known; Boxes (340) signed by
T. Williams, the only proof known, £4.
Engravings after Sir E. Landseer, Proofs (except where
otherwise stated) chiefly in the best states, all framed.
21. Brechin; Dandie Dinmont; and The Hedgehog; by C
Mottram; £3 10s.
22. Dash, Hector, Nero and a Lory, by ditto, £1 1s.
23. Dogs' Heads, by ditto, a pair, circle; and My Horse; and
My Dog, by H. T. Ryall, £5.
24. Princess Alice with Eos; and The Companion, by T.
Landseer, A.R.A.; and Little Strollers, by T. O. Barlow,
R.A., £1 2s.
25. The Courtyard of Bolton Abbey, by J. Scott, 16s.
26. Alpine Mastiff, by T. Landseer, A.R.A., etching, £1 2s.
27. A Lady and Two Hounds, by A. Smith, ditto, 10s. 6d.
ENGRAVERS AND THEIR WORKS.
347
28. Pointers, by V. Brooks; and a Huntsman and Hounds, by
H. T. Ryall, £1 10s.
29. Free Trade; and Protection, by J. W. Giles, £1.
30. Stealing a March, by E. Burton; Fairy, by A. Lucas; and
Lion and Lioness, after J. Lewis, £2 15s.
31. The Defeat of Comus, by T. Landseer, A.R.A.; and Islay
Macaw, by G. Zobel, £1 1s.
32. Puppy and Frog, lithograph by E. Morton, £2.
33. Cora, ditto by Sir E. Landseer, £2 2s.
34. The Twa Dogs, by B. P. Gibbon; and The Braggart, by
R. Parr, £12 1s. 6d.
35. High Life; and Low Life, by R. J. Lane, £4 4s.
36. Highland Shepherd Dog in the Snow, by R. J. Lane, £1 5s.
37. The Poacher, by C. G. Lewis, £1 10s.
38. The Champion, by J. B. Pratt, £1 15s.
39. The Font; The Lion and Lamb, both by T. Lanseer, £2 4s.
40. Tapageur, by R. Mitchell, 10s.
11. H. M. The Queen, in Windsor Forest; by T. L. Atkinson, £1.
42. H. M. The Queen at Osborne, by J. Stephenson, 18s.
43. H. M. The Queen in the Highlands, by W. H. Simmons,
£1 2s.
44. H. M. The Queen on a White Horse, by T. Landseer,
10s. 6d.
45. Van Amberg and his animals, by W. H. Simmons; The
Prize Calf, by T. L. Atkinson, £1 12s.
46. The sick Monkey, by W. H. Simmons, £1 18s.
47. To-Ho (Pointers), by T. Landseer, £4.
48. The Shepherds Bible, by T. Landseer, £3 13s. 6d.
49. Ptarmigan Hill, by T. Landseer; the Woodcutter, by C. G.
Lewis, £6 6s.
50. The Sentinel, by T. Landseer, £6 16s. 6d.
51. Flood in the Highlands, by T. L. Atkinson, £1 12s.
52. On Trust, by W. H. Simmons, £1 1s.
53. Pray let me out; Eos, both by T. Landseer, 10s. 6d.
54. Scotch Game, by J. Chant, £2 10s.
55. A Pointer; The Indian Tent, both by T. Landseer, £1 12s.
56. Deer in Woburn Park, by C. G. Lewis, 12s.
57. The Deer Family, by T. Landseer, £4 4s.
58. The Connoisseurs, by S. Cousins, £5 5s.
59. Red Deer; Wild Cattle of Chillingham, both by T. Land-
seer, £8 8s.
60. Taking a Buck, by T. Landseer, £1 2s.
61. Browsing, by T. Landseer, £12 16s.
62. Well-bred Setters. by W. H. Siminons, £3 10s.
63. The King of the Forest, by T. Landseer, £6 16s. 6d.
64. The Fatal Duel, by W. H. Simmons, £8.
65. Chevy, by T. Landseer, £10 10s.
66. A Piper and Pair of Nutcrackers, by S. Cousins, R.A.,
£14; again, £12 1s. 6d.
348
ENGRAVINGS AND THEIR VALUE.
The following were (except where otherwise stated) all
signed by Sir Edwin Landseer.
67. The Challenge; and The Sanctuary (small plates), by
C. G. Lewis, presentation proof, with notes by Painter,
£7 7s.
68. Napoleon's Eagle, by H. T. Ryall, presentation proof, with
inscription; Crossing the Bridge; and The Mountain
Torrent (small plates), £5 15s. 6d.
69. Puppy and Frog, by C. W. Wass, Goat and details, by
C. G. Lewis; and Otter Hound, by J. D. Harding, £3 17s.
70. Prince Albert and the Princess Royal, by F. Holl, signed, 10s.
71. Princess Alice, with Dandie, by Sir T. Landseer, £1 12s.
72. Windsor Castle, by T. L. Atkinson, £1 18s.
73. Queen Victoria sketching at Loch Laggan, by J. T. Will-
more, £3 3s.
74. The Queen and Children, by S. Cousins, R.A., presentation
proof, £1 14s.
75. Old English Blood-hound, by W. R. Smith, £2 10s.
76. Lady and Spaniels, by T. Landseer, A.R.A., 15s.
77. Cottage Industry (Lady Louisa Russell), by F. C. Lewis,
presentation proof, 10s. 6d.
78. Pets (Lady Rachel Russell), by W. H. Watt, ditto, £7 7s.
79. Twelfth Night; and The Mantilla, by J. H. Robinson, R.A.,
ditto, £3 3s.
80. High Life; and Low Life, by H. Beckwith, ditto, £7.
81. Intruding Puppies. by T. Landseer, £4.
82. Mischief in Full Play, by W. Raddon, £3.
83. Catherine Seyton, by W. H. Simmons, presentation proof,
£1 1s.
84. Waiting for the Countess, by C. Wass, presentation proof,
£7 7s.
85. Twa Dogs, by B. P. Gibbon, £3 13s. 6d.
86. Highland Cradle, by R. Graves, £4 10s.
87. Highland Music, by H. S. Beckwith, presentation proof, £5
88. A Highland Interior, by W. Finden; Cavaliers' Pets, by
J. Outrim. £7.
89. A Highland Breakfast, by J. Outrim, £10 10s.
90. A Highland Whiskey Still, by R. Graves, £7 17s. 6d.
91. A Highland Shepherd's Home, presentation proof, £3 10s.
92. The Shepherd's Grave; The Shepherd's Chief Mourner,
by B. P. Gibbon, £31 10s.
93. "Be it ever so Humble", by B. P. Gibbon, presentation
proof, £15 15s.
94. Suspense, by B. P. Gibbon, £22 1s.
95. Jack in Office, by B. P. Gibbon, presentation proof, £17 6s. 6d.
96. A Fire side Party, by B. P. Gibbon, presentation proof,
£18 7s. 6d.
97. How to get the Deer Home, by T. Landseer, presentation
proof, £6.
98. The Twins, by T. Landseer, £9 19s. 6d.
ENGRAVERS AND THEIR WORKS.
349
99. The Poacher's Bothie, by C. Fox, presentation proof, £3.
100. The Death of the Stag in Glen Tilt, by J. Bromley, £3 15s.
101. The Naughty Boy, by W. Finden, remarque proof; The
Little Red Riding Hood, by J. H. Robinson, £17 6s. 6d.
102. Fairy, by T. Fairland, £1 5s.
103. Children, with Rabbits, by T. Landseer, presentation proof;
Lion Dog from Malta, by T. Landseer, £7 17s. 6d.
104. The Highland Drover's Departure, by J. H. Watt, £4 10s.
105. Dash, Hector, Nero and a Lory, by F. Bacon, presentation
proof, £2 5s.
106. Prince George's Favourites, by W. Giller, £6.
107. Ptarmigan, by C. G. Lewis, £4.
108. Good Doggie, by T. Landseer, £4 4s.
109. The Dairy Maid; and The Reaper, by H. F. Ryall, £4 14s. 6d.
110. The Stonebreaker's Daughter, by J. Burnet, £2 2s.
111. Lords Cosmo and Alexander Russell, by R. J. Lane,
presentation proofs, £2.
112. The Return from the Warren, by T. Landseer, £3.
113. Roebuck and Rough Hounds, by B. P. Gibbon, presentation
proof, £4 10s.
114. Highland Lassie Crossing a Stream, by J. Outrim, £1 9s.
115. Dialogue at Waterloo, by T. L. Atkinson, £5 15s. 6d.
116. Breeze, by C. G. Lewis, £5 5s.
117. The Mountain Top, by J. Oatrim, £1 13s.
118. Crossing the Bridge, by J. T. Willmore, £8.
119. Horses at the Fountain, by J. H. Watt, £1 15s.
120. Uncle Tom and his Wife for Sale, by C. Mottram, £10 10s.
121. The Pointer, by T. Landseer, £3 3s.
122. The Hunted Stag, by ditto, £11 11s.
123. Harvest in the Highlands, by J. T. Willmore, £6 6s.
124. Lassie Herding Sheep, by J. Burnet, £3 13s. 6d.
125. The Tethered Ram, by J. Burnet, £4 4s.
126. The Forester's Family, by T. L. Atkinson, £8 8s.
127. Eos, by T. Landseer, £1 18s.
128. The Larder Invaded, by ditto, £3 5s.
129. Geneva, by ditto, £9.
130. Refreshment, by H. Cousins, £4 14s. 6d.
131. Free Kirk, by T. L. Atkinson, £5 5s.
132. Islay Macaw and Love Birds, by C. G. Lewis, £8 Ss.
133. Hunter and Hounds, by T. Landseer, £4 14s. 6d.
134. Cats' Paw, by C. G. Lewis, £13 13s.
135. Getting a shot, by J. H. Robinson, presentation proof, £8 8s.
136. The Time of Peace, The Time of War, by T. L. Atkinson.
£11 11s.
137. "Man Proposes," by T. Landseer, £12 12s.
138. Alpine Mastiff, by T. Landseer, presentation proof, £6 16s. 6d.
139. The Sleeping Bloodhound, by T. Landseer, £6 16s. 6d.
140. A Distinguished member of the Royal Humam Society, by
T. Landseer, £19 19s.
141. A. Random Shot, by C. G. Lewis, £13 2s. 6d.
142. The Cover Hack, by C. G. Lewis, £22 1s.
350
ENGRAVINGS AND THEIR VALUE.
143. Highland Nurses, by T. Landseer, £19 8s. 6d.
144. Bolton Abbey in the Olden Time, by S. Cousins, (dated
May 9th.), £32 11s.
145. Piper and Pair of Nutcrackers, by S. Cousins £16 16s.
146. The Abercorn children, by S. Cousins, presentation proof, £21.
147. The Sutherland Children, by S. Cousins, presentation proof,
£20 9s. 6d.
148. Saved, by S. Cousins, £9 19s. 6d.
149. The Mountain Torrent, by T. Landseer, £8 8s.
150. The Hawk Trainer, by J. Burnet, £2.
151. Hawking in the Olden Time, by C. G. Lewis, £3 5s.
152. The Return from Hawking, by S. Cousins, £6 16s. 6d.
153. Mr. Packe's Pony, by T. Landseer, £5 5s.
154. Beauty's Bath, by S. Cousins, £7 17 6d., again. signed by
Painter and Engraver, £9 9s.
155. A Midsummer Night's Dream, by S. Cousins, £17 6s. 6d.
156. Maid and the Magpie, by S. Cousins, £17 6s.. 6d.
157. The Shoeing, by C. G. Lewis, £12 1s. 6d.; again, proof
before letters, unsigned, £4 4s.
158. Doubtful Crumbs, by T. Landseer, £13 13s.
159. The Otter Hunt, by C. G. Lewis, £23 2s.; again, artist's
proof (not signed), £11 11s.; again, artist's proof signed
by the engraver only, £16 6s.
160. There's Life in the Old Dog Yet, by H. T. Ryall, £18 18s.
161. Not Caught Yet, by T. Landseer, £15 15s.
162. Otter and Salmon, by F. R. Jackson, £17 17s.
163. Best Run of the Season, by T. Landseer, £10 10s.
164. Alexander and Diogenes, by T. Landseer, £6 16s. 6d.
165. The Lost Sheep; and An Event in the Forest, both by
T. Landseer, £27 16s. 6d.
166. The Drive of Deer, by T. Landseer, A.R.A., £9 19s. 6d.
167. Braemar, by T. Landseer, £17 6s. 6d.
168. "None but the Brave," by T. Landseer, £15 4s. 6d.
169. Night; and Morning, by T. Landseer, £52 10s.
170. The Sanctuary, by C. G. Lewis, £13 10s.
171. The Challenge, by J. Burnet and R. Walker, £24 3s.
172. Laying Down the Law, by T. Landseer, £16 16s.
173. Children of the Mist, by T. Landseer, £31 10s.
174. The Deer Pass, by T. Landseer, £29 8s.
175. Spaniel and Pheasant; and Retriever and Woodcock, both
by T. Landseer, £54 12s.
176. Odin, by T. Landseer, £65 2s.; the same, £53 11s. (not
signed, but touched by the Painter).
177. Hafed, by C. G. Lewis, £54 12s.
178. The Stag at Bay, by T. Landseer, £90 6s.; again £60;
again, the small plate, lettered, 13s., (not signed).
179. The Monarch of the Glen, by T. Landseer, £63.; again,
£53.; again, artist's proof signed by Painter and En-
graver, £70.
180. Hunters at Grass, by C. G. Lewis, £63.; again, first state,
signed by painter and engraver, £89 5s.; again second
ENGRAVERS AND THEIR WORKS.
351
state, £35 15s.; again, good lettered impression, £2 18s.
(not signed).
Landseer (Henry).—A landscape painter who is credited
with a few engraved portraits. He was living in 1823,
his name appearing in the catalogue of the British Institu-
tion exhibition for that year.
1. Mrs. Mullens, after W. M. Craig, printed in colours, good,
£9 19s. 6d.
Landseer (John).—A line engraver born at Lincoln in
1769; died at London in 1852. This artist was the father
of Sir Edwin and Thomas Landseer. In youth he was
apprenticed to William Byrne, the engraver, and subsequently
attained a high position in the art world. Specimens of his
work can be seen in Macklin's Bible, 7 vols., folio, 1800,
Bowyer's "History of England," and Moore's "Twenty-five
Views in the Southern Part of Scotland," 1795.
Landseer (Thomas).—Born in London in 1795; died
there in 1880. This artist, who was the eldest son of
John Landseer, worked principally after his brother, Sir
Edwin, and many of his prints after that master will be
found catalogued under the name of the latter. His first
plate, impressions from which are now very scarce, is a
"Head of a Sibyl," after Benjamin Robert Haydon, published
in 1816. One of his best known plates is "The Horse Fair,"
after Rosa Bonheur. See Landseer (Sir Edwin Henry).
Lanfranco (Giovanni).—A famous painter, born at
Parma in 1581; died at Rome in 1647. This master studied
under Agostino and Annibale Carracci. He etched several
of the plates from the pictures in the Vatican, known as
"Raffaelle's Bible," also a composition displaying the "Triumph
of a Roman Emperor," from his own design, a series of
twenty-eight Biblical subjects after Raffaelle and a few
others. His etchings though very slight and hasty clearly
shew the hand of a master.
1. The Triumph, two of the Evangelists from his own designs
(3), fair, 8s. 6d.
2. The Emperor and his Soldiers, fine and rare. £1 2s.
352
ENGRAVINGS AND THEIR VALUE.
Langer (Johann Peter von).-Born near Düsseldorf
in 1756; died at Munich in 1824. This etcher left behind
him some sixty plates, all of them careful studies but in
appearance cold and silvery. His historical subjects are
usually regarded as his best, though even these are often
defective in design. Among other engravers of the same
name, whose works are not, however, in very great demand,
were Robert (the son of Johann Peter von Langer, above
named), a German painter-etcher, born at Düsseldorf in
1783, died at Haidhausen in 1846; and Sebastian Langer,
born at Troppau in Austria in 1772. The following
etchings are by Johann von Langer.
1. Christ and his Apostles, after Marc Antonio, good, Ss. 6d. ;
again, very fine, with full margin, lettered, £1 2s.
2. Mercury and Argus, after Annibale Carracci, fair, 4s.
Langley (Thomas).-This artist, about whom little is
known, is supposed to have resided in London for some
years, and to have died there in 1751. His plates relate
to antiquities and architecture, and are to be found in
books which he published in conjunction with his brother,
Batty Langley. The following, however, is by him.
1. A Gay Young Gentleman in Conversation with Death, after
J. Lyons, good, 12s. 6d.
Langlois (Jean).-A French engraver, born at Paris
about 1650; died there about 1712. This artist is credited
with a number of plates from antique statues, and archi-
tectural subjects after Palladio. He also engraved a few
portraits and a number of Biblical subjects after Bon de
Boullongne. These are not of much value as a rule.
Other artists of the same name were Nicolas Langlois and
Pierre Gabriel Langlois, the former of whom flourished
during the second part of the 17th century and the latter
from 1780 to 1810. Vincent Marie Langlois, the brother
of Pierre Gabriel, who was born at Paris about 1756, is
also credited with some fairly good prints and vignettes
after Moreau, Lodovico Carracci, Rubens and others.
ENGRAVERS AND THEIR WORKS.
353
Langot (François).—A French engraver, who, according
to Bryan, was almost exclusively employed in copying the
prints of other masters, particularly those of Cornelis
Bloemaert, Huret, and Rubens. He was living about 1650.
1. Estienne Chevalier, Seigneur de Vignan, very fine impres-
sion of a rare print, £1 10s.; the same, a fair average
impression, 8s. 6d. ; the same, fine proof, before the
engraver's name, extremely rare in this state, £1 18s.
Larmessin (Nicolas de).-A French engraver, who was
born at Paris in or about the year 1636. He died there
in 1694. One of the greatest difficulties which besets the
collector is to distinguish the prints of this artist from
those of Nicolas Larmessin the younger and his son Nicolas.
Some specimens are not assignable with any certainty, and
the common practice appears to be to place the prints
of these artists together. It is worthy of mention, however,
that Nicolas the elder worked entirely with the graver,
while Nicolas the younger frequently united the graver
and the point, as also did his son Nicolas.
1. Françoise Louise de la Baume le Blanc, Duchesse de la
Vallière, Mistress of Louis XIV., three-quarter length, in
an oval, fine, first state, £5.
2. Louis Cinquiesme, Dauphin de France, half length, fine,
£2 5s.
3. Maria Leczinski, Queen of France, after Vanloo, whole
length, fine, £1 16s.
4. The Virgin and Child and St. George and the Dragon,
both after Raffaelle, proofs, £1 18s.
5. Claude Hallé (painter), after Le Gros, fine, £1.
6. Henriette D'Angleterre, Duchesse d'Orleans, daughter of
Charles I., fine, £2 2s.
7. L'Après Diner, after Lancret, good, 13s.
Laroon (Marcellus). This artist, called also "Old
Laroon," was born in Holland in 1653; he died at Rich-
mond in 1702. Most of his plates are etchings of Boors,
after the manner of, but inferior to, those of Ostade.
1. Two views of a faun carrying the infant Bacchus on his
shoulder, etchings on one sheet, very rare, £2.
2. The Coronation Procession of William and Mary, on one
sheet, fine and rare, £1 10s.
23
354
ENGRAVINGS AND THEIR VALUE.
Lasne (Michel).-Born at Caen, in Normandy, in 1596;
died at Paris in 1667. This artist worked entirely with the
graver which he handled in a bold, open style, greatly
resembling that of Francesco Villamena. His prints, which
are very numerous, are either marked with his name at
length or with the cipher ML.
1. Joannes Maria de Treslon, ætat. 52, 1647, praying before
a Crucifix, folio, rare, £1 11s. 6d.
2. Jean Louis de la Vallette, Duc d'Esperon, three-quarter
length, in armour, fair impression, 10s. 6d.
3. The Visitation of the Virgin, after Lodovico Carracci, fine, £1.
4. Ecce Homo, after Titian, a very good impression, margin,
£1 15s. 6d.
5. Cardinal Mazarin, fair, 4s.
6. Queen Anne of Austria, good, 12s.
7. The Virgin as Queen of Heaven, after Albani, an oval,
fine, 15s.
Laune (Étienne de).-Born at Orleans in 1518; died
at Strasbourg in 1595. This artist worked with the graver
only in a slight and neat style. His prints are very
numerous and mostly very small, evidently in imitation of
the little masters of Germany. His best prints are those
after Marc Antonio.
1. Design for a mirror, with the subject of Medea restoring
Eso to youth, in an oval cartouche, very rare, £2 10s.
2. A similar design, with the death of Julia, the daughter of
Titus, very rare, £2 10s.
3. The Brazen Serpent, after Cousin, a comparatively large
print, rare, with margin, £1.
4. The Twelve Months, a series of circular prints, very fine
and rare, £2 17s. 6d.
Laurent (Pierre).-Born at Marseilles about the year
1740; he is supposed to have died at Paris in 1809.
1. Friezes from Polidoro (3), fair, 11s.
2. The Shepherdess, after Berchem, fine, with margin, 9s.
3. Two landscapes, after Dietrichi (2), fair, 8s.
4. View of Mondragon, in Dauphiné, after De Loutherbourg,
fine, 10s. 6d.
Laurie (Robert).-A mezzotinto engraver, who was
born in London about the year 1740; he died about the
year 1800. His best prints consist of portraits. These are
ENGRAVERS AND THEIR WORKS.
355
carefully scraped, show a good arrangement of light and
shade and are, as a rule, good likenesses of the persons
represented.
1. Mrs. Baddeley, after Zoffany, proof before letters, £3.
Lautensack (Hans Siebald).-A German painter and
engraver, who worked at Vienna, and latterly at Nuremberg.
He was born at Bamberg about the year 1524 and is sup-
posed to have died in 1563. This artist is credited with
seventy plates, some purely etched and others etched and
finished with the graver. Although he undoubtedly belonged
to the school of Albrecht Dürer, his style seems to have
been strongly influenced by that of Altdorfer.
1. Hans Siebald Lautensack, square, three-quarter length,
holding glass in left hand, on which is date 1554, brilliant
impression, £2 2s.; again, 18s. (This portrait is some-
times described as by an unknown artist, and is so
catalogued by Bartsch).
2. George Roggenbach, jurist in Nuremberg, engraved in 1554,
half length, seated, fine, with large margin, £1 1s.
3. Jerome Schurstâb, fine, and extremely rare, £2 5s.
4. The Temptation in the Wilderness, good, 14s.
5. Public Games, exceedingly rare, a fine impression, with
slight margin, £4 10s.
6. The Standard-bearer (a woodcut), fine, £1 5s.
7. A Landscape, Villa on the bank of a river, fine impres-
sion, £1 5s.
Lautensack (Heinrich).—See Master of the mono-
gram "H.L."
Le Bas (Jacques Philippe).-A French engraver,
who was born at Paris in 1707; he died there in 1783,
This artist's plates are generally etched and finished with
the graver in a very neat and spirited style. He excelled
in landscapes and small figures.
1. A series of 13 large plates representing the ports of France,
after Vernet, etched by Cochin and finished by Le Bas, good
lettered impressions, £2 12s. 6d.
2. The Works of Mercy, large plate, lengthways, after Teniers,
fair, 6s.; again, fine, 18s.
3. The Milk Pot, large plate, lengthways, after Wouwerman,
good, 12s.
356
ENGRAVINGS AND THEIR VALUE.
Le Blon.-See Blon (Jacob Christoph le).
Le Brun (Gabriel).-This artist was the brother of
Charles Le Brun, the celebrated French historical painter.
He was born at Paris in 1619, and died there in 1690.
1. Cain and Abel, the Satyr's Family, and five other etchings
by this artist, fair, 14s.
2. The Twelve Apostles, after Charles Le Brun (12), very
fine, £3 15s.
3. Portrait of Fevret de St. Mesmin, 1657, good, with
margin, 12s.
Le Davis (Edward).—A painter and engraver, who
was born in Wales, about the year 1640. He was one of
the pupils of Loggan, but soon left him and entered service
as a domestic. Accompanying his master to Paris, he
found there the means of pursuing his art. His best known
works consist of engraved portraits, among which are those
of Charles II., the head of which was afterwards effaced
and that of William III. substituted for it, Catherine of
Braganza, after J. B. Gaspers, James Duke of York, and
William of Orange, after Sir Peter Lely. The value of
this engraver's plates is usually small.
Lempereur (Jean Denis).—This amateur engraver
was born at Paris in 1701 and is supposed to have died
in that city in or about the year 1775. His etchings,
which are chiefly after Pietro da Cortona, Vandyck and
Castiglione, are not very important, but the name of the
artist is mentioned because he belonged to a well-known
family of engravers which cannot be ignored. Jean
Baptiste Denis, the son of Jean Denis Lempereur, or, as
some authorities say, his brother, etched a small number of
plates of comparatively little importance, but the works
of Louis Simon Lempereur and in a minor degree those
of his wife Catherine Elizabeth, show great ability. Louis
Simon was born at Paris in 1728 and died there in 1807.
He studied under Pierre Aveline and Laurent Cars, but
afterwards came to England, where he acquired considerable
reputation for his handling of the graver. His work is
ENGRAVERS AND THEIR WORKS.
357
bold and free, yet neat and precise, and his portraits are
excellent likenesses of the persons represented. The following
prints are by him.
1. Aurora and Tithonus, after Pierre, good, 8s.; the companion
print, a Drunken Silenus, after Van Loo, good, 6s.
2. Portrait of Etienne Jeaurat, after Roslin, good, 14s.
Leney (William S.).—This engraver was born at London
about the year 1760 and is known to have been living in 1808.
He was a pupil of Tomkins and like his master practised
the dot and stipple manner producing some fair plates in
this style among them a large "Descent from the Cross,"
after Rubens' well-known picture in Antwerp Cathedral.
He also engraved after Downman and Smirke for the
Shakespeare Gallery.
1. Harriers, after Hackert, in colours, good, £3 10s.
2. The Descent from the Cross, after Rubens, good, £1;
again, fair impression, 7s. 6d.
Lenfant (Jean).-A French engraver, who was born at
Abbeville in Picardy about 1615; he died at Paris in 1674.
This artist studied under Claude Mellan, whose style he
usually imitated. The larger number of his prints are executed
with single strokes without any cross-hatching, and all are
entirely worked with the graver in a cold, tasteless style,
though some of his portraits shew a great improvement
in this respect.
1. Jacobus de Souvré in Gallia Princeps, half length, after
Mignard, good, 8s.
2. Louis Boucherat, dated 1670, good, 7s. 6d.
3. Christ crowned with thorns, after Annibale Carracci, fair,
5s.; again, a better impression, full margin, 14s.
4. The Virgin and Child, an oval, after Guido Reni, fair, 4s.
Lens (Bernard).-Born at London in 1680, died there
in 1740. This artist was the son of Bernard Lens, an
indifferent mezzotinto engraver, who died in 1725.
1. William and Mary, 12mo, mezzotint, proof and letters;
the same (small ovals on the same plate); ditto, on
horseback, proof (6), fair, 18s.
2. Tobit and the Angel, fine; Mary Magdalene's Tomb,
rare (2), 18s.
358
ENGRAVINGS AND THEIR VALUE.
3. Vertumnus and Pomona, fine and very rare; Rinaldo and
Armida, after Jan Vaart (2), 12s
4. Five different landscapes, one an etching, and all in good
preservation, fair average specimens (5), £1 6s.
5. Cupid and Psyche, after Vandyck; the Judgment of Paris,
after Lely (2), both good impressions, £1.
6. The Roman Charity, after Kerseboom, very fine, and a brilliant
impression, 17s. 6d.
7. Actæon and Diana; The Four Elements, fair (2), 9s.
Leoni (Ottavio).—Born at Rome about 1580; died there
in 1630. Though chiefly celebrated as a portrait painter,
this artist executed about twenty small upright plates,
representing portraits of painters. The hair and draperies
are invariably executed with strokes and the faces with
dots, the dark parts of the eyes and sharp shadows being
assisted with strokes which are managed in a skilful
manner and produce a very pleasing effect.
1. The portrait of Guercino, good and scarce, £1 1s.
2. Eques Joseph Cæsar Arpinas, pictor, 1621, fair average
impression, 13s.
3. Antonius Barberinus, 1625, good, with margin, 17s. 6d.
4. Ottavio Leoni, after himself, 1625, fair, 9s.
5. Antonius Tempesta, 1621, good, with slight margin, £1 2s. 6d.
Le Sueur (Nicolas).-Born at Paris about 1690; died
there in 1764. This artist's best prints are those executed
for the Crozat Collection, especially such as are after Goltzius.
The family of Le Sueur produced several engravers, notably
Pierre the elder (1636-1716), Pierre the younger (1669-1750),
and his brother Vincent, who all worked upon wood.
1. The Rape of Europa, after Farinati, in chiaro-scuro, two
plates, fine, with large margin, £1 14s.
2. The Egyptians Drowned in the Red Sea, after Penni,
chiaro-scuro, fine and rare, £1 1s.
3. The Death of St. Francis Xavier, fair, 8s. 6d.
4. The Virgin on a Throne, after Pietri, fair, 8s.
5. The man and a lion, after Peruzzi, fine, with margin,
15s. 6d.
Leu (Hans).—See Master of the monogram “H.L.”
Leu (Thomas de).-Born at Paris about 1562; worked
at Paris and Amsterdam; died about 1620. This artist
engraved a large number of portraits which are for the
ENGRAVERS AND THEIR WORKS.
359
most part excellently rendered. His general subjects, which
amount to about 300 in number, are executed in a dry
manner without much taste.
1. Mary, Queen of Scots, oval, twenty Latin verses beneath,
fine, £5 5s.; again, good, £2 2s.
2. Henri de Lorraine, Duc de Guise, three-quarter length, in
small oval, fine, £4.
3. Henri de Lorraine, Duc de Bar, three-quarter length, in
oval, fine, £3 7s.
4. Pierre Arlensis de Scudalupis, three-quarter length, in oval,
good, £2.
5. Catherine de Bourbon, three-quarter length, in an oval,
verses in French beneath, fine, £6 6s.
6. Catherine de Medicis, wife of Henri II. of France, French
verses beneath, £2 2s.
7. Charles IX., bust in small oval, four lines beneath, fine,
£5 10s.
8. Francis I., King of France, fine, £3 16s.
9. Henri IV., King of France, three-quarter length, in oval,
with French verses beneath, fine, with good margin,
£3 7s.
10. Louis XIII., as an infant, after Blasmez, verses beneath,
£2; the same, as a boy, in armour on horseback, with
crown and sceptre, verses beneath, very rare, £5 10s.
11. The Coronation of Louis XIII, after Quesnel, good, 16s.
Lewis (Charles George).-This artist, who engraved
in line and mezzotint and also handled the etching needle
with great effect, was born at Enfield in 1808; he died
near Bognor in 1880. His best known works are after the
paintings of Sir Edwin Landseer under whose name a variety
of prints by this engraver will be found.
1. Huntsmen taking Hounds to Cover, after Rosa Bonheur,
artist's proof, £1 1s.
2. Morning in the Highlands, after Rosa Bonheur, artist's
proof, £15 15s.
Lewis (Frederick Christian).—An engraver and
landscape painter, born at London in 1779; died at Enfield
in 1856. Specimens of this artist's work can be seen in
Ottley's "Italian School of Design," published in 1823.
His portraits after Sir Thomas Lawrence, several of which
are mentioned below, are all in stipple.
1. Lady Georgina Agar-Ellis, after Sir T. Lawrence, proof on
India paper, fine, £1 8s.
360
ENGRAVINGS AND THEIR VALUE.
2. Miss Susan Bloxam, after the same, lettered impression,
good, 8s.
3. Lord Grey, half length, after the same, proof, good, 7s. 6d.
4. Admiral Sir George Martin, half length, in uniform, India
proof, good, 10s.
5. View of Peterhead, an aquatint (24 ins. by 16½ ins.) dated
1813, good, 8s.
Leyden (Lucas van).-Born at Leyden in 1494; died
there in 1533. This extraordinary artist (also known as
Jacobsz), was an expert engraver at nine years of age, and
was only five years older when his celebrated print "The
Monk Sergius killed by Mahomet," excited the admiration
and astonishement of the artists of the time. Lucas van
Leyden carried the art of engraving to such a pitch of
perfection in the low countries that he may fairly be
said to occupy the position there, enjoyed by Albrecht
Dürer in Germany and Marc Antonio in Italy.
1. The Temptation of Adam, a very fine impression, £28;
again, fair, £2 9s.
2. Lot and his Daughters, a fine print, in first-rate condition,
with large margin, very rare, £161.
3. The Virgin and Child, in a landscape, very fine, with slight
margin, £69; again, good, £2 10s.
4. The Baptism of Jesus Christ, from the retouched plate,
fine, £1 3s.; again, 16s.
5. St. Peter and St. Paul, seated, fine and rare, £11.
6. St. Anthony the Hermit, fine, £5; again, fair, £2 10s.
7. St. Gerard Segredius, fine, with slight margin, £1 17s.
8. Mars and Venus, brilliant impression, but slightly dam-
aged, £36.
9. The Woman and the Dog, very fine, £6.
10. The Musicians, very fine and rare, £13 15s.
11. Two children holding a blank escutcheon, fine, with
slight margin, £13.
12. Lamech and Cain, 1524, fair, £1 5s.
13. Abraham and Hagar, brilliant impression, £32; again,
fair, 12s.
14. Susannah and the Elders, fair, 17s.
15. David Playing before Saul, fine impression, in perfect
condition, with margin, very rare, £25; again, fine, £7.
16. The Triumph of Mordecai, fine, £5 5s.
17. Return of the Prodigal Son, fine and perfect, £10.
18. The Poet Virgil Suspended in a Basket, fine and clear
impression, with margin, £15; again, £5 10s.
19. The Quack Dentist, fair, 18s. 6d.
ENGRAVERS AND THEIR WORKS.
361
20. The Emperor Maximilian I., a reverse copy of the ex-
cessively rare portrait by Lucas van Leyden, executed
in 1520, fair, 10s.
21. Cain Killing Abel, 17s.
22. Solomon Adoring the Idols, £2.
23. A young man heading a troop of soldiers, a very rare
print, £12 10s.
24. Samson and Delilah, first-rate impression, and very rare, £16.
25. The Adoration of the Magi, good, £6 6s.
26. The Dance of the Magdalen, one of the artist's most success-
ful compositions, very fine impression, £88.
27. A set of the Passion, not good (14), £1 5s.
28. Christ and the Twelve Apostles, fair (13), £2 6s.
29. St. Christopher, fair, £1 10s.
30. The Monk Sergius killed by Mahomet, fair, £2 4s.; again,
fine, £17 10s.
31. The History of Joseph, fair (6), £1 18s.; again, £1 3s.
32. The Surgeon, fair, 10s.
Leys (Jean Auguste Henri). - A Belgian artist, born
at Antwerp in 1814; died there in 1869. Though cele-
brated chiefly as a painter this artist left a few prints
behind him of which the following is a selection.
1. Les Archers, good, £1 17s.
2. Luther's House, proof, £1 16s.
3. La Conversation, proof, £2 2s.
4. Sonneurs de Tromp, proof, £1 11s.
5. La Rencontre, Le Choeur, proofs (2), £2 8s.
Lignon (Etienne Frédéric).—A French line engraver,
born at Paris in 1779; died there in 1833. This artist
was a pupil of Antoine Alexandre Morel.
1. St. Cecilia, after Domenichino, fine proof, £14.
2. La Duchesse d'Angoulême, after Augustin, fair lettered
impression, 16s.
3. Mdlle Mars, after Gérard, good, £1 1s.
4. Cupid and Psyche, after Picot, fair, 8s.
Lisebetten (Pieter van).-Born at Brussels about
the year 1610. This artist, who worked in a very inferior
manner, engraved several of the plates for the Teniers
Gallery. They are executed in a coarse, incorrect style.
1. View of the Riding-house at Welbeck, with Charles, Vis-
count Mansfield, and Henry Cavendish, his younger
brother, on horseback in the foreground, fair impres-
sion, 4s. 6d.
2. James, Duke of Hamilton, three-quarter length, in armour,
early state, with large margin, £1.
362
ENGRAVINGS AND THEIR VALUE.
Little Bernard.-See Bernard (Salomon).
Livensz (Jan).-A Dutch painter and engraver, born at
Leyden in 1607; he died about 1680 at Antwerp. The
etchings by this master are executed in a slight but very
clever manner. His style is not unlike that of Rembrandt
but in general coarser and less finished.
1. The Virgin and Child, first state, before the initials of
Livensz, very good impression, £1 9s.
2. The Raising of Lazarus, first state before the address
of Wynngaerd, fine, £1 8s.
3. The Raising of Lazarus, second state, with the address, a
very fine impression, £3 3s.
4. St. Jerome, second state, with the name of Wynngaerd, 15s.
5. St. Anthony, first state before the initials, 17s.
6. Portrait of Ephraim Bonus, before the address of de Jonghe,
fine, £6.
7. Portrait of Vondel, with verses in Dutch beneath, second
state, fine, £1 16s.
8. Set of small heads (22), some good, 15s.
9. Jacob anointing the stone in Bethel, rare, 16s.
Lodewyck (Johann).—A Dutch engraver, who appears
to have been working in 1634.
1. The Lutherans at the "Confession of Augsburg," very rare
and curious, all the heads are portraits, with reference
to names, good, 17s. 6d.
Lodge (William).-Born at Leeds in 1649; died there
in 1689. In addition to a collection of portraits we have a
number of views by this artist etched in a slight but
spirited style, from his own designs.
1. The Monument, "erected in perpetual remembrance of the
dreadful fire of London," fine and rare, £1 4s.
2. Lambeth House, from the River, good, 7s.
3. St. Mary's Abbey, near York, good, 4s. 6d.
4. The Ancient and Loyall Citty of York, fine and rare, £1 5s.
5. The Prospects of Two Most Remarkable Towns in the
North for the Clothing Trade, viz., Leeds and Wakefield,
on one sheet, fine and rare, £1 13s.
""
6. Illustrations to Barri's "Viaggio Pittoresco, 1679, com-
prising the five portraits of painters, and the allegorical
figure of Painting; also the map of Italy (7), etchings,
all good impressions, £1.
7. Views of York, Leeds, Wakefield, &c. (9), very rare, £7 10s.
8. View of York, fine, £1 12s.
ENGRAVERS AND THEIR WORKS.
363
Loggan (David).-Born at Dantzic about the year
1630. This artist studied under Simon de Passe and latterly
under Hendrik Hondius. He worked, in general, with the
graver only in a neat but stiff and dry style, without any
appearance of taste. His few etchings are of little conse-
quence from an artistic point of view, though all his prints
are important from the standpoint of the collector. Early
states and proofs are often of very considerable value as
will be seen from the prices quoted below. Loggan died
at London in 1693.
1. John Goodham Holt, ob, 1659, æt. 12. very rare, a fine
impression, £5 15s. 6d.; again, good, £1 5s.
2. Archbishop Laud, after Vandyck, oval, half-sheet, rare, £2 12s.
3. Richard Haydock, M.D., folio, good, £1 10s.
4. John Sparrow (Amator Jacobi Behmen), 4to, scarce, £1 9s.
5. Charles II., with lace band and tassels, large oval, halfsheet,
£1 1s.; the same in armour, folio, proof, £1 2s.; again,
good impression, £1 2s.
6. Charles II., with Archbishop Sheldon and the Earl of
Clarendon on each side, the Duke of Albemarle beneath,
4to, rare, £2 2s.
7. George, Duke of Albemarle, in armour, 1661, half-sheet,
fine impression, £21; again, good, £1 19s.
8. Sir Thomas Isham de Lamport, Bart., aftor Lely, half-sheet,
mezzotint, rare, £1 11s. 6d.
9. Robert Stafford de Bradfield in Comitatu Berks, Armiger,
proof before the name of the engraver, fine, and rare in
this state, £10.
10. Sir Grevil Verney, Kt., with coat of arms beneath, large
half-sheet, fine impression, £12.
11. Peter Gunning, Bishop of Ely, fine, £2 6s.
12. Gilbert Sheldon, Episcopi Londinensis, oval, very rare, a
brilliant impression, £15 15s.
13. Dr. Isaac Barrow, folio, proof before the arms were in-
troduced, or any inscription, very rare in this state, £12.
14. Sir Henry Blount (traveller), 1679, folio, rare, £4 4s.; again,
fair impression, 19s.
15. Edward Waterhouse, a curious proof before the inscription
round the oval or
or name of engraver, £2 5s.; again, a
fine finished proof, £1 14s.
16. George, Earl of Berkeley, 1679, in his robes, folio, very fine
and scarce, £14.
17. Francis, Lord Guildford (Lord Keeper), fine, £2 5s.
18. James, Duke of Monmouth and Buccleugh, in an oval of oak
leaves, half sheet, most rare and brilliant, £35.
19. James, Duke of Ormond, in an oval of oak leaves, very
fine, £4 8s.
364
ENGRAVINGS AND THEIR VALUE.
20. The Seven Bishops, large half-sheet, very rare, £5 7s. 6d.
21. Michael Boyle, Archbishop of Armagh, scarce, £2 10s.
22. John Dolben, Bishop of Rochester; John Fell, Bishop of
Rochester; and Dr. Richard Allestry; called "Chipley,
Chopley, and Chepley," proof, excessively rare, £45.
23. William Sancroft, 1680, fine, £1 2s.
24. Seth Ward, Bishop of Salisbury, 1678, scarce, and a good
impression, £3 15s.; again, 15s. 6d.
25. Thomas Sanders de Ireton, bust, unfinished proof, £5.
26. Edward Benlowes, small oval, in a sheet containing several
views of London and Old St. Paul's, £1 7s.
27. John Bulfinch (printseller), 8vo, rare, £2.
28. Mother Louse, of Louse Hall, with twelve lines beneath,
fine, £8 10s.
29. Sir Giles Strangeways, proof before the arms and any letters,
fine, £10 10s. (The finished print is very scarce).
30. Archibald, Earl of Argyle, first state before the inscription
round the oval, fine and rare, £1 1s.; the same, proof
before any letters and before the arms, very rare in this
state, £9.
Loir (Alexis).-Born at Paris in 1640; died there in
1713. Among his prints may be noticed:
1. Venus Appearing to Eneas, after Poussin, good, with wide
margin, £1.
2. Time Discovering Truth, after Rubens, fair impression, 8s.
3. The Virgin and Child, after Nicolas Loire, fine, with margin,
£1 2s.
4. The Holy Family, after Nicolas Loire, fair, 12s.
Loli (Lorenzo).—A painter and engraver, who was
born at Bologna about 1612; he died there about the year
1670. This artist's style somewhat resembles that of
Guido, but in point of correctness or character he has by
no means equalled the etchings of that great master.
1. The Arms of Guasta Vilani, fair, 7s. 6d.
2. Andromeda, after Sirani, very fine, with large margin, £1 5s.
3. St. Jerome, after Sirani, good, with margin, 18s.
4. The Sleeping Cupid, in an oval, good, 8s.
Lombart (Pierre).-Born at Paris about 1620; studied
under Simon Vouet, and subsequently came to England,
where he worked for the booksellers; died at Paris in or
about the year 1680. This artist rarely etched, but in
general executed his plates entirely with the graver. He
worked in a neat, laboured style, but was greatly deficient
ENGRAVERS AND THEIR WORKS.
365
1
in taste and often very defective in his drawing. His best
productions consist of portraits.
1. Charles I., on horseback, page holding his helmet, after
Vandyck, £1 8s.; again, £2 2s.
2. Brian Walton, Bishop of Chester, fine, £2 5s.
3. Oliver Cromwell, with page, half length, in armour, 16s.
Head altered from Nº. 1.
4. Sir Samuel Morland, after Lely and Sir John Ogilby, after
the same (2); both fair impressions, 17s. 6d.; Sir Samuel
Morland, fair, 9s.
5. The set of prints, after Vandyck, known as the Countesses,
among whom are Elizabeth, Countess of Devon; Elizabeth,
Countess of Castlehaven; and others (10), fair impres-
sions, and perfect, with margins, £4 4s.
6. A similar set (10), and in addition the portraits of Henry,
Earl of Arundel, half length, in armour, and Philip, Earl
of Pembroke, half length, with sword and scarf, all good,
with fair margins, £8 8s.
7. Robert Walker, fair impression, 14s.
Longhi (Giuseppe).-A celebrated Italian painter and
engraver, born at Monza in 1766; died at Milan in 1831.
This artist acquired his reputation by his plate after
Guido's “Genius of Music" in the Chigi Palace. This is
a very fine production, though not superior to many other
prints which he executed in later days. Longhi worked
entirely with the graver and specimens of his skill may be
seen in the series of portraits published at Milan under
the title "Vite e Ritratti di Illustri Italiani," and in the
"Fasti di Napoleone il Grande.”
1. The Magdalen reading, after Correggio, first state, before
the Arms, £57.
2. The Marriage of the Virgin, after Raffaelle, proof on India
paper, with the verses, £20; again, fine lettered im-
pression, £5 10s.
3. Ezekiel, after Raffaelle, proof before letters, fair, 12s.
4. Vierge au Rochers, after Da Vinci, proof before letters,
£10 10s.
5. The Emperor Napoleon I., profile in a circle, 1806, proof
before letters, 12s.
6. The Emperor Napoleon I., in circular frame, 1812, proof, 10s.
Lorch (Melchior).-This Danish painter and engraver
was born at Flensburg in 1527; he is supposed by some
authorities to have been living at Rome in 1594. He
366
ENGRAVINGS AND THEIR VALUE.
engraved both on wood and copper in a bold and spirited
style. His plates are much more neatly worked than his
wood blocks, though what is gained in neatness is often
regarded as small compensation for the loss of the artist's
usual freedom and spirit. Among his prints may be
mentioned.
1. A set of 122 cuts of the Habits, Costumes, &c., of the Turks,
dated 1570-81.
2. The Deluge, on two sheets, a woodcut, good, 12s.
3. Portrait of Martin Luther, on copper.
4. S. Jerome kneeling, 1546, on copper, good, 10s. 6d.
5. Aristoteles Stagirites Philosophus, 1561, on copper.
Lorenzini (Francesco Antonio).-Born at Bologna
in 1665; died in 1740. This artist's prints number about
eighty, among which may be mentioned the following.
They are all etched.
1. The Holy Family, after Da Vinci, two impressions, one
before the engraver's name, good, 19s.
2. The Virgin Carried to Heaven by Angels, very fine and
rare, £2 2s.
3. St. Dominic Ascending to Heaven, after Guido, good, with
slight margin, £1 5s.
4. Venus and Cupid, after Cignani, fair, 12s. 6d.
Lorraine (Claude de).-This celebrated landscape
painter was born at Chamagne, in Lorraine, in 1600; he
died in 1682. He is credited with some 30 etched plates
of landscapes, executed in a very slight but extremely
spirited manner.
1. The Flight into Egypt, second state, with large margin, £1.
2. The Shipwreck, second state, 18s. 6d.
3. Cattle in Stormy Weather, third state, 8s. 6d.
4. The Shepherd and Shepherdesses in Conversation, second
state, fine, £1 1s.
5. The Campo Vaccino, first state, very rare, £10.
6. The wooden Bridge, good, 14s.
Louvemont (François de).—A French engraver, born
at Nevers in 1648; he died about 1690. His works are not
very numerous, nor are they of much value. The following
are among the best:
1. The Virgin and Child, after Poussin, very fine, with large
margin, 12s.
ENGRAVERS AND THEIR WORKS.
367
2. St. Francis Xavier Interceding, after Ferri, fair, 5s.
3. The Stoning of St. Stephen, after Cortona, fair, 7s. 6d.
Lucas (David).-A celebrated mezzotint engraver, born in
1802; died in 1881. Lucas is commonly known as Constable's
engraver," by reason of his having reproduced with great
ability a considerable number of that painters' works. Lucas
was at his best when working after Constable, the style of
the latter artist being reproduced with marvellous fidelity.
The series of plates published in 1855, folio, under the
title of "English Landscape Scenery," shew this engraver
in a very favourable light.
1. Lady Pentweazle, after Smirke, fair, 17s.
2. A Devonshire River Scene, after F. R. Lee, proof before
letters, £10.
3. Combat between the Papal Dragoons and Brigands, after
Vernet, fair, 8s. 6d.
4. Confession of an Italian Brigand, engraver's proof, £1 5s.
5. The Return to Port, after G. Isabey, in colours, very fine,
£13 13s.
The Following are all after Constable.
6. Spring, engraver's proof, £2.
7. Summer Morning, ditto, £2.
8. Summer Evening, ditto, £2 17s. 6d.
9. Dell of Helmington, ditto, £1 1s.
10. A Heath, ditto, before the dog, £1 4s.; the same after the
dog, £1 4s.; the same touched proof, £2 2s.
11. Sea Beach, Brighton, engraver's proof, £1.
12. The Young Waltonian, proof, relaid, £4 4s.; again, very
fine proof, £28.
13. Old Sarum, engraver's proof, £1 4s.; the same, open letter
proof, 7s. 6d.
14. A Summerland, engraver's proof, £2 4s.
15. Barge on the Stour, engraver's proof, £2 6s.
16. Water-Mill, Dedham, engraver's proof, £1 16s.
17. Weymouth Bay, engraver's proof, £1 6s.
18. View of Brighton, with the chain pier, open letter proof,
12 ins by 7% ins, 10s.
19. Glebe Farm, engraver's proof, £2 12s. 6d.; the same, proof
before letters, good, £1 1s.
20. Hadleigh Castle, engraver's proof, £3 3s.; again, £4 4s.
21. Tail of the Mill, engraver's proof, 11s.
29. A Suffolk Windmill, engraver's proof, unpublished, £1 6s.
23. Salisbury Cathedral, engraver's proof, £3 7s. 6d.; the same
working proof, £1 13s.; the same touched proof, £4 4s.;
the same trial proof, £5 5s.; again, first state, £105.
368
ENGRAVINGS AND THEIR VALUE.
24. Castle Acre Priory, engraver's proof, 14s.; the same, with
extra birds, £2 10s.
25. View on the Orwell, engraver's proof, 15s.; the same,
touched proof, £2 2s.
26. Windmill near Colchester, engraver's proof, £1 10s.
27. The Vale of Dedham, dated 1836, proof before letters,
£7 10s.; again, fine first state, £115 10s.
28. The Cornfield, fine proof, £63.
Lucensis (Michele).-An Italian engraver, living at
Rome about the year 1550, where he also carried on the
business of a printseller.
1. Four friezes after Polidoro, one without mark, 16s.
2. The Prophet Ezekiel, after Michelangelo, and the Cruci-
fixion of St. Peter, after the same (2), £1.
3. The Fall of Phaeton, after the same, no mark, 19s.
4. St. Peter Walking on the Sea, the Presentation in the
Temple, a nymph and satyr with a Cupid (3), £1 16s.
Luiken (Jan).-See Luyken (Jan).
Lumley (George).—An amateur engraver, who was
living at York in or about the year 1720. He died there
in 1768. All this artist's prints consist of mezzotint
portraits.
1. Thomas Comber, Dean of Durham, proof before any letters,
fine, £1 14s.
2. Lady Mary Fenwick, after Dahl, rare, £1 8s.; again, very
fine, £2 5s.
Lupton (Thomas Goff).-A mezzotint engraver, born
at Clerkenwell in 1791; died in 1873. This artist was the
first to work on soft steel in lieu of copper. He scraped
some good plates after Lawrence and other eminent portrait
painters of the day.
1. The Poacher Detected, after W. Kidd, 1820, remarque proof, 8s.
2. The Infant Samuel, after Sir Joshua Reynolds, good, 8s. 6d.
3. Watercress Gatherers, from Turner's "Liber Studiorum,'
fair, 4s. (six plates were engraved by Lupton).
4. Scarborough; Whitby; Ramsgate; Dover, four plates from
Turner's "Views of the Ports of England" 1825 (should
be six plates including Sheerness and Portsmouth), proofs,
fine, £1 5s.
Lutma (Abraham).—An artist who was living at
Amsterdam somewhere about the year 1600. Beyond this
nothing seems to be known of him.
ENGRAVERS AND THEIR WORKS.
369
1. Paul van Wienen, silver chaser, after his own drawing,
fine and rare; Paolo Veronese, in Gothic frame, after
Jan Lutma, an etching (2), £1 19s.
2. Portrait of Rubens, after Vandyck, fair impression, with
slight margin, very rare, £2.
Lutma (Jacobus). This artist, who flourished about
the year 1650, executed a set of twelve middling sized
upright plates of ornamental shields and foliage which are
etched in a neat style and finished with the graver. Another
engraver, doubtless of the same family and known indifferently
as Joannes or Janus Lutma (1629-1689), flourished at
Amsterdam. There is by him a set of four portraits
represented as antique busts which are executed with a punch
and mallet in the style known as "opus mallei."
Lutterel (Henry).-Born in Dublin about 1650; died
about 1710. This artist was one of the earliest English
engravers in mezzotinto, and his prints, when good im-
pressions, are much sought after. The artist's chief works
consist of portraits.
1. Arthur, Earl of Essex, after Lely, fine, with slight margin,
19s.; the same, an unfinished proof, £2.
2. The Earl of Shaftesbury, after Greenhill, fair, 16s.; again,
fine impression, £3 18s.
3. Charles II., after Lely, oval ito, mezzotinto, fine and rare,
£ 15s.
4. Mr. Cooling, in a gown, with wig and laced cravat, square
half-sheet, mezzotinto, rare and fine, £12 12s.
5. Oliver Plunket, Bishop of Armagh, 8vo, fine and rare,
£10.
Lützelburger (Hans).—An old German wood engraver
of great repute, who was born probably at Augsburg about
1495. His best known cuts are those after Holbein's
designs, notably the Dance of Death," and a number
of figures from the Old Testament. Lützelburger is
เ
supposed to be identical with one Jan Franck," a
Formeschneider who assisted Albrecht Dürer. He also cut the
blocks, or at any rate some of the blocks, for Burgkmair's
"The Triumphs of the Emperor Maximilian I.," a
facsimile reprint of which was issued by the Holbein
7
24
370
ENGRAVINGS AND THEIR VALUE.
Society in 1869. Cuts by this artist, all of which are
very rare, are frequently marked with his name in full
and often with the initials H. L. FUR.
Luyken (Jan).-Born at Amsterdam in 1649; died
there in 1712. This artist was a pupil of Martin Zaagmoolen.
His prints which are very numerous, are somewhat
defective in drawing, and his figures are ill arranged;
as most are crowded with figures these defects are very
marked at times. Nevertheless, Luyken is described as
an artist of great eminence in his day.
1. The Massacre of St. Bartholomew, on two sheets, with
Dutch inscription below, very rare, £2 15s.
2. The Murder of Prince William of Orange, 1584, after de
Hooghe, fair, 13s.
3. A collection of sacred and other subjects, proofs (57), £1.
4. Subjects from the Old and New Testaments, proofs (73),
£1 13s.
5. A series of larger Scriptural subjects, some of them
proofs (94), £1 19s.
MA" (Master of the Monogram).-See Master of
the Monogram "MA."
MacArdell.-See Ardell (James Mac).
Mair (Alexander).—A German engraver, born some-
time about the year 1560. He is described by Bryan as
living in 1620. His prints consist almost entirely of plates
for books, frontispieces, plans and similar subjects, and all
are rare.
1. A frontispiece, with arms resting against two columns, on
copper, very fine £12 12s.; again, a fair impression,
no margin, £2.
2. Plan of the City of Augsburg, woodcut, good, £1 5s.
Mair (Nicolaus Alexander).—An old German engraver,
who flourished about the year 1500. This artist is said by
some, though perhaps erroneously, to have been the inventor
of engraving in chiaro-scuro. His prints are not often met
with, and always command high prices.
1. A Balcony on which are scen a gallant and three ladies
with a buffoon, extremely rare and fine, £159 (Dent
Sale).
ENGRAVERS AND THEIR WORKS.
371
Maître (Le, à la Navette).-See Master of the
Shuttle.
Maître (Le, aux Bourdons Croisés).- See Pilgrim
(Johann Ulric).
Major (Isaac).—A German painter and engraver, born
at Frankfort about 1576; died at Vienna in 1630. This
artist was
a pupil of Gillis Sadeler, and several of his
plates are engraved in the style of that master. He united
the point with the graver but not with sufficient lightness
and ease. His deep shadows will, on inspection, be found
weak and the lights improperly harmonized, the general
effect being feeble and confused. His best plates consist,
perhaps, of the set of six landscapes after Pieter Stephani.
They illustrate views in Bohemia.
Major (Thomas).-A celebrated English engraver, born
in 1720; died at London in 1799. This artist's plates are
executed in a bold, firm style, entirely with the graver.
The subjects chosen are of the most varied character.
1. South view of Westminster Abbey and dormitory, after
W. Courtenay, fair, 4s. 6d.
2. Cardinal Pole, good impression, with slight margin, £1.
3. View of a seaport, after Claude, fair, 4s.; again, brilliant
impression, with large margin, £2 5s.
4. View near Haarlem, after Van der Neer, good, 18s.
5. View of the Ponte-Mole, near Rome, after Claude Lorraine,
1753, good, 12s.
6. Return from a course on Lambourn Downs, after Seymour,
1756, good, 10s. 6d.
7. A series of 24 plates entitled "The Ruins of Pæstum," after
J. B. Borra, 1768, fair average impressions, £1 2s.
Malgo (S.).-An Austrian engraver, who seems to have
flourished at Vienna during the latter portion of the 18th
century. Little is known about him, and his prints, which
are not numerous, are seldom met with. He appears to
have worked in line and also in mezzotint.
1. Marie Antoinette, after Hickel, mezzotint, good, £2 14s.
2. View of the Torrent of the Lutschinen, a large plate in
line, after Belanger, good, 6s.; again, very fine impression,
full margin, 16s.
372
ENGRAVINGS AND THEIR VALUE.
Mallery (Karel van).-Born at Antwerp in 1576;
died there in 1648. This artist's prints are very numerous,
and some few of them are of considerable rarity. His style
greatly resembles that of the Wierexs, and it is probable
that he studied in their school. Mallery worked with
the graver only in a very neat manner. His portraits are
fine, but his other subjects are often defective in drawing.
1. William Barclay, ætat. 53, 1599, in a border composed of
coats of arms, fine and scarce, £2 5s.
2. The Adoration of the Magi, fair, 4s. 6d.
3. Four plates of the Miller, his Son, and the Ass (the scarcest
of the artist's prints), margin cut, good, £1 6s.
4. The History of the Silkworm, after Stradan (6), fair, 14s.
Mannl (Jacob).-A German mezzotinto engraver, who
was born at Vienna about the year 1695. He was instructed
to engrave the pictures presented by the Archduke Leopold
to the Imperial Gallery, but had only completed thirty-one
of them at the time of his death. Of these it would seem
that only eleven were ever published, the rest of the plates
being afterwards lost, or, as it is said, destroyed by the
heirs of the engraver. The whole of the plates attributed
to Mannl are rare.
Mantegna (Andrea).-Born at Padua in 1431; died at
Mantua in 1506. Though chiefly celebrated as a painter,
this artist worked some very fine plates by single strokes
running from one corner to the other without any second
strokes or hatchings over them. In general appearance
they greatly resemble drawings made with a pen.
1. The Scourging of Christ, fine and rare, £5 17s. 6d.; the
copy with variations, £1 5s.; again, brilliant impression,
£21.
2. The Burial of Christ, exceedingly rare, early state, but
false margin, £25 10s.; an ancient copy of the same,
reversed, £7; the same subject, differently composed, and
numbered 3 in Bartsch, fine impression, £2 15s.
3. Christ Taken from the Cross, rare, but damaged, £7.
4. Descent of Christ into Holl, fine and rare, £12; the same,
fine, £
10s.
5. Christ Standing between St. Andrew and St. Longinus,
rare, £2 2s.
ENGRAVERS AND THEIR WORKS.
373
6. The Virgin and Child, second state, with the glory round
the heads, brilliant, £28 15s.
7. The Triumphs of Cæsar, three separate prints (there are
nine prints in a complete set), fine, £3.
8. Hercules and Antaeus, choice impression, £9 9s.
9. The Wine Press and Silenus (2), fine and rare, £2 19s.
10. Hercules Fighting the Serpent, inscribed "Divo Hercvli in
Victo," brilliant impression, in perfect preservation,
£30 10s.
11. Dance of four Nymphs, fine, full margin, £22.
12. Combat of Marine Gods, fine and scarce, £50.
Mantovano or Mantuano.-See Ghisi.
Manuel (Nicolaus).—This painter-poet, who is also
known by the name of Deutsch, was born at Berne about
the year 1484 and is supposed to have died there in 1531.
He cut a number of his own designs on wood in a bold
and free, but slight style. His cuts are marked with the
capitals N.M.D., joined together, with a dagger at the right
hand. Those marked R.M.D. with the dagger, are credited
to Nicolaus Manuel by Bryan, though Strutt ascribes them
to Rodolphe Manuel, also called Deutsch, who flourished
in 1548.
Maratti (Carlo).-This eminent painter was born at
Ancona in 1625, and died at Rome in 1713. His works
are by no means numerous, as he confined his attention
chiefly to painting. His etchings are executed in a free
spirited style, and are neat and well finished.
1. Birth of the Virgin, Virgin and Child with St. John, Christ
and the Samaritan woman, after A. Carracci, two impressions,
one a proof, before any inscription (4), £1 5s.
2. The Martyrdom of St. Andrew, fine, Christ and the Woman
of Samaria (2), 18s. 6d.
Marc Antonio.-See Raimondi (Marc Antonio).
Marché(G.)—An engraver mentioned in Nagler's "Kunstler-
Lexicon." Little is known of him, but he appears to have
been working in England towards the close of last century.
1. Oliver Goldsmith, after Sir Joshua Reynolds, good, £9.
2. Dr. Johnson, after the same, good, £4 12s. 6d.
3. Miss Chomley, after the same, fine, with full margin
£8 17s. 6d.
374
ENGRAVINGS AND THEIR VALUE.
Marco da Ravenna.-See Ravenna (Marco da).
Marcuard (Robert Samuel). — An English engraver who
is stated by Bryan to have been born in 1751 and to have
died about 1792. He followed the style of his master
Francesco Bartolozzi with great success, and left behind
him some excellent prints in the well-known dotted style.
1. The Mother's care, oval in brown, fair, 11s.
2. The Village Doctress, after Northcote, oval in red, 15s.;
the same in colours, £2 2s.
3. Peleus and Thetis; Cupid and Nymphs, circular, in brown,
proofs (2), £3.
Marelli (Andrea).—An Italian engraver, who flourished
about the year 1570. His prints are scarce.
1. The Bark of Giotto, dated 1567, good, £1.
2. A composition of many figures, engraved at Rome in 1572
in commemoration of the visit of the Pope to Venice,
height 20½ in., width 14ğ in., a good impression, £2 2s.
Mariette (Jean).-Born at Paris in 1654; died there
in 1742. This artist's plates are numerous, and consist for
the most part of frontispieces and book ornaments. His
style of engraving is coarse but his drawing is tolerably
correct. He worked with the point as well as with
the graver, and most of his plates shew traces of both
instruments.
1. The finding of Moses, after Poussin, fine, with margin, 11s.
2. The Virgin Enthroned, with St. John and St. Catherine,
after Annibale Carracci, fine, with margin, 15s.
3, Christ Curing the Halt, after Corneille, good, 12s.; again,
fine, with slight margin, £1 1s.
Marin-Lavigne (Louis Stanislas).-This artist who
is better known as Marin, was born at Paris in 1797, and died
there in 1860. His chief works consist of lithographs which,
contrary to the general rule, are often of very considerable
value.
1. Provoking Fidelity, after Perelle, oval, in colours, £4 18s.
2. Pretty Nosegay Girl, after Greuze, oval, in colours, £5 5s.
Marmion (Sir Edmund).-A designer and engraver
who flourished during the reigns of Charles I. and II. The
ENGRAVERS AND THEIR WORKS.
375
manner he adopted bears some resemblance to that of
Gaywood, though the latter was much the better artist of
the two. The print mentioned below is the scarcest of
this artist's productions, but any example by him is of value.
1. George Tooke, of Popes, in Hertfordshire, in half armour,
an etching, 4to, fine impression of an excessively rare
print, £26 5s.
Marot (Jean).—An architect and engraver of considerable
repute. This artist is said to have been born at Paris in 1620,
and is known to have been living in 1680. All his works
consist of architectural plates which, though of great merit,
are not, as a rule, of much pecuniary value. Jean Marot
left a son, Daniel, who was born at Paris about 1650, and
was living in 1718. He engraved a number of plates in the
style of his father, but did not confine himself to architectural
subjects. His best print is descriptive of the rejoicings
which took place at the Hague in 1686, to celebrate the
birthday of the Prince of Orange.
engraver who
His best prints
Marshall (William). --- An English
flourished between the years 1591 and 1649.
are portraits, most of which were executed as frontispieces
for books. The artist worked with the graver only in a
dry, tasteless style, and from the similarity which appears
in the designs of all his portraits, it is supposed that he
worked from his own drawings after the life.
1. Vera Effigies Doctissimi Viri, Thos. Taylor, Sacræ Theologiæ
Doctoris, ætat. suæ 56, writing in a book, four Latin
lines at bottom, fine and rare, £2.
2. The most illustrious, &c., Gustavus Adolphus, Natus Nov.
30, Anno 1594, in armour, fine and rare, £5.
3. Sir Francis Bacon, engraved in 1640 for his "Advancement
of Learning," half length, seated, fair impression, 14s.
4. Ferdinand Alvarez de Toledo, bust in armour, fair, 12s.
5. Sir Thomas Fairfax, equestrian portrait, fair, 12s.; the
same, fine, £1 1s.
6. William Lilly, astrologer, three-quarter length, seated, 1602,
good, £1 5s.; the same, very fine, £1 15s.
7. Robert, Earl of Essex, three-quarter length, holding baton,
ten lines beneath, fair, 11s.
8. William Shakespeare, from his poems, 12mo, scarce and
fine, £6.
376
ENGRAVINGS AND THEIR VALUE.
9. William, Earl of Stirling, ætat. suæ 57, in an oval of laurel,
very fine, and exceedingly rare, £35; the same, when
Sir William Alexander, 1616, with motto, oval, 12mo,
exceedingly rare, £25.
10. Henry Welby, of Lincolnshire, sitting at a table, 4to, rare
and fine, £2 12s.
11. Joannes Banfi, ætat. 78, 1646, in oval, 4to, fine, and very
rare, £12 12s.
12. William Hodson, of Peter House, 12mo, fine. 18s.
13. Vera effigies religiosa domine, Margarita Smith (Lady
Herbert), angels suspending a crown over her head, four
English verses, 4to (oval), described in the catalogue as
very fine and unique, £26 5s.
14. Elizabeth, Countess of Huntingdon, 4to, fine and scarce,
£3 10s.
15. Archbishop Laud, fair impression, but cut, 9s.
16. John Milton, with Greek inscription, very fine, £1 1s.
17. Sir John Suckling, ætat. suæ 28, in wreath, eight lines
below, fine impression, £1 8s.
18. John Dayes, 1591, ætat. sue 18, eight lines by Isaac Walton,
with the emblem, brilliant impression, £6 6s.
Marteau (Giles de). This artist, who is usually styled
Giles Marteau "the Elder," was born at Liège in 1722. He is
noted as having revived a species of engraving in the dotted
manner, at one time extensively practised by Lutma,
Boulanger and many older masters. Giles de Marteau,
the younger, was a nephew and pupil of the last named.
His style of engraving was precisely similar. None of
the plates of these masters are of much pecuniary value
unless they are proofs of fine quality.
1. A pair of hunting scenes, after Huet, by Marteau the
younger, proofs, very fine, £1 13s.
2. Four Landscapes after Houel, by Marteau the elder, fair,
Ss. (There are six landscapes in a complete set.)
Martin (David).—An English engraver in mezzotint,
born at Anstruther in 1736; died at Edinburgh in 1798.
This artist's plates consist entirely of portraits among which
are noticeable those of Rousseau and David Hume, both after
Ramsay. The value of ordinary lettered impressions of any
of these does not, as a rule, exceed a few shillings.
Martini (Pietro Antonio).-An Italian engraver who
seems to have been born at Parma about the year 1740.
ENGRAVERS AND THEIR WORKS.
377
His plates are not numerous and many of them were finished
by Le Bas. Martini practised in Londen for some years.
1. The exhibition of the Royal Academy, 1787, after H. Ramberg,
£2 18s.
Masquelier (Louis Joseph). - A French engraver,
born near Lille in 1741; died at Paris in 1811. This artist
was one of the pupils of Le Bas whose style he, in a measure,
adopted. His best plates consist of landscapes though
he executed a large number of other subjects many of them
after his own designs. Specimens of his work can be seen
in the book entitled “Tableaux, Statues, Bas-reliefs, et Camées
de la Galerie de Florence et du Palais Pitti," 1879, folio.
Massard (Jean Baptiste Louis). — This engraver was
the eldest son of Jean Massard also an engraver of considerable
repute, who was born at Bellême in 1740. Jean Baptiste is
supposed to have died in 1810. The under mentioned
plates are by him.
1. La Cruche Cassée, very fine, £5; again, with the artist's
autograph, from the Buckingham Collection, very fine,
£12 10s.
2. La Dame Bienfaisante, proof before the title, but with the
arms, good, 14s.
Masson (Antoine).— Born at Louri, near Orleans in 1636;
died at Paris in 1700. This artist was a portrait painter,
but is principally celebrated for his plates, which are executed
entirely with the graver in a masterly manner.
He appears
neither to have affected any particular style nor to have been
bound by any kind of rule. Many of his prints, though
erratic and eccentric, are extremely pleasing and picturesque,
notably those numbered 9 and 10 below.
1. Peter Dupuis (painter), three-quarter length, in fur cap,
verse beneath, £1 10s.
2. Peter Dupuis (antiquarian), three-quarter length, in oval,
brilliant impression, before the name of Dupuis, etc.,
£15 15s.
3. Henri de Lorraine, half length, fine, first state before the
No. "4" in the margin, £19 10s.
4. Marie de Lorraine, Duchesse de Guise, the fourth state
378
ENGRAVINGS AND THEIR VALUE.
with the word "Roma," and a rabbit (there are five
states altogether), fine, £1 1s.
5. Louis, Duc de Vendôme, three-quarter length, in large
oval, £2 5s.
6.
Marquis de St. André, Madame de Guise, with the rabbit (2),
fair, 12s. 6d.
7. Louis XIV., after le Brun, good impression, 17s.
8. His own portrait, fair, 8s.
9. Christ and his disciples at Emmaus, fine, £3 10s.
10. Guillaume de Brisacier, known as "The Grey Headed Man,"
first state before letters, very fine and rare, £28; again
lettered impression, 16s.
11. Count Harcourt, after Mignard, good lettered impression, 14s.
Master of the Anchor.-The Master of the Anchor,
one of the old masters of the German school, is so called
on account of the device which appears on the prints
usually ascribed to him. This device is composed of an
anchor between the two letters "B" and "R." Not a
conjecture can be formed as to who this engraver really was.
It is almost unnecessary to say that prints by the "Master
of the Anchor" are exceedingly scarce and valuable. Bartsch
(vol. vi., p. 394) describes five pieces, which are the only
ones ascribed to the artist. They are all mentioned below.
1. The Adoration of the Kings.
2. St. Margaret.
3. The Virgin and Child (there are two prints answering to
this description; in the first the Virgin presents a rose
to the Infant Christ with her right hand; in the second,
an apple with her left hand).
4. The Female taken in adultery, fine and very rare, £56.
Master of the Bird.-See Porto (Giovanni
Battista del).
Master of the Boccaccio.-An unknown artist. In
the edition of Boccaccio's work entitled "Joannis Bocacii de
Cercaldis historiographi prologus in libros de casibus virorum
illustrium incipit," published in folio at Strasburg in 1475,
appear nine engravings, which are much superior to
anything of the kind that had hitherto been attempted,
even by such masters as Martin Schongauer and Israel von
Meckenen. The unknown artist, whose talent failed to
preserve his name, is called the "Master of the Boccaccio."
ENGRAVERS AND THEIR WORKS.
379
Master of
the
(Francis de).
Caduceus.-See
Babylone
Masters of the Candlestick. See Hopfer.
Master of the Crab.-Probably indentical with Franz
Crabbe, a Flemish painter who was living in 1500, and
who died at Mechlin fifty years later. There are fifty plates
by this artist, all of which are scarce and valuable.
1. The Annunciation, very fine, from several noted collections,
£19 5s.
2. The Nativity, very fine, ibid., £35.
Master of the Days of Creation.-An unknown
artist, so called because his only discovered work consists of
three plates, representing the different stages of the Creation.
He lived probably about the year 1480. There should, of
course, be seven prints in a complete series, and no doubt
the artist engraved that number of plates. The only ones
known pourtray the events of the second and fifth days
and the Day of Rest.
Master of the Die.-An unknown artist, who flourished
about the year 1532. He is so called because some of his
prints are found marked with a small cube, or die.
Tradition preserves the name of Beatricius in connection with
this master, but nothing whatever is known about him.
1. The Annunciation, Assumption of the Virgin, St. Roch (3),
£1 15s.
2. Apollo and Marsyas, before the address; Sacrifice to Priapus,
first and second states, &c. (6), £1 1s.; Apollo and Marsyas,
first state, £1 13s.
3. Subject from the History of Psyche, proof; Feast of the
Gods, &c. (7), £1 3s.
4. The History of Cupid and Psyche, from Apuleius, curious
copies (28), £5 11s. 6d.
5. The Woman and the mirror, a Moor behind her, after
Raffaelle, good, £1 10s.
6. The History of Apollo and Daphne (4), 12s.; the same,
first state (4), £4 4s.
7. Joseph Relating his Dream, 10s.
8. The Coronation of the Virgin, first state, before the in-
scription, fine, £4.
9. Envy Chased from the Temple of the Muses, after
Peruzzi, 7s.
380
ENGRAVINGS AND THEIR VALUE.
10. The Chariots of Apollo and Venus, after Raffaelle, £2.
11. A Sacrifice to Priapus, first undescribed state, and second
state with the alteration in the principal figure (2),
£1 12s.
12. Cupids Playing, after Raffaelle, a copy reversed, good,
£1 9s.
13. Three Cupids Playing with an Ostrich, 11s.
14. Frieze with the Triumph of Love, proof before the name
of Lafreri, fine, £1 12s.
15. Æneas carrying his Father Anchises from Troy, after
Raffaelle, 8s.
16. The Victory of Scipio and Syphax, 15s.
17. Bucchus crowned by Cupids, first state, fair, 9s.
Master of the Initials "E.S." or of 1466.—Up to
a recent date this artist was regarded as being the
earliest engraver who marked his plates with a date; but
this opinion is no longer held. Willshire, in his work
"Ancient Prints," observes that he must be regarded as
the first of the fine workers among the early German
engravers, and that his true name was probably Stechin
or Stern. He engraved many Biblical subjects, and a set
of the letters of the alphabet, the latter of which are
particularly scarce and valuable. None of the artist's
prints are to be procured, however, except at rare
intervals. In July 1893 a fine impression of his "St. George
and the Dragon," sold for £165, and in 1872 four playing
cards realised £270; they would probably bring as much
or more at the present time.
1. The Visitation, £31 (sold in July 1895).
2. The Pentecost, the original print from which Israel von
Meckenen made his copy (see Bartsch No. 27), fine, £30
(Dent sale).
Master of the Initials “I.B.”—A number of plates
of fine design and finish are found marked with these initials;
nothing reliable is known of the engraver, but from the
style he probably worked during the earlier part of the 16th
century. All the prints mentioned below came from the
Willett collection.
1. The Divinities who preside over the Planets, the set
complete (7), fine, £3 3s.
2. The Triumph of Bacchus, fine, £1 8s.
ENGRAVERS AND THEIR WORKS.
381
3. Combat of Gladiators on foot, fine, £1.
4. Combat of Gladiators on horseback and on foot, fine,
£1 19s.
5. The Infant Vintagers, 1529, fine, £1 6s.
Master of the Monogram "BM."-An unknown
artist who seems to have placed the signature of Martin
Schongauer on his own work, perhaps with the object of
deceiving the purchasers. Examples of his skill are
exceedingly scarce, and when met with command high prices.
A short time ago, a fine first state of the Judgment of
Solomon, before the cloud on the left of the throne was
added, realised £60. The total number of this master's
plates is only nine.
Master of the Monogram "CB."-Little is known
of this artist with certainty, and specimens of his work are
seldom met with. He was, however, working from 1500
to 1550 at Augsburg, with the Hopfers, and by many is
supposed to have belonged to that family.
Master of the Monogram "FG.”—This artist, whoever
he was, was working in the year 1537, as one of his prints
representing Mutius Scævola in the tent of Lars Porsena
bears that date. An indifferent impression recently sold
for £4 12s.
Master of the Monogram "HL."-An unknown
master of the schools of the upper Rhine and Switzerland
whom some seek to identify with Heinrich Lautens ack,
and others with Hans Leu. It is not possible, however, to
say who this artist was or whence he came. Twenty-two
engravings on copper are credited to him, all of excellent
design.
1. The execution of St. Dorothy, good, £1 12s.
2. The Conversion of St. Paul, fair, 5s.; again, very fine with
full margin, £1 8s.
3. Christ crowned with thorns, good. £1 1s.
Master of the Monogram “MA.” — An unknown
artist, who was working in Germany in the year 1492.
1. The Descent of the Saviour into Limbo, fine, but cut, £2.
382
ENGRAVINGS AND THEIR VALUE.
Master of the Monogram "MW."-Artist unknown.
1. Friezes of ornaments, scarce, but in bad condition, 15s.
Master of the Mousetrap.-This artist, so called
from his method of marking his prints, was a German
engraver who flourished in or about the year 1530. His
name is supposed by some to be Nadat, and by others
Natale Dati, but nothing is known with any certainty.
Specimens of his work, which are very limited in number,
are exceedingly rare. (See Nadat.)
Master of the Pitcher.-See Krug (Ludwig).
Master of the Shuttle, or à la Navette as he is
styled by French collectors.-An artist, who in late years
has been identified on satisfactory evidence with Johann
von Koln, a German painter and engraver, who was
living in 1440. Eighteen of his prints are described by
Bartsch, vol. vi., p. 90. These are very scarce, as witness
the following prices:
1. Christ on the Mount of Olives, fine, £12.
2. The Betrayal of Christ, good impression, £26, again,
inferior to the last, £17.
Master with the Star.-This engraver belonged, perhaps,
to the Dutch or Flemish school of the beginning of the
sixteenth century. He is remarkable from the circumstance
of nearly always placing the date of the year, and sometimes
that of the month and day, on the work he executed. His
plates are marked with the initials "D. V." on either side
of a star. The prints of this artist, whose real name was
Dirk van Staren, are very rare.-See Staren (Dirk van).
Master of the Unicorn.-See Duvet (Jean).
Master of "W."-Probably Wenzel von Ollmutz, or
perhaps Michael Wolgemut. Prints marked with the "W"
are sometimes, but not often, met with. They invariably
bring high prices.
1. The Man of Sorrows, copied from M. Schongauer, fine,
£20.
2. The Martyrdom of St. Andrew, fine and rare, £11 11s.
ENGRAVERS AND THEIR WORKS.
383
Master of 1466.—See ante Master of the
Initials "E.S.”
Matham (Adriaen).-Probably of the same family as
the artists next mentioned. This engraver was born at
Haarlem about 1605, and is known to have been living in
1646. He worked with the graver only in a style greatly
resembling that of Jakob de Gheyn, who was a pupil of
Hendrik Goltzius. The influence of both these masters is
apparent in his works.
1. The Marquis of Montrose, very rare, £2 15s.
2. The Golden Age, after Goltzius, fine, 16s.
Matham (Jacobus).-Born at Haarlem in 1571; died
there in 1631. This artist was the stepson of Hendrik
Goltzius, by whom he was instructed in the art of engraving.
Some of his best examples are after the works of that
master. All are executed wholly with the graver, and
invariably in a clear, free style.
1. The Crucifixion, after Dürer, good impression, 13s.
2. Hendrik Goltzius, bust in oval, 1617, fine, £1 15s.
3. Pope Leo XI., three-quarter length, in cap and papal robes,
fair, 12s. 6d.
4. Cornelius Ketel, ætat. 48, holding a goblet, fair impression,
19s.
5. Sir John Webster, after Jansen, folio, fair, 16s.; the same,
proof before any letters, £2 12s. 6d.; the same, ordinary
impression, 8s. 6d.
6. The Temptation, with margin, 11s.
7. Satyrs Contemplating the Beauty of Venus, with large
margin, and perfect, £1 17s. 6d.
8. Vincent Jacobson, wine merchant of Amsterdam, after C.
Ketel, fine, £1 14s.
9. Maximilian, Duc de Sully, after Du Boys, very fine, £7.
10. The Great Whale stranded on the coast of Holland in
1598, good, 9s.
Matham (Theodor).-Born at Haarlem in 1569; died
about 1680. This artist worked in Holland and at Rome, and
is chiefly celebrated as a painter. He was the second son and
pupil of Jacobus Matham above named. Most of his plates
are executed with the point and finished with the graver.
His portraits are especially fine.
384
ENGRAVINGS AND THEIR VALUE.
1. Catherine Charlotte, three-quarter length, in oval, fair
7s. 6d.
2. William Wolfgang, Count Palatine of the Rhine, three-
quarter length, in a skull cap, £1.
3. Reinjer Paav, President over Holland, half length, seated
in an arm-chair, very rare, £2 10s.
4. Philip William, Count Palatine of the Rhine, three-quarter
length, in large oval, 14s.
5. Cornelis de Witt, three-quarter length, in oval, 12s.
6. William Perkins, oval, folio, proof, £1 5s.
Matsys (Cornelis).—A Flemish engraver, born at
Antwerp about the year 1515, and known to have been living
in 1580. In general this artist's plates are of very small
size and nearly all are after his own designs. His style of
engraving very much resembles that of Francis de Babylone.
1. Henry VIII. of England, in a cap and feather, 1548, three-
quarter length, tine and extra rare, £2 12s.
2. David and Bathsheba, fine and rare, £1 5s.
3. Venus and Vulcan, fine and rare, £1 15s.
4. The Death of Cleopatra, 1550, very fine, and rare, £2 18s. ;
again, good impression, but cut, 18s.
5. Judith with the Head of Holofernes, good, £1 15s.
6. The Miraculous Draught of Fishes, after Raffaelle, fair, 8s.
Mauperché (Henri).—A French painter and engraver
born, probably, at Paris about the year 1600. He excelled
in painting landscapes, and is only credited with some fifty
etchings of slight merit. These are either after his own
designs or those of Herman Swanevelt. They include
a series of 12 landscapes after that artist, and six plates
of the History of Tobit, and the same number of the History
of the Virgin, all after his own designs. As a rule the
value is small.
Mayer (Christian). This engraver was born at Vienna
in 1812, and died there in 1870. His plates are not devoid
of merit but are rather roughly executed and do not command
large prices. One of his best, represents the pursuit of
the Christians in the Catacombs of Rome, after Rahl.
There are also several good plates after Rubens, notably
the Four Divisions of the World, and Boreas carrying off
Orithyia.
ENGRAVERS AND THEIR WORKS.
385
Mazzuola (Francesco).-This celebrated artist, who is
better known as Il Parmigiano, was born at Parma in
1504. He was one of the most gifted of the Italian painters,
and his few prints, nearly all of which are mentioned below,
are also very fine. All are etchings, remarkable for their
freedom of execution, spirit and admirable drawing, though
they are often irregular in the mechanical parts. Good,
untouched impressions of any of the prints of this master
are seldom met with, and fine ones are exceedingly scarce.
He did not, as was once erroneously supposed, execute
any work in Chiaroscuro though there is no doubt that
he superintended the execution of a number of blocks by
Ugo da Carpi, Antonio da Trento and other early masters
in that style. Parmigiano spent all his money and most
of his time in the pursuit of the "philosopher's stone," and
died of disappointment at Casal in 1540, at the early age
of thirty-six years.
1. Judith, original, and an etching of the same in a reverse
direction, fine, £; the same, an original, fair, £1; the
same, first state, with the white fold of drapery falling
over the right shoulder, fine, £5 5s.
2. The Annunciation, second impression, fair, 8s.; the same,
first state before the retouch, £1 18s.
3. The Nativity, two impressions of the original and two
of the copy, all fair specimens, £1; the same, first
and rare state, before the shading on the back of the
shepherd, fine, £3 10s.
4. The Madonna and Child, good, 15s.; the same, first,
second, and third states (3), £2 10s.
5. The Burial of Christ, first impression, 17s.; the same,
second impression, 5s.; the same, first state, before the
shadows on the thigh of the Saviour, very fine and rare,
£16 15s.
6. The Resurrection, original and copy, very fine, £3 3s.;
the same, first state, exceedingly fine, £22 15s.
7. The copy of the last by Bonasoné, very fine, £1 4s. (the
authenticity of this is doubtful, as if the copy had been
genuine it would probably have sold for much more).
8. St. Peter and St. John Healing the Cripple, second
impression, rare, £1 10s.: the same, first state, be-
fore the letters on the base of the pillar, excessively
rare, £15.
9. St. Thaïs, first and second impressions, fine and rare
25
386
ENGRAVINGS AND THEIR VALUE.
£8 8s.; the same, the left corner at the top white,
fine impression, £12.
10. Cupid Sleeping, very rare, £3; the same, first state, the
background above the upper part of the figure white,
very rare in this state, £10.
11. The Shepherd's Boy Standing, good, £1; again, good,
£1 11s.
12. The boy sitting and two old men (1), the original and two
copies, good, £2 16s.; the same, first state, the centre
of the boy's forehead white, £6 12s.
13. The Lover and his Mistress, original and copy, £1 11s. 6d.;
the same, first state, before lines on the lock of hair
above the man's ear, fine, £4 10s.
14. Astrology, original and copy reversed, good, £1 2s.; the
same, first and second states, before and with the
retouch, 11s.
15. Study of the Arm of Diogenes (of which there is a print
by Caraglio), undescribed and rare, £3 10s.
Meadows (Robert Mitchell).- This engraver, about
whose private life very little appears to be known, was
working in London during the second half of the last
century. Some of his plates, particularly those printed in
colours, command a ready sale at the present time. Many
of them are very fine. Examples of the work of Meadows
may be seen in Boydell's "Shakespeare Gallery” for which
he executed a number of plates.
1. The Fern-cutter's Child, fair, 7s.
2. Attention and Inattention, a fine pair in colours (2), £13;
the same, in brown, fair, £1 10s.
3. Gathering Fruit and Gathering Wood, a pair, after Morland,
indifferent (2), 6s., Gathering Wood, better, 14s.
4. A storm in Harvest, after Westall, pub. Feb. 1, 1802, large
plate, lengthways, in colours, £4 10s.
5. Reapers, after the same, pub. July 8th, 1805, large plate
lengthways, in colours, good, £4 12s.
6. Mr. Kemble as Coriolanus, after Sir Thomas Lawrence,
large upright plate, in colours, fine and rare, £7 7s.
Mecarino.-See Beccafumi (Domenico).
Meckenen (Israel von), also called Israel van
Mecken. The elder artist was probably born at Mecheln,
about the year 1440. There are two engravers of this
name, father—mentioned above-and son, and it is exceedingly
difficult, if not impossible, to distinguish between their
ENGRAVERS AND THEIR WORKS.
387
works. The list mentioned below makes no pretensions
to any distinction. The number of plates ascribed to both
artists amounts to about two hundred and fifty and really
fine impressions from any of them are extremely scarce.
1. Samson and the Lion, £2 10s.
2. The Decollation of St. John, £2 12s.
3. The Ecce Homo, £2 8s.; again, £4 10s.
4. Christ Bearing His Cross, fine, £10 15s.
5. Christ disputing in the Temple, good, £6.
6. Christ blessing little children, fine, £9 9s.
7. The Death of the Virgin, copied from Martin Schongauer,
good, £10.
8. The Resurrection, £2.
9. The Disciples at Emmaus, £2 5s.
10. The Adoration of the Magi, cut, £1.
11. The presentation at the Temple, extra rare, £3 3s.;
again, before the retouch, £5.
12. The Massacre of the Innocents, extra rare and fine, £24.
13. St. Matthew and St. Simon, extra rare, £5 5s.
14. The Temptation of St. Anthony, £1 10s.
15. The Travellers, £5 5s.; again, good, £1 16s.
16. The Dance of Herodias, early impression, £10.
17. The Guitar Player, £2 15s.
18. The Monk and the Nun, £2 2s.; again, £1 5s.
19. The Falconer, £4 4s.; again good, £1 10s.
20. The Woman with a Distaff, £3 3s.
21. Two plates of Monkeys, £1.
22. The Two Knights, extra rare, £7 10s.
23. The Card Players, £3 15s. 6d.
24. Design for a Monstrance, £1 10s.
25. St. Thespa, cut from the sheet of four figures, fine im-
pression, £7 2s. 6d.
26. St. Catherine, fair, 19s.
27. St. John the Evangelist, good, £2.
28. St. James, the initial letter H., both fair (2), £2 10s.
29. The Virgin with the Grasshopper, good, £65; again,
fair, £3.
30. Israel Von Meckenen, the younger, fine, £38.
31. Judith, very fine, £78.
32. A Piece of ornamental foliage, very fine, £71.
33. Death of Lucretia, good, £11 10s.
Mécou (Joseph). - This artist is supposed to have
been born at Grenoble, about the year 1774. Subsequently
he went to Paris and distinguished himself as the engraver
of several large and fine plates, among which are the two
388
ENGRAVINGS AND THEIR VALUE.
mentioned below. The execution is very fine and the
designs effective and pleasing.
1. Napoleon Le Grand and Marie Louise in their Coronation
Robes, a pair, after Isabey, open letter proofs, uncut
margins, £3 10s.
Meier (Melchior).-An artist mentioned by Bartsch in
the account prefixed to his catalogue of the prints of Martin
Rota (Vol. xvi., p. 245). He describes him as a German
artist of considerable merit, but about whom very little is
known. He was, however, living on the 6th of December, 1582.
1. The Judgment of Midas, 1581, fine and rare, £2 10s.
2. Apollo and Marsyas, a rare print, fair impression, £3;
again, a fair impression, with slight margin, 14s.
Meissonier (Jean Louis Erneste).—This celebrated
genre painter was born at Lyons in 1815, and died at
Paris in 1891. Good prints after any of his works,
particulary those executed by J. Jacquet, invariably command
high prices. The following have been realised during the
course of the last few months, and are here collected
together, for easy reference.
1. Le Guide, by A. Jacquet, Remarque proof, £32.
2. The Sergeant's Portrait, by J. Jacquet, Remarque Proof, £37,
3. Eighteen Hundred and seven, by J. Jacquet, Remarque Proof.
£55.
4. Eighteen Hundred and Six, by J. Jacquet, Remarque Proof,
£42.
5. Les Renseignements, by A. Jacquet, Remarque Proof, £32.
6. La Rixe, by Bracquemond, Remarque Proof, £105.
7. Eighteen Hundred and Fourteen, by J. Jacquet, artist's
proof on vellum, £26.
8. Group from Rabelais, one of the first proofs before the
plate was cut, very fine and rare, £32 10s.
9. An officer writing, soldiers standing at the table, Remarque
Proof, £28, again, proof on India paper, £6 15s.
10. A man seated, smoking, rare, ordinary lettered impression,
£1 16s.; again, very fine, £5 5s.
Meldolla (Andrea). This artist, an Italian designer and
engraver, flourished between the years 1540 and 1550. Hardly
anything is known of his personal history and until
recently the etchings now universally attributed to him were
placed to the account of either Parmigiano or of Schiavone.
ENGRAVERS AND THEIR WORKS.
389
Meldolla is supposed to have engraved upon pewter or some
other very soft metal, for nearly all the prints attributed to
him are more or less scratched or indented. Really fine impres-
sions of the artist's works are consequently extremely rare.
1. Moses and the Burning Bush, good, £i 13s.; the same,
first state, before the retouch, £3 10s.
2. The Adoration of the Shepherds, with margin, £3 3s. the
same, £1 1s.
3. Christ Healing the Lepers,fair, £1; the same, fine impression,
£10 10s.
4. The Holy Family, with St. Elizabeth and Mary Magdalene,
fair, 15s.
5. The Holy Family, with an angel bringing flowers, fine,
£8 10s.; the same, first state, before the monogram and
retouch, £11 11s.
6. Bellona, good, £1 10s.
7. The Judgment of Paris, fine, with margin, a rare print,
£15 15s.; the same, first state, proof before the monogram,
margin cut, £14.
8. A young woman writing, fair, 11s.
9. The Miraculous Draught of Fishes, after Raffaelle, first
state, before the letters M.A.F., extremely rare, £58.
10. Christ and the Apostles, a set of 21 plates, in the first
state, very fine and rare, £17 17s. (Would bring much
more at the present day. This price was realised some
twenty years ago).
11. The Rape of Helen, first state, fair, 15s.; the same, second
state, before the inscription on the stone on the left,
fair, £1 ls.; the same, third state, with the inscription
on the stone, but before the dolphin was introduced
in front, £5 5s.; the same, fourth state, with the
dolphin, but before the introduction of the arm of the
soldier behind the figure carrying Helen, £2 10s.; the
same, fifth state, with the arm, £2 2s.
Mellan (Claude).-Born at Abbeville in 1601; died at.
Paris in 1688. This celebrated engraver practised two
distinct styles at different periods of his long life. When
sixteen years of age he went to Rome and the plates he
engraved there, or before he went there, are executed with
parallel strokes, crossed with second and third strokes
as the depth of the shadows required. This may be
called his first style.
style. On leaving Rome and settling in
Paris he abandoned the cross strokes altogether, and
worked with single strokes only, the variety of shade
390
ENGRAVINGS AND THEIR VALUE.
being attained by making the strokes thicker or placing
them nearer to one another. A notable example of this
latter method occurs in the case of his Sudarium of
Veronica." It represents the face of Christ, and is executed
by a single spiral line which begins at
at the tip of
the nose and is continued without break over the whole
face and background. For fuller particulars of this artist
and his works see Anatole de Montaiglon's catalogue.
1. Portrait of the engraver, 1635, first state, 15s.
2. Lot and his daughters, fair, 13s. 6d.
3. Rebecca Meeting the Servant of Abraham, fair, 12s. 6d.
4. God Appearing to Moses, first state, before the address
à Paris chez Bligny, fine, £2 2s.
5. Samson and Delilah, fair, 11s.
6. The Annunciation, first state on vellum, but with the printed
inscription "Virgine Christum Concipienti." £1. 12s.
7. The Death of Adonis, second state, with the address, fair, 8s.
8. Apollo in the Chariot of the Sun, above, on the right, a
ribbon with Latin inscription, fair, 12s.
9. St. Benedict kneeling upon clouds, third state, with inscription,
fair, 4s.
10. Christ Praying in the Garden, second state, with the
dedication, 5s. 6d.
11. Portrait of Dreux d'Aubray, fine and rare, £3 3s.
12. Portrait of Louis de Balzac, second state, before the verses,
fine, £1.
13. Portrait of Jacques Howel, leaning against a tree, fourth
state, with the arms, good, 8s.; the same, fine and perfect,
second state, £1 1s.
14. St. Peter Nolasque, carried by two angels, fine and very
rare, £12 10s.
15. St. Bruno praying in the Desert, an upright plate, fair, 9s. 6d.
Mercuri (Paul).-A French engraver born at Rome
about the year 1810; he died at Paris in 1886. This artist's
plates are carefully and neatly worked with the graver.
They do not, as a rule, command much attention unless
in fine proof state.
1. Execution of Lady Jane Grey, after Delaroche, Engraver's
proof, signed, £2.
2. St. Amélie Queen of Hungary, after Delaroche, proof with
the artist's name, fine, £1 3s.
3. Madame de Maintenon, after Petitot, proof before letters,
good, 6s.
ENGRAVERS AND THEIR WORKS.
391
Merian (Matthaüs, the elder).--This eminent engraver
was a native of Basel, where he was born in 1593. He
studied under Dietrich Meyer, and afterwards in the school
of Theodor de Bry. His best works consist of landscapes,
views of towns, buildings and similar objects which he
etched in a light, free style, and retouched when necessary
with the graver. All his work conveys the impression
that he was accustomed to copy his subjects exactly, with-
out much regard to picturesque effect. Matthaus Merian
died at Frankfort in 1651.
1. The Last Supper, lettered "Accepit Jesus Panem," a large
plate, lengthways, good, 12s.; again very fine, with full
margin, £1 10s.
2. A series of Six Views in Germany, fair, 8s.
3. Portrait of Arnold Weickerdus, Physician, dated 1626, good, 9s.
Merian (Matthaüs, the younger).-Born at Basel in
1621; died at Frankfort in 1687. This artist, the son of
the last named, is better known as a painter than an
engraver. He etched a number of plates, chiefly portraits,
one of which will be found as a frontispiece to the 1640
edition of Dr. Donne's Sermons. Other plates by him
will be found in the "Theatrum Europæum." None of
these are of much importance or value.
Méryon (Charles).-Probably one of the greatest
etchers of modern times. Méryon was born at Paris in
1821, and died in the asylum at Charenton in 1868. Many
good judges of prints are of opinion that before many
years have passed the works of this artist will rank next
to those of Rembrandt. Méryon, however, merely existed
in Paris from 1847, almost to the time of his death, and
his work was never appreciated during his lifetime. In
a fit of despair he destroyed the whole of his copper
plates, and early impressions of almost all his prints are
now very rare.
1. College Henri Quatre (taken from the top of the Pantheon),
second state, before the steamer, £3 15s.; the third
state of the same, with the steamer, £3 3s.
392
ENGRAVINGS AND THEIR VALUE.
2. Le Pont au Change, second state (with the balloon),
£5 14s.; the third state of the same, with the balloon
changed into the crescent moon, £5 10s.
3. La Place de la Concorde, with mad Fantasy on the sky,
good, £2 10s.
4. L'Abside de Notre Dame de Paris, 1853, third state, the
title re-written, £6 15s.; the same, first state, £125.
5. Le Stryge, third state, with the title, no address, £2 10s.
6. Tourelle dit de Marat, with figures in the sky, good,
£1 10s.
7. L'Arche du Ponte Notre Dame, first state, £2 2s.
8. Le Pont Neuf, third state, before the address of Delâtre,
£1 8s.
Meurs (Jakob van).-Born at Amsterdam about 1640;
died there in 1702. Besides the two prints named below,
there is another by this artist which is given in most
works of reference, but which has not recently been
sold by auction. The subject referred to is a portrait of
Tycho Brahe, the astronomer, a small upright plate
executed with the graver, and usually regarded as one
of the best examples of this artist's skill.
1. Johann Christopher, Comte de Königsmark, half length in
armour, with scarf, with inscription, verse in Latin
beneath, good, £1 1s.
2. Charles I., in a hat and cloak, oval, after Vandyck, curious
and rare proof, £10 10s.
Meyer (Henry).-Born in London in 1782; died there
in 1847. This artist was one of the numerous pupils of
Bartolozzi and to some extent imitated the style of that
master. He worked in mezzotint and also in the dotted
manner, and is justly celebrated for his portraits, particularly
those of ladies.
1. Lady Kenyon, in colours, good, £10.
2. John Jones Esq., proof before all letters, 19s.
3. The lather's Delight, after W. Derby, in colours, (12 ins.
by 102 ins.), £1 5s.
4. Psyche (Mrs. Paget), after Hoppner, very fine, £8; the same,
proof before letters, £6 6s.
Michael Angiolo (da Caravaggio).—This artist was
born at Caravaggio, near Milan, in 1569, and died at
Porto Ercole in 1609. He was famous as a painter and
only left a few prints which are, however, all scarce.
ENGRAVERS AND THEIR WORKS.
393
1. An old man talking to a woman, marked "Caravaggio F.
Roma," 1603, very rare, £3 3s.
Mieris (Frans van).--A celebrated painter, who was
born at Delft in 1635; died in 1681 at Leyden. The
following etching is attributed to him.
1. Portrait of a man, three-quarter length, cupids holding a
crown above his head, proof, £1 5s.
Miller (Andrew). This artist is said by Strutt to
have been a native of Ireland and to have flourished about
the year 1740. He is credited with a number of portraits
of considerable merit, among them the following:
1. Turbutt in the character of Sosia, mezzotinto, fine, 13s.
2. Charles Lucas, M.D., of Dublin, fair, 8s.
3. John Harper in the character of Jobson, good impression,
but cut, Ss. 6d.
4. The Archbishop of Tuam (Josiah Hort), fine impression,
£1 1s.
Miller (John).—An English Engraver who flourished
about the year 1760. His works consist almost entirely of
portraits which he executed with the graver in a fairly neat
and successful manner. None are very important, however.
1. Thomas Gray, the Poet, good, 6s.
2. John Wilkes, M.P., good, 4s. 6d.
3. George III., from life, good, 7s.
4. Lord Rodney, fair, 2s.; again, fine lettered impression, 12s.
Miller (William).-Born at Edinburgh in 1796; died
there in 1882. Many of this artist's plates are after
J. M. W. Turner, and these are by far his most successful
productions. He also illustrated Sir Walter Scott's works
in prose and verse, and editions of the Poems of Campbell
and Rogers. See under Turner (J. M. W.)
Millet (Jean François). This artist was born at
Gruchy in 1815, and died in January, 1875, at Barbizon.
Though more celebrated as a painter, he etched a few
plates in a masterly manner. Among them are the fol-
lowing:
1. La Couseuse, proof on india-paper, large margin, £3 17s.
2. La Batteuse de Beurre, proof, large margin, £3 10s.
394
ENGRAVINGS AND THEIR VALUE.
3. Allant Travailler, proof before the address, rare, £15.
4. Les Glaneuses, artist's proof, on green paper, rare and fine,
£5 10s. (old sale).
5. Les Bêcheurs, proof, fine, £8 15s.
6. La Nourrice, proof, first state, before the plates were cut,
£4 4s. (old sale).
7. La Cardeuse, proof on Japanese-paper, excessively rare,
£17 (old sale).
Minasi (G.).—The name of this engraver is met with
on a few plates. Very little seems to be known about
him, except that he was living in 1800, and flourished
about that time. The following print is attributed to
him and was recently sold by auction for the sum men-
tioned.
1. A Lady with a young girl, after Cosway, in colours, fine,
£7 17s. 6d.
Mitelli (Giuseppe Maria).-This artist was born at
Bologna in 1634, and is said to have died there in 1718.
Bartsch (Vol. XIX., p. 269 et seq.) describes 162 pieces or
sets by him, and this number has been considerably in-
creased by other authorities. All appear to be etched in
a slight and not very artistic style, though many of
them are important by reason of their being the only
engravings from several of the pictures of great masters.
1. Five plates (should be 12) from pictures in the churches at
Bologna, good, 10s.
2. The Cries of Bologna, 14 plates (should be 41) after Annibale
Carracci, fair, 12s.
3. Lazarus and Dives, after Paolo Veronese, very fine, 18s.
4. The Finding of the Cross, large plate lengthways, after
Tintoretto, good, 7s; again, clear lettered impression, 8s. 6d.
Milvius. See Kyte (Francis).
Mocetto (Girolamo).-Born at Verona about 1450;
the date of his death is unknown. This artist, who was
chiefly celebrated as a painter, left behind him a few
plates which, though not particularly well executed, are
nevertheless exceedingly scarce, and much sought after
by collectors. They are executed with the graver only in
a style somewhat resembling that of Robetta.
ENGRAVERS AND THEIR WORKS.
395
1. Judith, putting the Head of Holofernes into a sack, second
state, with tree, very fine, £68 (Dent sale).
2. The Baptism of Christ, a fine impression of an excessively
rare print, from several noted collections, extremely fine
and rare, £325.
3. The Calumny of Apelles, rare.
4. Friezes of tritons and sea nymphs (probably by Mocetto),
rare.
Modena (Nicoletto da).-This artist who is also
known by the name of Nicola Rosex was born at Modena
about the year 1470, and is known to have been living
in 1512. He worked with the graver only in a rude,
coarse style.
1. Jupiter and Leda, very fine, and extra rare, £13.
2. Orpheus Charming the Animals with His Music, fine and
very scarce, £22 15s.
3. St. Catherine, the artist's name to the right at the foot of
a column, size 5 in. by 4in., fine, £7 7s.
4. St. George, full length, in armour, the artist's name in the
corner at the right hand top of print, size 5ğin. by 4in.,
fine and rare, £13 10s.
5. A winged female, seated, size 5ğin. by 3§in., £7.
6. An allegory, with Vulcan and Venus, size 53in. by 8in.,
fine and rare, £7.
7. The Nativity, very fine, £25, again, fine, £11.
Molyn (Pieter, the elder).-A painter of repute, who
was born at London about the year 1598. Though chiefly
celebrated as a painter he left a few spirited etchings in
the style of Jan van de Velde.
1. A set of four landscapes, with figures (1626), very scarce,
£1 10s.
2. Another set of four landscapes, signed "P. Molyn, fecit
1626," very good impressions, with margins (a complete
set not often met with), £2 14s.
Molyn (Pieter, the younger).--This artist, son of the
preceding, was born at Haarlem in 1632 and studied
under his father. His etchings are few in number and of
little importance, but as a painter he is justly celebrated.
Most of his best work was done in prison where he was
confined for sixteen years on a conviction
a conviction for murder.
Pieter Molyn, the younger, died in 1701.
Monaco (Pietro).—An Italian engraver who, according
396
ENGRAVINGS AND THEIR VALUE.
to Strutt, was working in the year 1760. In 1763 he
published a series of 112 plates after the paintings of the
most celebrated Venetian masters. Some of these are of
considerable merit while others, on the contrary, are very
carelessly and inefficiently executed. One of his best plates
represents Christ with the Disciples at Emmaus, after
Giovanni Bellini. Prints by this artist are not of much
value unless in fine proof state.
Moncornet (Balthazar).—A French Engraver born at
Rouen about the year 1630; died about 1670. This artist
worked with great patience and assiduity, producing an
immense number of plates, his portraits alone amounting
to nearly 1500. Taste, however, he was singularly deficient
in, and his designs are often noticeable for their incorrectness.
His great merit lies in the neatness with which his
plates are invariably executed, those after Rubens being
particularly marked in this respect. The value of his
prints is, as a rule, small.
Montagna (Benedetto).-Born at Vicenza, in Italy,
about the year 1460; the date of his death is not known
but he was living in 1548. The prints of this artist, though
desirable and rare, are not of any great merit. He worked
entirely with the graver, chiefly in the respective styles
of Giorgione, Giovanni Bellini and Albrecht Dürer.
1. Abraham's Sacrifice and the Nativity, both good, £8 8s.
2. Christ Praying in the Garden, fine first state, before the
tablet inscribed with the name was cross hatched, £70
(Dent sale).
3. The Madonna and Child, in a landscape, £4 10s. (No. 6 in
Bartsch).
4. The Holy Family, in a landscape (No. 8 in Bartsch), good, £3.
5. St. Benedict, and other saints, on one sheet, £2 5s.
6. St. George, fine and rare, £6 6s.; again, very fine impression,
£27 15s.
7. An Oriental seated on the ground, towards the right, his
head turned the other way, landscape background, inscribed
Benedetto Montagna" in the sky, rare, £52 10s.
แ
8. Vulcan, Mercury and Cupid, from the St. Aubyn collection,
very fine, £53.
ENGRAVERS AND THEIR WORKS.
397
Moreau (Jean Michel). — A French engraver, who was
born at Paris in 1741; he died in 1814. This artist's work
consists principally of designs, of which over 2000 are
recorded, and which were employed in the illustration of
the works of famous and popular authors, such as Ovid,
Molière, Lafontaine, and others, mostly French.
1. Le Coucher de la Mariée, after Baudoin, very fine, £3 10s.
Morghen (Rafaello).—An Italian engraver of great
eminence, who was born at Florence in 1758. He died there
in 1833. This engraver studied under his father Filippo
whom he far excelled in genius. The whole of his works,
from the outline to the proof, will be found fully described
in Niccolò Palmerini's "Catalogo delle opere d'intaglio di
R. Morghen," 3rd ed. 1824. 8vo.
1. Ludovico Ariosto, three-quarter length, holding paper, proof
before letters, the same, open letters (2), good, £4 10s.
2. Leonardo da Vinci, head in cap and long beard, proof before
all letters, very fine, £8 15s.
3. Dante Alighieri, three-quarter length, in small oval, proof,
open letters, very fine, £2.
4. Napoleon I., three-quarter length, proof, after Toffanelli,
fine, £8 Ss, again, good lettered impression, 12s.
5. Sappho, three-quarter length, in wreath of laurel, fine,
£1 13s,
6. Lorenzo de Medici, three-quarter length, seated, dated 1820,
proof, open letters, £2.
7. Madonna Laura, after Simone Memmi, three-quarter length,
artist's proof, fine, £2 2s.
8. Torquato Tasso, three-quarter length, proof before all letters,
rare in this state, and fine, £3 3s.
9. Venus attiring, engraved from an antique gem, unfinished
proof (the plate destroyed), £2 10s.
10. The set of the poets, Dante, Ariosto, Petrarch, Tasso, and
Boccaccio, proofs before letters (5), £4 15s.
11. The Aurora, proof before letters, £52; again, ordinary
impression, £1.
12. The Miracle of Bolsena, after Raffaelle, proof, £3 5s.
13. The Nativity, after Rafael Mengs, proof with the artist's
names only, good, £1 15s.
14. Salvator Mundi, after Carlo Dolci, proof on india-paper, fine,
£2 15s.; the same, before the border and with the cross
left white, very rare in this state, £15 15s.
15. The Last Supper, after Leonardo da Vinci, a brilliant
proof, £61; again, ordinary print, fine, £5 5s.; again,
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ENGRAVINGS AND THEIR VALUE.
sixth state without the comma before the word "vobis,"
very fine, £12.
16. The Transfiguration, after Raffaelle, proof, with the white
book and before letters, very fine, £70 (Dent sale).
17. The Holy Family and St. John, after Vannucci, fair, 8s.
18. Giovanni Boccaccio, good, 16s.
19. Francesco da Modena, after Vandyck, good, 18s.
20. The Madonna della Seggiola after Raffaelle proof, £3.
again, proof, very fine, £6 15s.
21. The Madonna della Sadia, after Raffaelle proof, good, £4.
22. Lot and his Daughters, after Guercino, proof before letters,
fine, £2.
23. Jurisprudence, after Raffaelle, proof before letters, £2 10s.
24. Apollo and the Muses, after Albano, before all letters, 17s.
25. Poetry. Theology and Justice, after Raffaelle, proof before
letters, fine, £3.
26. Parce Somnum Rumpere, after Titian, proof, £1 6s.
27. Christ in the Garden, after Baroccio, proof, 19s.; the same,
proof with white stick, rare in this state, £5 10s.
28. The Duc de Moncada, after Vandyck, proof, £2 2s.; again,
proof with open letters, fine, £3.
29. The Magdalen in the Desert, proof before letters, 10s; the
same, proof before all letters, £2, again, proof, very
fine, £4 4s.
Morin (Jean).-Born at Paris about 1605; died there
about 1666. This artist was a pupil of Philip de Champagne
and for a time practised painting. Subsequently, however, he
devoted himself entirely to engraving. His plates are.
executed in a singular style, being a mixture of strokes and
dots so harmonized as to produce a very agreeable effect.
His best works consist of etchings.
1. Anne of Austria, good, £1.
2. Cardinal Guido Bentivoglio, three-quarter length, in octagon,
with inscription, fine and rare, £2; again, cut close,
17s. 6d.
3.
Henri II., King of France, three-quarter length, fine,
£1 10s.
4. Henri IV., King of France, three-quarter length, in octagon,
in armour, 14s.
5. Antonius Vitré, three-quarter length, in robe, 14s.
6. A set of six landscapes, in circles, first states, with the
angles white, and the artist's name, etc. (6), £1.
7. Charles de Mallery, after Vandyck, 12s.
Morland (George) This distinguished painter was
born at London on the 26th June 1763 and died there in
1804. The prints mentioned below are all after his pictures
ENGRAVERS AND THEIR WORKS.
399
and have been classed together, on account of the great
demand there is for them and also for purposes of conve-
nience. Coloured prints after Morland are especially
sought after at the present time, particularly those
engraved by William Ward. (See also under the engravers
names).
1. The Idle Laundress; The Industrious Cottagers, both by
W. Blacke, in colours (2), fair, £2.
2. The Visit returned in the Country, by W. Nutter, good, £2.
3. The Soldier's Farewell, by Soiron, in brown, cut, £1.
4. The Fisherman's Hut, by J. R. Smith, in mezzotint, good,
£2 12s.
5. The Entangled Kite, by W. Ward, in colours, good, £2 11s.
6. Dogs Fighting, by J. R. Smith, in colours, £2 2s.
7. Domestic Happiness and the Coquette at her Toilet, by W.
Ward, both finely printed in colours (2), £76.
8. The Fruits of Industry and Economy and the Effects of
Idleness and Dissipation, by W. Ward, fine impressions
in black (2), £13 (see Ward [William] for other prices).
9. The Offer of Love, by G. Keating, no margin or inscription
space, £9 12s.
10. The Delightful Story. by W. Ward, fair. 11s.
11. Smugglers, by J. Ward, good, with margin, £1 6s.; again,
open letter proof, £2.
12. Fishermen on Shore, by W. Hilton, fair, 17s.
13. The Shepherd's meal, by J. R. Smith, fine, full margin,
£1. 17s.
14. Fox Hunting, a set of four by E. Bell, in colours, very rare,
£22 10s.; again, very fine, £52.
15. The Slave Trade; African Hospitality, a pair by J. R.
Smith, in colours, £4 15s.
16. Children feeding Goats; Children feeding Chickens, both by
Tomkins, the latter after Russell, in colours, fine, £6 15s.
17. Dressing for the Masquerade, by J. R. Smith, in colours,
fine, £9 10s.
18. The Fair Penitant, by J. R. Smith, in colours, fine, £8 10s.
19. Going to Market, by J. R. Smith and the Return from
Market by the same, both open letter proofs (2), £10.
20. The Country Stable, by W. Ward, good, £2 5s.; again,
proof before letters, very fine, £14 14s.
21. The Rabbit Warren, by S. Alken, fair, 16s.
22. A Conversation, by W. Ward, good, £1 5s.
23. Duck Shooting after Morland and Pheasant Shooting, after
Ibbetson, in colours (2), £3 12s.
24. The First pledge of Love by W. Ward; the Benevolent
Lady, by Dumée, both after Morland, in colours, fine,
£5; again, The First Pledge, good, £2 2s.
25. The Dram, by W. Ward, fair, £1 8s.
400
ENGRAVINGS AND THEIR VALUE.
26. The Country Butcher, by J. R. Smith, good, £2.
27. The Travellers, by W. Ward, fair, £1 8s.
28. Morning, by J. R. Smith, in brown stipple, fine, full margin,
£2 5s.
29. Morning and Evening, by William Ward, a fine pair in
colours, £31.
30. The Elopement of Anna from the Parsonage House, by
John Dean, printed in colours, full margin, £1 17s.
31. The Tomb, by John Dean, printed in colour, full margin,
£1 16s.
32. The Story of Lætitia, by J. R. Smith, set of six, in colours,
£30; again, very fine, £73 10s. ; again, plain, fair, £1 15s.;
again, very fine, in colours, £78.
33. The Deserter, set of four plates by G. Keating, fine, in
colours, £30.
34. The Angler's Repast and A Party Angling, both by
G. Keating, coloured, fine (2), £25.
35. Evening, or the Post Boys' return, by Orme, very fine,
£9 12s.
36. Peace, by Hogg, in colours, very fine, £9 15s.
37. Paying the Horse Seller, by S. W. Reynolds, in colours,
proof, £10.
38. The Hard Bargain, by W. Ward, in colours, fine, £7 15s.
39. St. James's Park and a Tea Party, a fine coloured pair in
the original black and gold frames (2), £25.
40. Blindman's Buff, by W. Ward, open letter proof, very fine,
£10 10s.
41. Children Birdnesting, by W. Ward, in colours, fine, £10.
42. Sunset, a view in Leicestershire, by the same, fine, £9;
again, very fine, £13 13s.
43. Trepanning a Recruit and The Recruit Deserted, by Keating,
good (2), £6; the same subjects by Legrand, in colours,
good (2), £4.
44. The Deserter, Trepanning a Recruit, Recruit Deserted,
Deserter taking leave of his wife, and Deserter Pardoned,
four fine prints by Keating, in colours (4), £61.
45. Rural employinent, by Tomkins, good, £±.
46. Idleness and Industry, by Knight, ovals in brown (2), £8 15s.
47. Miss Fanny Murray, by Corbutt, fine mezzotint, £1 8s.
48. Boys Bathing and Boys Robbing an Orchard, by Scott,
£1 11s.
49. A visit to the Child at Nurse, a visit to the Boarding
School, both by W. Ward, coloured (2), £10.
50. Stable Amusement, by W. Ward, coloured, £6 10s.
51. The Weary Shepherds, by Bond, in colours, good, £3.
52. "How Sweet's the Love that meets return" and The Lass of
Livingstone, both by T. Gaugain, good (2), £3 5s.
"How
Sweet's the Love" &c., fine coloured impression, £13 13s.
53. A Farmer's Visit to his Married daughter, by W. Bond,
brown stipple, good, £2 11s.
54. Louisa, a pair. in colours, after Gaugain, good, £5.
་
3
3
ENGRAVERS AND THEIR WORKS.
401
55. Guinea Pigs, two small prints in colours, by Gaugain, £2 6s.
56. Delia in the Country and Delia in Town, a pair, by J. R. Smith,
fine, £5 10s.
57. The First of September, Morning and Evening, both by
William Ward, £11 11s.
58. Alehouse Politicians, by W. Ward, in colours, £10 10s.
59. The Storm, The Battle, The Sailor's Return, and The Sailors in
Port, the set of four, by W. Ward, in colours, fair, £3.
60. The Cottager's wealth, in colours, fair, £1 10s.
61. The Turnpike Gate, by W. Ward, in colours, very fine,
£24 3s.; again, in colours, £14 10s.
Morland etched a few plates after his own designs,
though only one is usually placed to his credit-"A Fox
Carrying off a Pullet." The British Museum however,
contains four others, and in February 1896, two unrecorded
etchings by Morland, were sold by auction for £10 10s.
The subjects were catalogued as "Morning" and "Evening,"
and represented shooting parties refreshing at Inns, accom-
panied by attendants, with dogs and guns.
Moro (Battista d'Angeli), called Del Moro.-See
Del Moro.
Moro (Marco d'Angeli).- This artist who was a son of
Battista Del Moro, flourished at Venice and Verona during
the latter part of the 16th century. Though well known
as a painter, his prints are few in number, and not parti-
cularly noticeable in point of quality; good impressions
are, however, sought after by collectors.
1. The Marriage of St. Catherine, fair impression, £1.
2. The Sybil and Augustus, fair, 16s.
Mosley (Charles).-An English engraver, living in
London about the year 1750. A few portraits by this artist
are met with, the best of which is that of Charles I., on
horseback, after the well-known picture by Vandyck. He
seems to have worked entirely with the graver and chiefly
for the booksellers.
Moucheron (Isaac).—Born at Antwerp about 1670; died
at Amsterdam in 1744. This artist etched a number
of plates, in a neat clear style, among which may be
mentioned the following:
26
402
ENGRAVINGS AND THEIR VALUE.
1. Four landscapes, with figures after Poussin, fair, 12s.
2. Four views of gardens and buildings, inscribed "I. Mou-
cheron inv. et fec.," good condition, fair, 10s.
3. Nine.een views of Heemstede, near Utrecht, after his own
designs, a complete set, good, £1 14s.
Moyreau (Jean).-Born at Orleans about the year
1690; died there in 1762. This artist is noticeable as being
one of the best who engraved after the pictures of Philips
Wouwerman. His prints after this master are eighty-nine
in number, but they are so unequal in merit that it is
impossible to give any general idea of their value. They
are etched and retouched with the graver so as to preserve
much of the effect of the originals. The execution is,
however, often careless and unsatisfactory.
Müller (Friedrich).-A celebrated painter, born at
Kreuznach in 1750; died at Rome in 1825. He left a few
plates etched in a neat, clear style, after Raffaelle and
other artists.
1. The Madonna di San Sisto, after Raffaelle, fine, first state,
£65; again, fine proof with Italian writing, £80;'again,
an early state before any letters, £31; again, fine,
before the retouch, £6 15s.; again, fine, rare impression
retouched by Bervic, £8 10s.
a
2. St. John writing the Apocalypse, after Zampieri, with the
date 1808, and before the retouch, £4 2s. 6d.
Müller (Jan).-Born at Amsterdam about 1570; worked
there from 1589 to about 1625. This engraver was
pupil of Hendrik Goltzius whose style he closely followed.
He worked entirely with the graver, and in freedom of
execution equalled his master, though in all other respects
he fell far short of him. Müller's engravings are valuable,
being productions of very unusual merit.
1. Judoci Buyckij, three-quarter length, with cap and fur
cape, inscription at foot, good, 18s.
2. Joannes Fontanus, curious undescribed state before any
letters, the four buttons on the sleeve of the dress left
quite white, fine and rare, £1 1s.
3. Bartholomaus Spranger, Painter, bust in oval with inscrip-
tion round, fine, 9s.
4. Jan Bruckles of Leyden, the "King of the Anabaptists,'
three-quarter length, square, a copy of the rare print
by Aldegrever, fine, £1 7s.; again, very fine, £2 2s.
ENGRAVERS AND THEIR WORKS.
403
Christian IV., King of Denmark, half length, holding a
baton, £1 is.
6. Maurice, Prince of Orange, large half length, Latin inscription
at foot, £1 1s.
7. Albrecht, Archduke of Austria, half length, fine impres-
sion, £2; the same, a curious unfinished proof, £315s.
8. Isabella Clara Eugenia, Infanta of Spain, half length, seated,
very fine and rare, £3 3s.
9. Fortune Distributing her Gifts, long plate on two sheets,
proof before any letters, and prior to the sky being
finished, very rare in this state, £2.
10. The Magi bringing Presents, fine proof before letters,
£5 15s.
Müller (Johann Gotthard).-Born at Bernhausen
about the year 1747; died at Stuttgart in 1830. This
artist's prints, which are not numerous, consist chiefly of
portraits, though he is credited with a number of plates
of general subjects after Raffaelle, Leonardo da Vinci and
other masters. His finest print is undoubtedly “La Madonna
della Seggiola" after Raffaelle which even when contrasted
with Rafaello Morghen's rendering of the same subject
leaves nothing to be desired.
1. Louis XVI., full length. fair impression, £1; the same,
exceedingly fine, with full margin, £5 5s.
2. F. Schiller, after A. Graff, good, 12s. 6d.
3. Louis Galloche, the painter, good, 18s. 6d.; the same, very
fine impression, but cut and stained, Ss.
4. Jerome Bonaparte, King of Westphalia, after Kinson,
head and face engraved by Müller, proof before letters,
£1 11s.
Murphy (John).—An English engraver, who is supposed
to have been born about the year 1748, and to have died
at London in 1810. He worked in mezzotint and also
in stipple, some of his plates, all of which are well executed,
showing the presence of both systems.
1. Captain George Farmer, proof, with the artist's name and
line of inscriptio. merely etched in, £2 5s.
2. Marie Antoinette a Prisoner in the Temple, half length,
seated with a book in her hand, good, £1.
3. The Good Children, after W. Singleton, good, 12s.
4. The Royal Family, 1794 (2 ft. 10 ins. by 1 ft. 3 ins.), fair, Ss.;
again good lettered impression, 18s. 6d.
404
ENGRAVINGS AND THEIR VALUE.
5. "Joseph and his Brethren" and "Joseph Viceroy of Egypt,"
both after Balthazar Beschey (33 ins. by 33 ins.); in colours,
fair (2), £2.
6. The Industrious Mother and the Companion print by Grozer,
both in colours, good (2), £6 6s.
7. Idle Boys, after Ward, good impression, £3 10s.; again,
£1 15s.
8. The young Foresters, after Livesay, good, £2 2s.
9. Faith, Hope and Charity, after James Nixon, 1795 (24 ins.
by 1912 ins.) good, 11s.
10. The Encampment at Brighton; the Departure from Brighton,
the pair (26 ins. by 19 ins.) both after Wheatley, original
impressions, very fine, £21.
Musi (Lorenzo de).-Most probably a son of Agostino
de Musis, otherwise Veneziano, mentioned below. He
flourished about the year 1540, and engraved several plates
of which the best known is that mentioned below.
1. Barba-Rossa, Sultan Charadin of Algiers, 1535, three-quarter
length, in armour, with inscription at foot, 15s.
Musis (Agostino de).-See Veneziano (Agostino).
´MW” (Master of the Monogram).— See Master
of the Monogram M.W.
Myricinus (Petrus).—A Flemish engraver, who was
probably a native of Meeryck. He flourished between
1560 and 1570, and engraved a number of plates after
Jerom Bosche and others. These, when they do not
consist of portraits, are invariably eccentric and strange
compositions.
1. Maria Jacobi Scotorum Regis Filia Scotorumque Nunc
Regina, with feather in her hand, oval 4to, rare and
curious, £5.
2. Maria Regina Scotia, 1587, double inscription round the
oval, very rare, £3 10s.
3. James V., oval in a square border, fine, £1 17s. 6d.
4. The Seven Cardinal Virtues, after Breughel (7), fine set from
the Beckford collection, £5 5s.
Nadat. Supposed by many to be identical with the
Master of the Mousetrap (whom see). Nadat himself was
a German engraver, who was living in 1530. He marked
his prints with a mousetrap and the letters NA DAT, and
therefore the probability of identity has great weight in
its favour.
1
ENGRAVERS AND THEIR WORKS.
405
1. The Madonna and Child, with St. Anne, fair, £5; again,
very fine and rare, £12.
2. The Two Armies, first state before the scroll was enlarged
and the date 1530, added, extremely fine, £46.
3. The Vicomte de Turenne, fine proof before any letters, £30.
Naiwincx (Hendrik).—A Dutch painter and engraver,
who was born at Utrecht sometime about the year 1620.
His etchings consist of two sets of landscapes, eight in
each, executed much in the style of Waterloo. They are
delicate and neat, yet spirited and of excellent design.
1. Eight landscapes, (numbered, 1 to 8 in Bartsch), first states
with the address of Clement de Jonghe, fine uniform
set, £4 4s.
2. The Second Set of eight landscapes, upright (numbered 9
to 16 in Bartsch), good, £1 10s.
Nanteuil (Robert).-A celebrated French engraver,
who was born at Rheims about 1630. He died at the
early age of 48, leaving behind him a large number of
prints, some of which are in the style of Claude Mellan,
and executed with single uncrossed strokes. His later
and better manner, however, shews cross-hatched plates
harmonized with dots especially in the lights. The slightest
prints of the artist possess great merit and shew the hand
of a master.
1. Maréchal Turenne, the large plate with towers in the
corners, very fine and rare, £2 2s.
2. Cardinal Mazarin, with vignette of the Battle of Réthel
etc., first state, fine, £2 10s.
3. Two portraits of De Novion, indifferent impressions, 6s.
4. Louis de Bourbon, Prince de Condé, fine impression, with
large margin, £2.
5. M. Lomenie de Brienne, first state, very fine, £3 3s.
6. Jean Baptiste Van Steenberghen, first state, £2.
7. Charles, Comte de Dunois, fine impression, with large
margin, £2 10s.; another impression, cut, 18s.
8. Christina, Queen of Sweden, third state, 7s. 6d.
9. Claude Thevenin, second state, good impression, 16s.
10. Antoine Barrillon, fine, with margin, 12s.; another impression,
fine, but cut, 14s.
11. John Evelyn, fourth state, with "Meliora Retinate" and
the Greek verse, rare, £1 5s.
12. Jacques Amelot, three-quarter length, in oval, good impression,
£2 2s.
406
ENGRAVINGS AND THEIR VALUE.
13. François de Vendôme, Duc de Beaufort, large square, first
state, very rare, £3. (In the second state the name of
Mariette was substituted for that of Le Blond.)
14. Pompone de Bellièvre, President of the French Parlament,
three-quarter length, in furs, £2.
15. Gilles Boileau, three-quarte length, in oval, dated 1658,
second state before the verses, 15s.
16. Marie de Bragelogne, three-quarter length, 1656, very rare,
£2 2s.
17. Louis de Bourbon, Prince de Condé, the great Condé, born
at Paris, 1621, three-quarter length, in oval of laurel
leaves, engraved 1662, good, with large margin, £3. again,
good, £1 3s.
18. Henri de la Tour d'Auvergne, bust in armour, life size, in
an oval, after Regis, 1665, fourth state, before the three
points were added, £4 10s.
19. Pierre du Cambout, Cardinal de Coislin, first state, rare, 16s.
20. François de Nesmond, good, 16s.
21. Louis XIV., good, £1 6s.; the same, first state before any
mark on the margin at the top, £5 15s.
22. François Bosonet, good, £1 12s.
23. Hardouin de Péréfixe, François Tallement and F. Germault,
fair (3), 15s.
24. Jean François Sarrasin, second state with one mark in
the margin at top, 16s.
Nasini (Giuseppe Niccolò).-Born at Siena about.
1660; died there in 1736. The only print credited to this
artist is a small upright etching, after his own composition.
1. The Virgin and Child, with St. John, fine, 17s. 6d.
Natalis (Michael).-Born at Liege about 1605; living
in 1670. This artist studied at Antwerp under Cornelis
Bloemaert. His prints are engraved in a bold, open style,
but without much taste.
1. The Marquis del Guasto, after Titian, fine proof, rare, £1 18s.
2. Jacob Catz, after Dubordieu, three-quarter length, with
cloak over left shoulder, 12s.
3. St. Bruno at Prayer, after Flamen, good, 8s.
4. St. Paul Taken up to Heaven, after Poussin, fine, with
margin, £1; the same, good impression, but cut, 3s.
Navette (Le Maître à la).—See Master of the
Shuttle.
Neagle (John).-A line engraver of average merit who
was born in London about the year 1760. He was living
in 1816.
ENGRAVERS AND THEIR WORKS.
407
1. John Hutchinson of Owthorpe, Colonel of the Pa liamentary
forces, half length, in armour, fair impression, 4s. 6d.
2. A Bohemian Gipsy, after Teniers, 1791 (8 ins. by 4 ins.),
fair, ls. 6d.
Neale (John Preston).--An eminent English designer
and engraver who was born in London about the year 1771.
He died at Ipswich in 1847. This artist is chiefly known by
reason of several important publications which bear his
name, notably The Seats of Noblemen and Gentlemen,"
a fine work containing more than 700 plates by this
engraver. Isolated prints engraved by Neale are often
met with, but in the vast majority of cases they will
prove, on examination, to have been extracted from books.
These are of little value and practically unsaleable.
Neeffs (Jacobus -This artist was born at Antwerp,
about 1615. The date of his death, though not known,
was probably, in, or about, the year 1650. All his plates
are executed entirely with the graver.
1. Antonius Vandyck, bust on pedestal, third state, with the
date 1645 erased, 4s. 6d.
2. Augustine Baker, ætat. 66, 1641, 8vo., fine and rare, £1 15s.
3. Josse de Hertoghe, after Vandyck, good, £1 4s.
4. The Bishop of Antwerp (Gaspar Nemius), after Segers,
fair impression, 7s.
Neve (Frans de).-Born at Antwerp about the year
1630. This artist was an historical painter, but he left
behind him several etchings executed in a slight but
masterly manner. Fourteen of these as described by Bartsch
consist of landscapes with figures, from his own compositions.
1. A set of eleven landscapes, with mythological figures, in-
different impressions, 8s. ; again, four landscapes, good, 12s
Newton (James).—This engraver, about whom h. rdly
anything is known, appears to have been working in London
about the year 1780. A few prints of small value are
credited to him, notably a portrait of Sidney Parkinson,
who was draughtsman on board Captain Cook's ship,
408
ENGRAVINGS AND THEIR VALUE.
เ
"Endeavour," two views of Italy, after Marco Ricci, and a
pastoral landscape after Claude.
Neyts (Ægidius).—A Flemish painter of some repute
who executed a few etchings which are occasionally met
with in the auction rooms and elsewhere. These are given
by Bryan as "The Wooden Bridge," "Man and Dog,"
View of Lille" and "A Peasants Cottage." There are,
however, a considerable number of others. None of these
etchings are of much value in their ordinary state, though
they are to some extent interesting as they imitate the
style of Lucas van Leyden, and it is profitable to compare
the work of the two artists. Ægidius Neyts flourished at
Antwerp from about 1650 to 1690.
Nicholls (Sutton).-An English engraver of no great
merit, who was living in London about the year 1710. He
worked chiefly for the booksellers, both with the point and
the graver. His productions in the latter stylea re very poor.
1. Newcastle House, Lincoln's Inn Fields; Arlington House;
sheets of scraps, the King and the Cobbler, &c., coloured
(3), 12s.
2. Portrait of Mrs. Staveley, fair, 3s.
Nicholson (Isaac).-A wood engraver, who was born
in Cumberland, about the year 1789. This artist was
one of the pupils of Thomas Bewick, whose style he
successfully imitated. Flower and Grover's "Visitation of
Durham," 1820, contains cuts by him, and other specimens
of his work may be seen in Sharp's "History of the Rebellion."
Nicholson died at Newcastle in 1848.
Nicolet (Benedict Alphonsius).—An artist of repute,
who was born near Basel about the year 1740, and died
there in 1807. His prints are not often met with, but
when found are esteemed by collectors on account of their
intrinsic merit. Among the best may be mentioned the
portrait of Hallé, the painter, which is dated 1775, and a
scriptural subject of "Susannah and the Elders," after
Deshais. Another interesting print by this engraver is an
ENGRAVERS AND THEIR WORKS.
409
interior view of the Church of San Gennaro at Naples,
where the miracle of liquefaction is said to take place
at stated intervals. This piece was finished with the
graver by Nicolet, having been first etched by other hands.
Nieulant (Willem van). This celebrated painter of
landscapes and architectural scenes, was born at Antwerp
in 1584, and is said, by Strutt, to have died in 1635. He is
credited with a few etchings of landscapes, partly from
his own designs and partly from those of Paulus Bril, which
are executed in a light free style and sometimes retouched
with the graver.
1. Set of three plates, lengthways, Views of Ruins in and
near Rome, fair, 9s.
2. Two Views of the Sea Coast, after Paulus Bril, fine, with
full margins, 16s.
Nilson (Johann Esajas).-A German engraver and
miniature painter, born at Augsburg in 1721; died there
in 1788. He engraved and etched a number of portraits.
among them those of Pope Clement XIII., after his own
design, and the Emperor Peter III. of Russia. None of his
prints are of much value unless in proof state and the
finest condition.
Nixon (John).-This engraver is supposed to have been
born at London in or about the year 1706, and to have
died there some sixty years later. His plates consist almost
entirely of small portraits, worked with the graver, and
finished in stipple. Ordinary lettered impressions of any
of these are of little value.
Nolpe (Pieter).-A Dutch painter and engraver, who
was born at the Hague about the year 1600.
As an
engraver of landscapes he enjoys a high reputation, but
his other subjects are inferior. The set of eight etchings
representing cavaliers is very rare and so also is the
print known as 'The Broken Dyke." Nolpe worked with
the point and the graver, and usually united them, though
some of his works are executed with the graver only.
410
ENGRAVINGS AND THEIR VALUE.
Norden (John).—An engraver of topographical subjects,
who was born in Wiltshire about the year 1546; he pro-
bably died about 1626. The artist's principal print is
that mentioned below, but his chief work, as a whole,
was the "Speculum Britanniæ; or, Historical Description
of Middlesex," a rather scarce work first published in 4to,
1593, and containing engraved title, coats of arms and
maps by this artist.
1. View of London Bridge, from east to west, excessively
rare, £35. (This print was in the first state and slightly
cut at the bottom. There was another impression in
the Sunderland Collection).
Nutter (William) -This engraver was, according to
Bryan, born in 1754, and died in Somers Town, London,
in or about the year 1802. He was one of the pupils of
Bartolozzi and seems to have practised exclusively in the
dotted manner. Many of his prints, especially trose in
colours, have lately come into great prominence.
1. Lady Beauchamp, after Sir Joshua Reynolds, half length,
fine and rare, £5 15s.
2. The Nosegay Girl, after W. Singleton, fair, 7s.
3. The Visit returned, after Morland, good, £2.
4. The Breaking up, f.er Hamilton, in colours, good, £1 10s.
5. The Pleasures of the Harvest and Harvesters in a Storm,
both after Westall, in colours, full margins (2), £1 15s.
6. Saturday Morning and Saturday evening, both after Bigg,
in colours, very fine (2), £10 10s.
7. The Cake in danger, after Russell, fair, 8s.
8. The Ale-House Door and the Farmyard, both after Singleton,
in brown, full margins, good (2), £1 17s.
9. The Absent Father, aiter Singleton, in colours, good, £4 4s.
10. The Rosebud, after Westall, in colours, £2 8s.
11. Going to and Returning from Market, after Singleton, in
stipple (2), £1 11s.
12. Sunday morning, Cottagers going to church, after Bigg,
in colours, fine, £5 10s.
Nutting (Joseph).—An English engraver of considerable
merit, who was living in London about the year 1700.
He worked principally for the booksellers, and his engravings
are, as a rule, of little merit. Some, however, are scarce
and correspondingly valuable.
ENGRAVERS AND THEIR WORKS.
411
1. Mary, Duchess of Beaufort, daughter of Lord Capel, fine, 15s.
2. Thomas Wentworth, Earl of Strafford, and his Secretary,
Sir Phi'p Mainwarirg, after Vandyck (1), 16s.
3. Sir John Cheke, ob. 1557, good, £1 1s.
4. Sir B. Shower, fair, 3s. 6d.
5. William Elder, sculptor (head in a scroll), after Faithorne,
very fine and rare, 15s.
Oesterreich (Mathias). —A German designer and etcher
who appears to have been born at Hamburg about the
year 1720. The date of his death is not known. His plates
are etched in a slight, spirited style, and are very merito-
rious, particularly the set of twenty-four caricatures after
Ghezzi, published at Dresden in 1750 under the title “Raccolta
di XXIV. Caricature, disegnate colla penna dal celebre
Cavaliere P. L. Ghezzi," &c. These plates were republished
at Potsdam in 1766 with the addition of eighteen others.
Several of the plates in the "Dresden Gallery" were also
engraved by this artist. Ordinary lettered impressions of
any of his prints are of small value.
Ogborne John).-This well-krown engraver was born
in London about the year 1730 and is supposed to have died
there sixty-five years later. He was one of the pupils
of Bartolozzi, and like his master engraved in the dot and
stipple manner. Good examples of his skill can be seen
in Boydell's "Shakespeare Gallery." Good coloured prints.
by this artist have greatly increased in value of late years.
1. Mrs. Jordan as the Romp, after Romney, in colours, very
fne, £31; the same uncoloured but fine proof before any
inscription, £31 10s, the same, lettered impression in
brown, fine, £7 10s.
2. Mrs. Jordan as the Country Girl, after Romney, in colours,
very fine, £39; again, plain, but first state, £11 0s. 6d.
3. Cupidon achete trop cher, in red, fair, 13s.
4. Sunshine, after Bigg, rare, £1 7s.
5. The Handkerchief, after Stothard, proof before letters, in
red, fine, with margin, £1 7s.
6. The Sad Story, after Westall, printed in colours, £1 5s.
7. The Education of Bacchus; The judgment of Medes, An
offering to Ceres, and Visiting the Muses; a set of four
friezes, after Hamilton, by Nutter and Ogborne, printed in
brown, good, £4.
Okey (Samuel).-This engraver in mezzotinto was
412
ENGRAVINGS AND THEIR VALUE.
living in 1765--7, in which years he gained the Society of
Arts premiums. Many of his plates are after Reynolds
and these are certainly his best productions. Okey emigrated
to America in 1770 and died there.
1. Miss Nelly O'Brien, after Reynolds, half length sitting
with a white poodle in her lap, fine, £4 10s.
Oliver (John).-Born in 1616; died in 1701. There
is a painted window by this artist at Christ Church, Oxford,
which is dated 1700, the year before his death. Oliver
engraved a few portraits and other subjects, some of which
are scraped and others etched.
1. Egbert van Heemskerk, the painter, from his own design,
very fine and rare, £5 5s.
2. Mortis Imago, after Gentileschi, fine and rare, £2.
3. Three boys seizing a bird, after Lairesse, undescribed, very
rare, £3.
Oliver (Peter).-Born about the year 1601; died in
1660. This artist was the uncle of John Oliver, previously
named. He is known chiefly as a successful miniature
painter and only etched a few subjects, chiefly historical.
1. A Woman Reading, an etching, very scarce, £1.
Ollmutz (Wenzel von).-See Master of "W."
Orme (Daniel).—This engraver and miniature painter
worked principally in stipple, and flourished about the
commencement of the present century. Fine impressions
of any of his plates are of value.
1. Flora, proof in colour, fine, £5 5s.
2. Evening, or the Post-Boys' Return, after Morland, in colours,
very fine, £9 12s.
3. The Witches in Macbeth (181, ins. by 12 ins.), a transparency,
open letter proof, 1799, fine, £1 5s.
4. The Tomb of Juliet (13½ ins. by 12 ins.), a transparency,
open letter proof 1799, very fine and rare, £1 15s.
5. Morning, or Higglers Preparing for Market, after Morland,
coloured, £2 14s.
6. Lord Cornwallis receiving as hostages the Sons of Tippoo
Sultan, after Brown, (25 ins. by 31 ins.), in colours, very
fine, £6 10s.; again, in colours, £2.
Osello (Gaspar).-See Avibus (Gaspar ab).
ENGRAVERS AND THEIR WORKS.
413
Ossenbeeck (Josse van). - Born at Rotterdam about
This artist's work
engraved several
the year 1627; died at Ratisbon in 1678.
consists mainly of etchings, though he
of the plates to be found in the collection known as the
Teniers Gallery. Fine impressions of any of his prints.
are rare, provided they were separately published, and
have not been extracted from books.
Ostade (Adriaen Janszoon van).-An eminent painter,
who was born at Haarlem in 1610; he died at Amsterdam
in 1685. This artist left behind him close on sixty etchings,
executed in different styles, some of them in the manner of
Rembrandt.
1. A single figure of a beggar, whole length, fair, 8s.
2. The Game of Draughts, fine, with large margin, very rare
in this condition, £8 Ss.
3. The Painter, described as a beautiful proof, before any
inscription and excessively rare, £10 10s.
4. The Village Festival, very fine, with margin, £2 10s.
5. The Fiddler and the Young Hurdy-Gurdy Player, third state,
very fine, wiih margin, £1 15s.
6. The Smokers, third state, with full margin, 8s. 6d.
7. A fine set of his works, including the rare state of the
Painter with the high cap, The Village Fair, The Pig-
killer, The Little Topers, all in early states (55), £65
(Dent Sale).
Ottaviani (Giovanni).—Born at Rome about the year
1735; died there in 1808. This artist was a pupil of
Joseph Wagner when he established his school at Venice.
Among his prints may be noted:
1. Mars and Venus, after Guercino, fair, Ss.
2. Diana and Acteon, after Guercino fine impression, with
margin, 17s. 6d. ; again, fair impression, 4s.
3. St. Jerome with the Crucifix, after Guercino, good, 12s.
Oudenaerde (Robert van). - See
(Robert van).
Audenaerd
Ozanne (Nicolas).—A French engraver, who was born
at Paris about the year 1724. Nearly all his plates, which
are after his own designs, represent views of harbours,
docks, and seaports generally. None are of any exceptional
rarity or value.
414
ENGRAVINGS AND THEIR VALUE.
Palma (Giacopo).-This celebrated painter was born
at Venice in 1544, and died at the same city in 1628.
Bartsch (vol. xvi., p. 287) gives a list of twenty-six plates, all
etched by this artist Lut not published until 1636, eight
years after his death. In addition to these, he executed
a plate of the Nativity, which, if in good condition, is
scarce and valuable. -
1. A study (No. 16 in Bartsch); the Madonna and Child,
with saints; the Tutelar Goddess of Rome; Samson and
Delilah (4), fair impressions, 10s. 6d.
2. The Nativity, fair impression, 12s. ; again, fine impression,
with large margin, £2 10s.
Palmer (Samuel).-A water colour painter of consider-
able repute, who is credited with thirteen etchings all of
good design and execution. His first plate, "The Willow,"
appeared in 1850 and his last, "Early morning," thirty
years later. Samuel Palmer was born in 1805 and died at
Reigate in 1881. Most of his plates were published by
the etching club.
1. The Herdsman's Cottage, dated 1850, good lettered impres-
sion, 8s. 6d.
2. The Herdsman, dated 1867, good, 8s.; the same, fine proof,
with full margin, 14s. 6d. (This plate was published by
the etching club).
Panneels (Willem van). This artist, who was born
at Antwerp about the year 1600, and died about 1642,
was a pupil of Rubens. Most of his prints are after that
great master, and some few after his own designs. All
shew much freedom of execution and have a bold, masterly
effect, but are frequently deficient in drawing.
1. The Adoration of the Shepherds, after Rubens, good, with
margin, £1.
2. St. John Baptising Christ, fair impression, but cut, 8s.;
the same, fine, with slight margin, 14s.
3. Mary Washing the Feet of Christ, good, with margin, 14s. 6d.
4. Meleager and Atalanta, fine, but cut and stained, 17s.
5. St. Sebastian, good, 8s.
Parasole (Leonardo), called Norsini, was an Italian
wood engraver, who was born at Rome about the year 1570.
ENGRAVERS AND THEIR WORKS.
415
The only prints by this artist which I have come across
are the following:
1. Battle of the Centaurs and Lapithæ, after Tempesta, a
large woodcut on two sheets, rare, £1 1s.
2. Six cuts of plants, executed for the "Herbal" of Castor
Durante, fine, 18s.
Park (Thomas).—A
mezzotinto engraver who is
supposed to have been born about the year 1760. The
date of his death is not known. His best plates are those
after paintings by Sir Joshua Reynolds.
1. Miss Penelope Boothby, after Reynolds, fine, £7 17s. 6d.
2. The Honble Mrs. Watson, after Spilsbury, very fine, £10 10s.
Parmigiano. See Mazzuola (Francesco).
Parr (Remi).—This engraver was born at Rochester in
1723; though the date of his death is not known, he was
living in 1750. He was chiefly employed by the booksellers.
1. Blind Man's Buff, 1743, in colours, good, £1.
2. Jobson and Wells, 1743, from "The Devil to Pay," in
colours, good, £1 2s.
3. John Fisher, Bishop of Rochester, good, 6s.
Pass (Crispin van de).-There were two artists of
this name: Crispin, the elder, who was born at Armuyden,
about the year 1560, and died sometime about 1643, and
his eldest son Crispin, who was born at Utrecht in 1585.
The elder De Pass worked entirely with the graver in a
neat, clear style, full of originality. Many of his portraits
are drawn from the life, and the greater part of his
historical and emblematical subjects are after his own com-
positions. The younger De Pass executed a comparatively
small number of plates, which like those of his father are
entirely worked with the graver. As considerable con-
fusion exists between the works of these artists, they are here
placed together.
1. Queen Elizabeth, after Isaac Oliver, fine and very rare,
£15 15s.; again, £5 7s. 6d.
2. James I., in the robes of the Garter, with a Sceptre,
£1 17s.
3. Robert Sidney, Earl of Leicester, good impression, with
large margin, very rare, £3 7s.
416
ENGRAVINGS AND THEIR VALUE.
4. Ludovick, Earl of Richmond, fine impression, edges uncut,
rare, £2 15s.
5. Henry, Earl of Southampton, rare, £1 10s.
6. Edward Cecil, Viscount Wimbledon, good, 18s.
7. Anna, Consort of Philip of Spain, 1598, a circle, fair, 12s.
S. Albert of Austria, illustrated oval, fair, 9s.
9. Catherine Bourbon, Consort of Henri IV. of France, circle,
very fine, £1 10s.
10. Thomas Candysh, ætat. suæ 30, fine, 19s.; again, fine,
£1 11s.
11. Collignei Fratres, Odetus Cardinalis, &c., first state, fine
and rare, £4; the same, second state, cut at the
top, 18s.
12. Sir Francis Drake, 1598, with six lines, very fine, £1 5s.
13. The Seasons, small circular medallions, with Latin titles
(4), very fine, £1 15s.
14. Darcy Wentworth, ætat. 32, 1624, fine, £1 12s. 6d.
15. Louis XIII., on horseback, fair, 16s.
16. Thomas Percy, the conspirator, in an oval, 8vo, extra rare
and brilliant, £25 4s.
17 The Seven Vices, after De Voss, and the Triumphs over the
Vices, the latter a set of seven small engravings in the
manner of Wierix, fair (14), £1 8s.
18. Charles, Prince of Wales, fair, 10s.
19. The most illustrious Princesses Mary of Austria, illustrated
oval, good, 12s.
Pass (Magdalena van de). — A daughter of Crispin
de Pass, the elder. She was born at Utrecht about the
year 1583, though the date is very uncertain, and was
living in 1623. This artist worked with the graver only
in a neat, but laboured style. In two or three small
subjects after Elsheimer she has obviously attempted to
imitate the style of Hendrik, Count Goudt, but has
failed to produce the same depth of colour and forcible
effect.
1. Lady Katherine, Marchionesse of Buckingham, brilliant
impression, extremely rare, £13; again, good impression,
£4 10s.
2. Theo de Zulen Van der Haer, fine, but cut close, £2.
3. Vox Dei, the Triumph of Christ, with portrait of James I.
as Defender of the Faith, fine, £3 10s.
4. Cephalus and Procris, after Elsheimer, finc, £1.
5. A marine view, with a whale cast on shore, after Adam
Willaerts, good, but cut, £1 1s.
6. The Seasons, with Latin inscriptions (4), very fine, with
full margins, £2 10s.
ENGRAVERS AND THEIR WORKS.
417
7. Her own Portrait, fine and rare, £6.
8. Alpheus and Arethusa, dated 1623, good, 18s.
As an
Pass (Simon van de).-A son of Crispin de Pass,
the elder. He lived in England for some years
engraver of portraits this artist had few equals and no
superior. He was born, probably, at Utrecht, about the
year 1590 and died at Copenhagen in or about the year
1644. Simon de Pass learned the art of engraving from
his father and imitated his style with great success.
His portraits constitute the best and largest portion of his
engravings, but there are also a considerable number of
devotional subjects, frontispieces and other book plates
by him, which are very neatly executed.
1. King Edward VI., fair impression, 8s. 6d.
2. Count Gondomar, in the title to the second part of the
Vox Populi, two states, fine and rare, £1 5s.
3. Robert Sidney, Earl of Leicester, fine, 18s.
4. Charles, Earl of Nottingham, in two states, fair, 12s.; the
same, first state, fine, £5 5s.
5. Philip, Earl of Pembroke, holding his Chamberlain's staff,
rare, 17s. 6d. ; the same, fine, with margin, 16s.
6. Richard, Earl of Dorset, fine, full margin, £2 10s.
7. John King, Bishop of London, a good impression, 14s.
8. James I., with hat and feather, a fine impression, £2.
9. Henry, Prince of Wales, exercising with a lance, the large
original print with Latin inscription, very fine, from the
Martin collection, £31 10s.
10. Anne of Denmark, ten English verses, by Farley, anno
1617, first impression before the plate was retouched,
rare in this state, £10 10s.; again, £1 16s.
11. Anne, Queene of Great Britain, &c., equestrian portrait, 1616,
four English and four French verses, beneath, £5.
12. Prince Charles, afterwards King Charles I., rare and fine,
£2 2s.
13. Ludovick, Duke of Lenox, fine, £2 2s.
14. Lord Thomas Howard, Earl of Arundel, very fine, and
rare, £7 7s.
15. Edward Somerset, Earl of Worcester, dated 1618, a first-rate
impression of a very rare print, £15.
16. Henry Wriothsley, Earl of Southampton, illustrated oval,
good, 16s.
17. Philippe, Earle of Montgommeri, fine and rare, £12.
18. Richard Sackville, Baron Buckhurst, fine, and rare, £4.
19. Robert Carr, Earle of Somerset, good, £2; again, 10s. 6d.
20. Robert Sidney, Viscount Lisle, arms at top, anno 1617,
brilliant impression, rare, £8 18s. 6d.
}
27
418
ENGRAVINGS AND THEIR VALUE.
21. James, Lord Hay, Baron of Saley, a good impression,
rare, £5.
22. Generall (Edward) Cecyll, arms at top, anno 1618, a brilliant
impression of a print of the greatest rarity, £63.
23. Lord George. Marquis of Buckingham, to the knees in an
oval, arms at the bottom and date at the top, anno 1620,
fine, £2.
24. Lady Frances, Countesse of Somerset, rare, £3 10s.
25. Sir Walter Raleigh, fine, £1 4s.
26. Sir Thomas Smith, Russian Ambassador, London, 1617, arms
at bottom, good, £1 7s.
27. Matoaks, alias Rebecka, daughter of an Indian chief, 1616,
very fine impression, very rare, £8 8s.
Pass (Willem van de).-The second son of Crispin
de Pass the elder, born at Utrecht about the year 1590;
died after 1660. Portraits by this artist are highly esteemed
and, if fine impressions, bring high prices. They are all
executed entirely with the graver.
1. James I., in a hat and feather, small, in a border on a
distinct plate, fine impression of a print of the greatest
rarity, £25.
2. James I., seated on a throne, surrounded by his family
and that of the King of Bohemia, full-length portraits,
but no portrait of Robert the king's son introduced,
fine, and rare, £21; again, very fine impression, £42,
again, with Robert the King's son standing with his hat
in his hand, first state, the King holding an orb after-
wards changed into a skull, fine and very rare, £55
(Dent sale).
3. Prince Charles, afterwards King Charles I., rare, and a
good impression, £10 10s.
4. Charles I. on a chair of state, four lines in English under,
fine lettered impression, £2 12s.
5. Henry Vere, Earle of Oxford, with a large hat and feather,
small, in a border of many figures, brilliant impression
of an excessively rare print, £60 18s.
6. George Chapman, in a title to "The Crowne of all Homer's
Workes," fair impression, cut, £1 is.
7. Johan Georgus, Duke of Saxony, an illustrated oval, fine,
£2 2s.
8. George Villiers, Duke, Marquis, and Earl of Buckingham,
equestrian portrait, dated 1625, fine, from the Woodburn
collection, £3 11s.
9. Henry, Earl of Holland, in armour, oval, 4to, a beautiful
impression, £35.
10. Frances, Duchess of Richmond (three-quarters), 1625, folio,
fine and rare, £6 16s.
ENGRAVERS AND THEIR WORKS.
419
Passarotti (Bartolommeo).—A painter of repute, who
was born at Bologna about 1530; he died there in 1592.
His plates which are lightly etched, are chiefly after his
own compositions.
1. The Visit of Mary to Elizabeth; the Madonna and Child,
both fair, 10s.
2. Christ, standing; St. Paul, both fair, 8s.
3. Religion, or rather Faith; a Sacrifice, after Polidoro, 16s.
4. The Virgin and Child, with the infant St. John, fair, 11s.
5. Pope Gregory XIII., a double-headed figure to the right,
fair, 16s.
6. A young woman in bed, signed B. Passaroto, written back-
wards, good impression, with margin, £1.
Passeri (Bernardino).—A celebrated painter, who
was living at Rome in 1580. Bartsch gives a list of
seventy-eight plates by him, all of which appear to have
been first etched and afterwards retouched with the graver.
They are not often met with in good condition, and as a
rule their value is small.
1. The Holy Family, a good impression, £1 8s.
2. Six plates of the life of St. Bruno, fair, 8s.
Pastorini (Benedetto).-An Italian engraver living in
London during the latter portion of the 18th century.
Some of his plates, especially when printed in colours,
are highly esteemed.
1. L'Allegra, after Angelica Kauffman, fine impression in
colour, £5 15s.
2. La Penserosa, after the same, in colours, fair, £1 16s.
3. Gualterus and Griselda, and Griselda returning to her
Father, after Rigaud, in colours (2), £2 10s.
Patavinus.—See Avibus (Gaspar ab).
Payne (John).-This artist, who was born about the
year 1606, was a pupil of Simon van de Pass, and is
generally regarded as the first English artist who dis-
tinguished himself with the graver. He is supposed by
some to have engraved a portrait of Shakespeare, but no
trace of it can now be found. Payne, who was very
dissipated, died young, in indigence.
1. William Whitaker, dated 1613, good impression, with
margin, 13s.; the same, fine impression, £1 5s.
420
ENGRAVINGS AND THEIR VALUE.
2.
Hobson, the Cambridge carrier (author of the saying,
"Hobson's Choice"), in two states, fine, 10s.
3. Sir B. Rudyard, after C. Jansen, fine, 17s.; again, fair im-
pression, 6s.
4. Sir James Ley, Lord Chief Justice of the King's Bench, a
fine impression, and excessively rare, £11 11s.; another
impression, very inferior, 10s.
5. William Alabaster, after C. Jansen, 1633, fine, £1 2s.;
again, very fine, £2 2s.
6. Roger Bolton, 1632, four Latin verses, 8s.
7. Arthur Lake, Bishop of Chichester, fine, £2 16s.
8. Adrian de Rocquigny, ætat. 52, anno 1663, fine, 18s.
Peak (James).-An English engraver who was working
at the commencement of the present century. He
engraved a number of plates from the designs of Pillement
and other masters, and is also credited with a number of
bold, spirited etchings, his best, perhaps, being a view of
the exterior of Waltham Abbey. As a rule, the value of
this artist's plates is small.
Pelham (Peter).-Born in London about the year 1685;
died there in 1740. This artist who was an engraver
in mezzotint, executed a number of portraits in that
style including those of Oliver Cromwell, after Walker,
and Kings George I. and II., both after Kneller.
1. John, Lord Carteret, after Kneller, good, 13s.
2. Dr. Edmund, Bishop of London, after Murray, good 8s. 6d.
Pelletier (Jean).-This engraver was born at Paris
about the year 1735; the date of his death is not known.
His best plates comprise a pair, "The Fish Market" and
"The Green Market" both after Pierre, and a subject of
Ladies hunting, after Wouwerman. Generally speaking
the value is not great.
Pencz (Georg).—One of the best painters and engravers
of his age. He was born at Nuremberg about the year 1500,
and died at Breslau in 1550. Pencz was brought up in the
school of Albrecht Dürer, and engraved many of his subjects
under the eye of Marc Antonio. His plates are executed
entirely with the graver in a neat and masterly manner.
ENGRAVERS AND THEIR WORKS.
421
Being mostly of very small size this artist is classed among
the "Little Masters."
1. Nineteen small Scriptural subjects, fair, £2 15s.
2. The History of Joseph, the set complete (4), good, £2 2s.
3. The set of the Triumphs of Petrarch (6), all brilliant impressions,
rare, £6 10s.; another set, £2 15s.; another set, very
fine, £6 5s.
4. Death of the Bad Rich Man; Sophonisba Taking Poison;
the Education of Achilles: the Triumph of Love (4), all
good impressions, £1 10s.; Sophonisba, fine impres-
sion, £2. The Death-bed only, fair, 4s.
5. Herodias with the Head of John the Baptist, fine, 18s.;
again, fair impression, 10s.
6. Thetis and Chiron, 1543, good, with large margin, £1.
7. Six prints of the Seven Liberal Arts, viz., Dialect, Rhetoric,
Arithmetic, Geometry, Music, Astrology, all fine, £2 10s.
8. Thomiris, Queen of the Scythians, plunging the Head of
Cyrus into a Sack of Blood, fine, but injured, 15s.
9. Medea and Jason, very fine, £1 10s.
10. Horatius Cocles Defending the Bridge, good, £1 1s., again,
very fine, £2 9s.
11. The Five Senses, represented by female figures (5), brilliant
impressions, £7 15s.
12. Tarquin and Lucrece, good, 15s.; again, fine, with the
Death of Lucrece (2), £3 1s.
13. The Crucifixion, first state, very fine, £1 18s.
14. The good Samaritan, fine, £2 1s.
15. Portrait of Johann Friedrich, Duke of Saxony, surrounded
by coats of arms, fine, £3 3s.
Penni (Luca).-Born at Florence about the year 1500.
This artist who is best known as a painter, executed a
number of plates with the point or the graver and
occasionally with both combined. These are chiefly after
Giulio Romano, Primaticcio and Il Rosso. His mark, consisting
of the letters L.P. joined together or separate, has been
used by other and much inferior engravers and great
discrimination is necessary in identifying the works of this
master.
1. Susannah and the elders, after Il Rosso, fair, 4s 6d.
2. Penelope, after Primaticcio, very fine, £1 4s.
Peregrini da Cesena.-An engraver and worker in
niello, who was living in the latter part of the fifteenth
century; beyond this his history is entirely unknown.
422
ENGRAVINGS AND THEIR VALUE.
Prints by this artist are of the highest rarity, and of
late none appear to have made their appearance in the
market. His plates are marked P, or O.P.D.C. and one
is signed "De opus Peregrini Ces.”
Perelle (Gabriel).—This ingenious artist seems to have
been born at Vernon-sur-Seine about the year 1600; died
at Paris in 1675. He excelled in designing and engraving
landscapes and views enriched with ruins and other em-
bellishments which are very happily introduced to vary
the objects and give a lightness to the design. He used
both the point and the graver in the execution of his
plates, his etching being the most satisfactory. Prints
by this artist are continually being met with, and are not
of much importance or value.
1. A series of six views in Rome, after Asselyn, fair, 3s.
2. The Castle of Bourbon Lancy, after Israel Silvestre, good, 5s.
Perjecouter (Pieter), otherwise known as Pieter
Serwouter was a Flemish engraver, born at Antwerp
about the year 1570. He worked with the graver only
in a style somewhat resembling that of Jan van Londerseel.
His most interesting prints consist of a series of twelve
hunting subjects, and A Dutch Merry-making, all after
Vinckebooms. These plates are not, however, of much
value.
Perrier (François).—This artist was a native of Macon,
in Burgundy, where he was born in 1590; he died at
Paris in 1660, according to Strutt, and ten years earlier
according to Bryan. The numerous etchings attributed
to this master are coarsely executed and have all the
appearance of being very hasty productions. They are
also frequently defective in design.
1. Fifty-four etchings (should be 100) from ancient statues
at Rome, fair, 16s.
2. The Wings of Love clipped by Time, an allegory in
chiaroscuro, good, 12s. 6d.
3. Portrait of Simon Vouet, the Painter, dated 1632, good, 8s.
ENGRAVERS AND THEIR WORKS.
423
Perrier (Pierre).-This engraver was born, most pro-
bably in France, about the middle of the 16th century
and is known to have died at Madrid in 1637. He engraved
a series of portraits of the Kings of Portugal which was
published in 1603, and is also credited with a number of
plates of historical subjects among them four scenes from
the life of Ignatius Loyola, the founder of the Jesuits.
Peruzzini (Domenico).—An engraver of considerable
repute, born at Pesaro about the year 1615; died after
1663. All the plates credited to this artist are etched,
chiefly in the style of Simone Cantarini.
1. Christ tempted by the Devil, dated 1642, very fine impres-
sion, 15s.
2. St. Jerome in the Desert, (perhaps not by this engraver,
but sometimes attributed to him), good, 8s. 6d.
3. Two Landscapes, (should be 4 in the complete series),
fair, 2s. 6d.
4. Three soldiers attacking a man on a bed, dated 1640,
fine, 6s.
5. The Holy Family, fair impression, 4s. 6d.
Pesaro (Simone da), or Il Pesarese.-See Cantarini
(Simone).
Pesne (Jean).-A French engraver, born at Rouen in
1623; died at Paris in 1700. Many of the plates by this
artist are after the pictures of Poussin, though he also
worked after Vandyck, Raffaelle, Guercino, and other masters.
His plates are etched in a slight, free style, but are often
coarse and irregular; they are finished with the graver.
1. The Virgin and Child, after Poussin, fine, with large
margin, 17s. 6d.
2. The Assumption of the Virgin, after the same, fine, 8s. 6d.
3. The Death of Sapphira, after the same, fine, 13s.
4. Nineteen plates of the Labours of Hercules, from the paintings
in the Louvre, good, with slight margins, £1 11s. 6d.
Pether (William).—An English mezzotinto engraver
born at Carlisle in 1731; died at London about 1800.
Many of this artist's plates, particularly those after
Rembrandt, are highly esteemed, but there is great inequality
424
ENGRAVINGS AND THEIR VALUE.
in his work. As a consequence the disparity in the value
of his prints is much accentuated.
1. The Orrery, after J. Wright, proof, with the Arms, £1 5s.
2. George III., proof before letters, very fine, £2.
3. The Standard Bearer, after Rembrandt, good, £1 10s.
4. Rembrandt with a scroll, after the same, fine, large margin, £2.
5. A Jewish Rabbi, after the same, fine, large margin, £1 18s.
Chickens going to Market, after Bigg, proof, 18s.
6.
7. A man in armour, after Rembrandt, proof, £6 10s.
8. The Lord of the Vineyard, after the same, proof, £2.
9. The Gladiator, after Wright, good, £1 18s.
Petit (Giles Edmé). This artist was born at Paris.
in 1696 and died there in 1760. He executed about sixty
engravings, none of which, however, are of much value,
unless in the finest condition. He worked chiefly with the
graver in a neat style.
Petit (Louis).-A French engraver, of the same sur-
name as, but probably no relation to, Giles Edmé Petit.
He was born at Paris in 1760, and died there about the
year 1812. This engraver learned his profession under
Nicolas Ponce, whose style he copied with very consider- ·
able success.
1. St. George and the Dragon, after Raffaelle, fair, 11s.
2. Aurora, after the same, fair, 8s.
3. St. Romualdus, after Sacchi (partly engraved by this artist),
fair, with slight margin, 10s. 6d.
4. Portrait of Peter Bayle, the lexicographer, good, 12s.
5. La Belle Jardinière (partly engraved by this artist), after
Raffaelle, very fine impression with good margin, £1 6s.
Pfeiffer (Karl Hermann).—This artist, who was born
at Frankfort in 1769, was an engraver of repute who
worked with the point and graver, after the English style.
He died at Vienna in 1830, leaving a large number of
prints, the best of which consist of portraits.
1. Josepha Hortensia Füger, half length. in an oval, after
Füger, good, 12s. 6d.
Philippe (Pieter).-A Dutch engraver, who, according to
Bryan, flourished at the Hague about the year 1660. His prints
which are not numerous, consist of portraits and scenes
ENGRAVERS AND THEIR WORKS.
425
of village fairs and festivals, the latter subjects being
generally after Van Venne.
1. Guillaume Henry, Prince D'Orange, a youth, with baton in
his hand, after Ragueneau, very fine, £3 10s.; the same,
fair impression, and cut, 16s.
2. Charles II. at Supper with Lucy Walters, after Van Vliet,
fine impression, rare, £5 5s.
3. Jacob Stormont, Dutch theologian, large, oval, in wreath
of laurel, after Mytens, fair, 7s. 6d.
Phillips (S.).—Hardly anything seems to be known
about this engraver except that he was working at London
at the close of the 18th century. Some of his coloured
prints are very fine.
1. Meditation, after Westall, in colours, fair, £1 6s.
2. The Cricket Match between Sussex and Kent, at Brighton, 14s.
3. Sporting Dogs; Horses in a Park, both in colours, fair,
(2), £1 8s.
4. Boy and Pigeons, after Mola, proof, 14s.
5. Lady Hamilton as Gaiety and Mrs. Siddons as Meditation,
both in colours, after Westall, fine, £18.
Picart (Bernard).-Born at Paris in 1673; died at
Amsterdam in 1733. This artist's prints though very numerous,
are not of much importance. He worked entirely with
the graver in rather a careless style. His designs are,
however, excellent.
1. Algernon Sydney, Miscalled a Patriot, half length, artist's
proof, 12s.
2. Nicholas Tindal, three-quarter length, in an oval, after
Knapton, fine, Ss.
3. King George I., in armour, an oval, 6s.
4. Groups of gentleman and ladies playing at cards, fair, 5s.
Picart (Charles).-This engraver was born at London
about the year 1780 and died there about 1835. He worked
principally for the booksellers and specimens of his work
will he found in Lodge's "Portraits," and Dibdin's "Deca-
meron." The undermentioned print is accounted one of
his best.
1. Miss Foote, as "Maria Darlington," fine proof before letters,
after George Clint, in colours, very fine, £12 12s.; again,
in colours, good, £8 10s., again in colours, £2 5s.
Picart (Etienne), called The Roman.-Born at Paris
426
ENGRAVINGS AND THEIR VALUE.
in 1632; died at Amsterdam in 1721. Nearly all this
artist's life was spent in Rome. His prints, which are very
numerous, are sometimes executed with the graver only
and occasionally with the point and graver combined.
1. Françoise Athenais de Rochechauart, three-quarter length,
in oval, fine impression, and very rare, £7.
2. The Marriage of St. Catherine, after Correggio, early im-
pression, good margin, £5 5s.
3. St. Cecilia, after Domenichino, fair, 9s.; the same, very
fine, with large margin, £2 18s.
Piccioni (Matteo).—An Italian painter and engraver,
who was born at Ancona about the year 1615. His few
etchings are executed in a very spirited manner, and well
designed.
1. The Adoration of the Shepherds, upright plate, after
Paolo Veronese, fine, with large margin, £1.
2. The Finding of Moses by Pharaoh's Daughter, after
Andrea Camassei, fine and rare, 18s.
3. The Holy Family, after Paolo Veronese, good, 8s.
Pilgrim (Johann Ulric).—The French style this artist
"Le Maître aux Bourdons Croisés," though he is more
recently and properly identified with Johann Wechtlin, a
painter and wood-engraver of Strasburg, who is known to
have been living in 1514. He was at one time regarded as
the inventor of the method of engraving in chiaro-scuro,
but the credit of the discovery is now conceded to Ludwig
von Siegen. All this artist's prints are extremely rare.
1. The Crucifixion, good impression, £21.
2. Orpheus very rare, £10.
3. The Knight Attended by his Squire, very fine and rare, £46.-
4. Alcon of Crete slaying the Serpent, fine, £10; again, very
fine, £31.
5. Pyramus and Thisbe, very fine and undescribed state before
the building on the left and also before the moon was
altered to a crescent, £141 (Dent Sale).
6. The Virgin seated in a garden, very fine, £39.
Piranesi
(Giambattista).—This
well-known and
celebrated architect was born at Venice in 1720, and died at
Rome in 1778. Piranesi was one of the most expert draughts-
men and engravers of old ruins and architectural subjects,
ENGRAVERS AND THEIR WORKS.
427
who have ever lived, his numerous plates having at all
times attracted universal admiration. His works, published
collectively at Rome at different periods between the years
1750 and 1786, consist of about 31 folio volumes containing
more than 1000 prints of large size. Care must be taken
to see that any of these offered for sale are "original
Roman Editions," and not reprints printed off at a later
date. A complete set of Piranesi's works. "Original Roman
Editions," is worth considerably over £100.
Pitau (Nicolaas).-An eminent engraver, who was born
at Antwerp in 1633, and is supposed to have been a pupil
of François de Poilly. He worked with the graver only in
a cold and silvery style, though his drawing is, as a rule,
correct. His finest print is that of the Holy Family, men-
tioned below. Nicolaas Pitau, the younger, son of this
artist, left a few engraved portraits of little importance.
He appears to have been working in 1701 in which year
he engraved a portrait of Louis Alexandre de Bourbon,
after Cobert.
2. Oliver Cromwell, inscribed
1. Maria Theresa of Austria, wife of Louis XIV. of France,
three-quarter length, after Baubrun, 1662, fair, 13s.
Cromwell Vicegerent," three-
quarters, wearing cap and fur collar, four lines beneath
after Werff, fair, 11s. 6d.
3. The Holy Family, after Raffaelle, fair, with large margin,
10s. 6d. again, very fine, £1 7s. 6d.
4. Christ and the Woman of Samaria, after Champagne, fine, £1.
Pitcher, Master of the.-See Krug (Ludwig).
Place (Francis).—An amateur engraver, born in Yorkshire
about the year 1645; died at York in 1728. This artist
etched and also engraved in mezzotint, his prints in the
former style, especially those after Griffier being excellent.
His portraits in mezzotint are also very fine. Good impres-
sions of any of this artist's prints are scarce and valuable.
1. Charles I., in his robes, after Vandyck, very tine, £3 16s.
2. Oliver Cromwell in armour, after Walker (mezzotinto), half
sheet, fine and rare, £3 15s.
3. Two busts from pewter plates, 12mo, scarce, 10s. 6d.
428
ENGRAVINGS AND THEIR VALUE.
4. Sir Ralph Cole, after Lely (mezzotinto), very rare, £1 16s.
5. Richard Sterne, Archbishop of York, after Tempest (mezzo-
tino), fine and rare, half sheet, £7 7s.
6. Major-General Lambert, oval, in armour, rare, and fine,
£6 6s.
7. William III., "Defender of the Protestant Religion," an
oval, in armour, after Tempest, good, 16s.; the same,
before the address of P. Tempest, fine impression, £6 6s.
8. Philip Woolrich, in armour, after Greenhill, with and without
the inscription, good (2), £1 11s. 6d.
9. Catherine, Countess of Middleton, after Lely, good, £3 17s.
10. Nathaniel Crew, "Episcopus Dunelmensis," Vicar of Whitney,
three-quarter length, in robes, large oval, good, £1 6s.
11. Richard Tompson, after Zoust, first state, the name written
in, fine, £5 5s.; the same, second state, fine, £2 2s.
12. Henry Gyles, the glass painter, undescribed state before
letters, fine and rare, £7 7s.
13. "By Yorke," view on the river, the cathedral in the distance,
fine and very rare, £1 16s.; again, £1 10s.
Place (M.).—This engraver, to whom are attributed the
prints mentioned below, was working in London in 1815.
Scarcely anything concerning him appears to be known.
His plates are distinguished by great neatness and good
impressions of any of them are scarce, particularly when
printed in colours.
1. The Volunteer Corps of the city of London and of the
city of Westminster, a pair, both after R. K. Porter,
printed in colours, good, £4 4s.
2. The Child Lost and The Child Found, a pair, printed in
colours, good, £3 12s.
Platt (William).—An engraver of considerable merit
who is supposed to have been born in London in 1798
and to have died there in 1852. Good impressions in
colours from plates by this artist are in considerable demand
at the present time.
1. Helena (Mrs. Clarke), after A. Buck, in colours, good,
£7 17s. 6d.
Ploos van Amstel (Jacob Cornelis).—See Amstel
(Cornelis Ploos van).
Poccetti (Bernardino), called Barbatelli.-Born at
Florence about the year 1542; died there in 1612. Though
chiefly known as a fresco painter this artist occasionally
ENGRAVERS AND THEIR WORKS.
429
handled the graver and always with great skill. Good
impressions of any of his prints are scarce.
1. Christ Bearing His Cross, a composition of many figures.
At bottom, on the left, "Bernardino Poceti F," extra
rare, height 12in. by 73in., £2 15s.
2. Christ Crucified. On the scabbard of a sword held by a
soldier on the right is inscribed "Bernardino," height
12 in. by 72in., very fine, £3 3s.
Podesta (Giacomo Andrea). - A painter of indifferent
repute, but an engraver of great merit. He was born at
Genoa about 1622, and is supposed to have died some time
about the year 1660. His etchings are invariably spirited
and masterly.
1. An allegorical subject, with a large number of Cupids, after
Reni, fine, with margin, 10s.
2. Bacchus Returning from the Conquest of India, fine, with
margin, £1 Is.
3. A crowd of Cupids assembled near a statue of Venus, after
Titian, fine, with margin, £1 ls.
4. A Bacchanalian subject with a tomb on the right, fair, 8s.
Poilly (François de).-This eminent French engraver
was born at Abbeville in 1622. He died at Paris in 1693.
Poilly worked with the graver only and may fairly be
considered as one of the most skilful French artists in
the management of that instrument who ever lived. His
prints are bold and clear and finished with great accuracy.
His manner of engraving was to cross the first strokes,
whenever required, with powerful second strokes at right
angles. His best prints comprise "The Holy Family," after
Raffaelle, and the "Flight into Egypt," after Guido Reni.
1. Cardinal Howard, large oval, fine, 15s.
2. Louis XIV. when young, three-quarter length, in armour,
large collar and sleeves, after Nocret, 10s.
3. Louis XIV., three-quarter length, in armour, in oval of
laurels, after Mignard, £1.
4. Michael le Tellier, three-quarter length, in scarf, large
ova', £1.
5. Aaron's Staff Changed into a Serpent, after Poussin,
fair, 4s.
6. The Adoration of the Shepherds, after Guido Reni; the
Flight into Egypt, after the same; the Virgin and St. John,
after Raffaelle the Madonna with the Sleeping Christ,
430
ENGRAVINGS AND THEIR VALUE.
7.
after
Reni (4), all fine and in good condition,
£3 17s. 6d.
The Holy Family, after Poussin, proof, 12s. 6d.
8. St. John the Evangelist, after Le Brun, proof, rare,
£2 10s.
9. St. Jerome, writing, after Philippe de Champagne, proof,
rare, 18s.
Poilly (Jean Baptiste de).-The nephew of the pre-
ceding artist. He was born at Paris about the year 1669
and died there in 1728. This artist united the point with
the graver; his prints exhibit much taste, are often
finely drawn, and invariably give an agreeable effect. Jean
Baptiste de Poilly was the son and pupil of the engraver
next named.
1. The Israelites Worshipping the Golden Calf, after Poussin,
with margin, 11s. 6d.
2. Ignatius Loyola, proof before letters, good, £1.
3. The Adoration of the Shepherds, after Carlo Maratti,
good, I5s.
4. A set of eleven plates from the paintings by Mignard
in the Palace of St. Cloud (11), good, £2 12s. 6d.
Poilly (Nicolas de).—Born at Abbeville in 1626; died
at Paris in 1696. An engraver of fair average merit, who
studied under his brother François, and copied his manner,
though not with perfect success. His prints are, however,
possessed of great merit and good impressions of any of
them are valuable.
1. Louis XIV., in ermine robe, three-quarter length, in large
oval, very fine, with large margin, £2 10s.
2. St. Augustine, after Philippe de Champagne, good, £1 ls.
3. The Repose in Egypt, after Chapron, good, 14s.
4. The marriage of St. Catherine, after Bourdon, very fine,
full margin, £1 4s.
Pollajoli (Antonio).-An artist of repute, who was
born at Florence in 1426; died at Rome in 1498. He
is supposed to have been a pupil of Maso Finiguerra,
though the evidence in support of this contention appears
singularly weak. His method of engraving was to make
a powerful outline of the figures with the graver and then
with diagonal strokes, running from one corner of the plate
ENGRAVERS AND THEIR WORKS.
431
to the other, to express the shadows. All the prints of this
artist are extremely scarce.
1. The Battle of the Giants, fine impression of this rare and
celebrated print, in good condition, £22 10s.; another
impression, fine, £15.
2. The Battle of the Giants, another impression, good, but cut
at the sides, top, and bottom, £9 9s.
Pollard (Robert).—This engraver was born at Newcastle-
on-Tyne in 1755, and died at London in 1838. He was
the last surviving member of the Incorporated Society of
Artists. His prints are in considerable request at the present
time.
1. Naval engagement off Copenhagen, 1801, after N. Pocock,
a pair, proofs, open letters (2), 9s.
2. The East End of the Town, after Singleton, fine and scarce,
£2 2s.
3. Bloomsbury Square, after E. Dayes, in colours, scarce, £1.
4. The Wreck of the "William and Mary," 1818, drawn and
engraved by Pollard, fair, 8s.
5. The Attempted Assassination of Geo III. (by Margaret
Nicholson), an aquatint, good, 12s.
6. The Fox Chase and the Stag at Bay, both after W. Ellis,
old coloured impressions, £5 5s.
7. Bedford Square: Queen's Square; Hanover Square, after
E. Dayes, by Pollard and Jukes, in colours (3), fine, £9 9s.
Ponce (Nicolas).-A French engraver of great eminence,
born at Paris in 1746, died there in 1831. His plates,
which are very numerous, are for the most part to be
met with in books, such for example as "La Galerie du
Palais Royal," "Le Cabinet de Choiseul," and “Les Bains
de Titus et de Livie." His masterpiece is considered to
be "L'enlèvement Nocturne," after Baudouin. This is a
very fine production.
Pond (Arthur) This painter and engraver is supposed
to have been born about the year 1700, and to have died
in 1758. He etched a number of portraits in a style
closely resembling that of Rembrandt, and engraved a set
of ninety plates from the drawings of the great masters,
in imitation of the originals. The reputation of this artist
rests on an invention which probably suggested to George
432
ENGRAVINGS AND THEIR VALUE.
Baxter (q.v.) his process of printing in oils. Pond in
conjunction with George Knapton worked out an idea of
printing in colours from steel plates so as in a very
marked degree to represent the pictures they were copying
from. The process consisted of a combination of etching
and aquatint. See "A catalogue of the Collection of Etchings
and Prints purchased by Sir E. Astley of A. Pond," 8vo., 1760.
Pontius (Paul).--A famous Flemish engraver, who was
born at Antwerp in 1596. He worked to some extent under
the direction of Rubens, who employed him to engrave
many of his best subjects. He worked entirely with the
graver in a clear, bold style.
1. Charles II., three-quarter length, in armour, emblems of
the rising sun in the distance, after Diepenbeeck (engraved
by Pontius in conjunction with Hollar), good impression,
with margin, £2 16s.
2. Mary, Countess of Warwick, oval in miniature, after Vandyck,
proof, very rare in this condition, £10.
3. Ambroise, Comte de Hornes, three-quarter length, in oval,
wearing armour, fine, with margin, £2.
4. Don Alvaro Bazan, Marquis de Santa Cruz, three-quarter
length, in armour, after Vandyck, good, 18s.
5. Don Charles Colonne, three-quarter length, in armour, after
Vandyck, fine, with large margin, £1 11s. 6d.
6. Frederick Henry, Prince of Orange, three-quarter length,
in armour, after Vandyck, fair, 12s. 6d.; again, a fine
impression, with margin, £5 15s.
7. Gustavus Adolphus, King of Sweden, three-quarter length,
with white scarf over armour, after Vandyck, good,
17s. 6d.
8. Philip IV. of Spain, after Rubens, bust, in oval, fine and
rare, £2 2s.
9. Marie de Medici, second wife of Henri IV.. half length, in
square, after Vandyck, first state, large margin, with Van
der Enden's address, fine, £2 10s.
10. St. Rosalia receiving a Crown of Roses from the Infant
Christ, after Vandyck, fair, 10s.
11. Chevalier Constantine Hugens, second state, with Van der
Enden's address effaced, very fine, with large margin,
£3 15s.
12. The Holy Family and Saints, after Rubens, containing the
portraits of the painter, and his family, from the picture
over his tomb in the Church of St. George at Antwerp,
proof, very rare, £3 3s.
436
ENGRAVINGS AND THEIR VALUE.
1. The Repose in Egypt, first impression, 1593, fair, 13s.
2.
The Transfiguration, first impression, fair, 11s.
3. St. Francis Receiving the Stiginata, fair, 7s.
4. St. Joseph Offering Fruit, good, 16s.
Procaccini (Giulio Cesare).-The younger brother of
the preceding artist. He was born at Bologna about 1550
and died at Milan in 1626. Giulio is celebrated as an
excellent painter. The undermentioned print is the only
one attributed to him.
1. The Madonna and Child, at the bottom on the left is
indistinctly written in reverse characters, "Giulecesar
Procac" in two lines, and beneath is faintly expressed
in letters in the right direction "Proc"; height 5in. by
3ğin., an etching, good, £1 15s.
Purcell (Richard).-Born in Ireland in 1736; died in
London in 1765. This artist's work consists almost entirely
of portraits, all of which are in mezzotint, and some
extremely rare, notably those of Michael Boyle, William
King, Archbishop of Dublin, Oliver Cromwell, after Lely,
Dr. Madden, after Hunter, and three of William III., after
Kneller and Wyck. Purcell used the aliases of Charles
Corbutt and Philip Corbutt on some of his London
productions.
1. The maid with her hand before the candle, after Morland,
fair, 7s. 6d.
2. Michael Boyle, Lord Chancellor of Ireland, with the seals,
after Zoust, fine and rare, £1 17s. 6d.; the same, fair
impression, 12s. 6d.
3. General Wolfe, indifferent impression, cut, 2s. 6d.
4. Lady Fenhoulet, after Reynolds, fair, 16s.
Pye (John).-An English painter and engraver who
flourished about the year 1774. He
He executed several
landscapes after Lorraine, Cuyp, and others, and these are
perhaps most highly esteemed of any of his works. They
are all in line and were published by Boydell in 1773-5.
1. A View of Hampton Court as finished by Henry VIII.,
after Hollar; the Society of Antiquaries (2), both good
impressions, and rare in this condition, £1.
Pye (John the Younger).-This artist who was no
relation to the last named, was born at Birmingham on
ENGRAVERS AND THEIR WORKS.
435
pleasing. His style was neat and clear, but, as usual,
wanting in decision and depth of tone.
1. Christian VI. of Denmark, after Wahl (by Johann Martin
Preisler), good, 6s.
2. Frederick V., after Saly (by the same), good, 7s. 6d.
3. The Eagle of Jupiter and Ganymede, after Pierre (by the
same), fair, 2s.; again, fine, 6s.
Preston (Thomas).-An English engraver, who flourished
about the year 1730. His prints, though lightly esteemed,
are occasionally of considerable pecuniary value. He
worked with the point and also in mezzotint.
1. Robert Blake, General and Admiral of the Forces of England
(mezzotint), good, £1 5s.; again, very fine, £2 2s.
2. A triumphal arch, an architectural design, with arms, after
A. Francina, good, 12s. 6d.
3. James Naylor, the Quaker, mezzotint, very fine and rare,
£1 7s.
Primaticcio (Francesco).-A celebrated painter, who
was born at Bologna in 1504; he died at Paris in 1570.
I am not aware of any etching by this artist beyond the
following, which is ascribed by Bartsch to him, though
more probably it is by Passerotti :
1. An etching of two Roman women, good, £1 6s.; the same,
brilliant impression, £2 12s. 6d.
Prior (Thomas Abiel).-This engraver, who worked
entirely in line, is said to have been born in 1809, and to
have died at Calais in 1886. His best plates are after
J. M. W. Turner whom he interpreted with great judgment
and skill. Three of his prints will be found in "The
Turner Gallery." See also Turner (J. M. W.).
1. The Building of Carthage, after Turner, good lettered
impression, 14s.
2. The Fighting Temeraire, after the same, dated 1886. good, 18s.
Procaccini (Camillo).—Born at Bologna in 1546; died
at Milan in 1626. This artist excelled as a painter, though
he produced a number of etchings, all executed in a bold,
masterly style. The heads of his figures are often admir-
able and the other extremities finely drawn.
434
ENGRAVINGS AND THEIR VALUE.
of twenty-nine years. His prints, which consist chiefly of
cows, oxen and other animals, sometimes in landscapes, are
drawn with great spirit and executed in the most masterly
style.
1. Subjects of animals, called the "Bull Book" (8), old impres-
sions, £2; another set, proofs before the numbers, very
fine, £30.
2. The Piping Shepherd, second state with the address of
De Jonghe, £1 12s.
3. Cattle descending a hill; the large uncut plate with the
date 1643, extremely rare and fine, £65; the same, plate
cut and date altered to 1649, fine, £2 14s.
4. The Cowherd, good, 13s.
5. The Set of Horses (5), very fine, £23 10s.
Poussin (Gaspard). This distinguished painter was
born at Rome in 1613, where he died sixty-two years later.
His etchings are only eight in number, and are very rarely
found in good condition. All are mentioned below.
1. Set of oblong landscapes, rare, fine impressions (4), £2 2s.
2. Set of oblong landscapes; the Magdalen in the Desert (5),
good, 15s.
Praet (Stephen de).-An artist who flourished at
Dantzic during the latter half of the seventeenth century.
He is described by Strutt as an engraver of no great merit
who confined himself principally to portraits.
1. The Metropolit. Miletus Syrigus, half length, with large
white beard, holding a cross, rare, but cut, Ss.
Preisler (Georg Martin).-There were several engravers
of this name. The founder of the Family was Daniel Preisler,
who was born at Prague in 1627. His son Johann Daniel,
who was born at Nuremberg in 1666, and died there in
1737, had four sons, Georg Martin (1700-54), Johann
Justin (1698-1771), Johann Martin (1715-94), and Valentin
Daniel (1717-65). Johann Georg (1757-1831), was the son of
Johann Martin above named and the last of the engravers
belonging to this family. None of the prints of any of these
artists are particularly striking, and most are feeble and
wanting in depth of colour. Johann Martin was perhaps the
most talented member of the family, some of his portraits being
}
ENGRAVERS AND THEIR WORKS.
433
13. The Resurrection; the Adoration of Christ (2), proofs, fine,
£2 10s.
14. Portraits of James Roclans, father and son, proofs before
letters, fine (2), £2; the same, with letters, fine,
£1 2s.
15. The Murder of the Innocents, on
on two sheets, good,
£1 19s.
Porporati (Carlo Antonio).-Born at Volvera near
Turin about 1740; died at Turin in 1816. This artist's plates
are remarkable for their purity and beauty of style. They
are rare, and often valuable.
1. Marie d'Autriche, Reine de la France, &c., seated, in an
oval, 1796, fine, and very rare, £3 10s.
2. Gardez Vous, after Angelica Kauffman, proof before letters,
very rare, £1 15s.
3. Abraham sending away Hagar, after Vandyck, proof with
arms, but before letters, £1 2s.
4. Susannah and the elders, after Santerre, proof before all
letters, fine, £2 2s.
5. Le Coucher, after Vanloo, proof before letters, £1 12s.
6. Young girl with dog, after Greuze, proof before letters,
very fine, £7 5s.
Porto (Giovanni Battista del). Otherwise known
as the "Master with the Bird" from his practice of marking
his prints with a bird and the initials "J. B." This
artist flourished about the year 1500. Among his best
prints are: Leda and the Swan," "The Rape of Europa,"
and the "Martyrdom of St. Sebastian." All this engraver's
prints are scarce.
1. The female satyr with her young, fine and rare, £4.
2. The Rape of Europa, with a reversed copy, fine, £3 3s.
3. Priapus and Lotis, good, £2; the same, £1 5s.
4. The wild man with the nymph and child, very fine, and
rare, £10 10s.
5. St. Jerome Extracting a Thorn from the Foot of the Lion,
woodcut, vory fine and rare, £10.
6. The Rape of Ganymede, woodcut, £1 10s.
7. Leda and Her Children, fine impression, in perfect condition,
£6 10s.; the same cut all round, £1 1s.
8. Roma, a seated female with a small figure of Victory in her
right hand, very fine, from the St. Aubyn collection, £13.
Potter (Paulus).-An admirable animal painter, who
was also a master of the art of etching. He was born
at Enkhuysen in 1625, and died there at the early age
28
ENGRAVERS AND THEIR WORKS.
439
C
reason of the performance that he subsequently became
the engraver to Sir David Wilkie. His masterly prints
of "The Village Politicians," "The Rent Day," "The
Errand Boy," "Blind Man's Buff," "The Parish Beadle,"
The Spanish Mother and Child," and many other works
of a domestic character, are too well known to need
any detailed description. All Raimbach's plates are executed
with the graver and were boldly executed with the express
object of enabling the publishers to take off as many
impressions as possible. There is consequently a great
difference in the quality of the engravings by this artist.
1. The Cut Finger, after Wilkie, proof, with open letters,
fine, £1 ls.
2. Blind Man's Buff, after the same, lettered, 7s.
3. The Rent Day, after the same, lettered, 9s.
4. Village Politicians, after the same, lettered, 14s.
5. Distraining for Rent, after the same, lettered, 14s.
Raimondi (Marc Antonio).-One of the greatest, and
certainly the most highly esteemed, of all the Italian
engravers. This great artist was born at Bologna in 1488,
and is known to have been living in 1527, when Rome
was taken by assault by the Spaniards, for on that
occasion he lost the whole of his property and fled to
Bologna. Since that date nothing was heard of him though
it seems probable that he was not living in 1534. His
works are usually catalogued with those of his two pupils,
Agostino Veneziano and Marco da Ravenna. For facility
of reference, however, the principal plates of Marc Antonio
(as he is usually termed by collectors), are given below.
It is well to remember that the difference in value
between a first-rate impression of any of this artist's
works and an ordinary or bad one is simply enormous.
Some of the former will readily bring hundreds of
pounds. while many of the latter, though from the same
plate, sell for a few shillings. Many copies and forgeries,
however, are in the market, and are not infrequently
passed off as genuine examples. The amateur, before
440
ENGRAVINGS AND THEIR VALUE.
he can hope to acquire any discriminating power, will
be compelled to study the prints of this master very
closely. The works of Marc Antonio are very numerous
and each is possessed of individual and peculiar merit. The
numbers in parentheses refer to the corresponding numbers
in Bartsch's "Le Peintre Graveur."
1. Adam and Eve Eating the Forbidden Fruit, early impression,
before any retouch, and prior to the hard outlines on
the right arm of Eve, excessively rare (1), £180; again,
an impression in perfect condition, £136; another im-
pression, £16 5s.
2. Adam and Eve Driven from Paradise, after Raffaelle (2),
16s.; another impression, £17.
3. The Almighty Commanding Noah to build the Ark, after
the same (3), £1 7s. 6d.; again, fair, 18s.; another
impression, good, £5 10s.
4. Joseph and Potiphar's Wife, fine impression, with good
margin (9), £7 18s.; another impression, not so good as
the last, £2 5s.
5. David Cutting Off the Head of Goliath, second state, but
repaired (10), 12s. 6d.; again, proof before the tablet,
£15 15s.
6. The Massacre of the Innocents, after Raffaelle, the first
plate, with the falcetta, proof before the inscription on
the pedestal (18), £190; the same, second plate impression
and very rare (20), £52 10s.
7. Massacre of the Innocents, after Raffaelle, "sans le chicot,"
fine and in good condition (20), £62.
8. Mary Magdalene at the Feet of Christ (23), good but
repaired, £14 14s.
9. The Last Supper, after Raffaelle, very fine, and in good
condition (26), £110; again, bad 18s. ; again, good, but
imperfect, £9 5s.
10. The Descent from the Cross, good preservation (32), £6 10s.;
another, fine impression, £14 14s.
11. The Madonna Weeping over the Body of Christ, called
"La Vierge au bras nud" (34), a delicate impression,
£10 10s.
12. The Madonna Weeping over the Body of Christ, second
design, called "La Vierge au bras couvert," very fine
and rare (35), £55; again, good impression, £18; again,
£2 15s.
13. St. Paul preaching at Athens, from the cartoon of Raffaelle
(44), fine, £10.
14. Mary and Martha Ascending the Steps of the Temple,
after Raffaelle (45), fine, but repaired, £31 10s.
15. The Madonna on the clouds, with the Infant Jesus standing
ENGRAVERS AND THEIR WORKS.
441
by her, at her feet three angels, after Raffaelle (47),
fine, £15.
16. La Vierge lisant, accompanied by the Infant Jesus (48),
good, £2 15s.
17. The Madonna seated on the clouds, with the Infant Saviour
in her arms, from a study by Raffaelle, brilliant impression,
in fine condition (52), £185; the same composition, with
variations, fine (53) £33.
18. The Madonna with a fish, good (54), £1 7s.; the same,
first state, good condition, £5 5s.
19. The Holy Family, called "La Vierge a la Longue Cuisse,"
fine (57), £7 10s.; another impression, fair, £1 11s.;
again. brilliant, £14.
20. The Holy Family, called "La Vierge au Palmier," from a
design by Raffaelle, fine, with slight margin (60), £41.
21. The Five Saints, after Raffaelle, good impression, and of
great rarity (113), £32 15s. ; another impression, exceedingly
fine, but cut, £59.
22. St. Cecilia, after Raffaelle, fine and rare (116), £7 12s. 6d.
23. Martyrdom of St. Felicita, and the decapitation of her
two sons, after Raffaelle (117), brilliant, but repaired,
£21.
24. St. Margaret, good (118), £6 6s.
25. Five of the small saints (124, 127, 129, 130, and 131), bad
impressions, 17s.
26. Christ and the Twelve Apostles, a complete set of thirteen
prints, fair (124–136), £5 5s.
27. Twenty-three of the small saints (131-184), all fine
impressions, and many of extreme rarity, £81.
28. St. Bernard, fine in state and condition (143), £7 5s.
29. St. Stephen, good impression, in good condition (147),
£17 10s.
30. St. Joseph, fine, with slight margin (154), £6 6s.
31. St. Martha, slight margin (182), £10 10s.
32. Two of the four Roman cavaliers; Titus (188), Scipio
Africanus (189), engraved in the artist's early manner,
good, £5.
33. An emperor meeting a warrior, engraved conjointly by
Marc Antonio and Agostino Veneziano, fine (196), £67 10s. ;
another impression, fair, £4 12s. 6d.
34. Cleopatra, scarce, and a fair impression (199), £3 13s. 6d.;
a repetition of the preceding, rare (200), £3; another
impression, good but cut, £1 8s.; again, fair, £1 5s.
35. Alexander Depositing the Works of Homer, fine (207),
£3 12s.; again, fair, with slight margin, £2 10s.
36. The Triumph of Titus (213), fine and rare, £4 16s.; again,
very fine, and in first-rate condition, £22 10s.
37. A dance of seven naked children and two cupids, from
a design of Raffaelle (217), copy B. brilliant impression,
with good margin, £1.
38. Set of eight antique bas-reliefs (220-7), engraved by Marc
442
ENGRAVINGS AND THEIR VALUE.
Antonio and Marco da Ravenna, seven of them first
states. £1 2s. 6d.
39. Two fauns carrying an infant in a basket, fine, but with
false margin (230), £13 13s.
40. Mount Parnassus, after Raffaelle, fine impression and rare
(247), £17.; again, £1 5s.
41. A Bacchanalian frieze, from a bas-relief in the Museum
at Naples (249), fine, £10 15s.
42. A Muse, from a design of Raffaelle (264), fine and in
good condition, rare, £4; another Muse, from a design,
&c., fine (265), £3; another Muse, from a design, &c.
(266). good, £2; another Muse, from a design, &c. (271),
fair, £1 5s.
43. Nymph and Satyr, fair impression (279), £1 12s. 6d.
44. A Satyr and child, fair impression (281), £1 2s.; another
impression, good, £4 16s.
45. Hercules killing Achelous, fine and rare (292), £5 5s.;
another impression, £1 5s.
46. The Old and Young Bacchants, brilliant impression, very
rare (294), £17.; another impression, good, £3 10s.
47. Venus, seated, drying her feet after bathing, Cupid standing
near with a bow in his hand, fine with good margin,
excepting at the bottom (297), £3 15s.
48. Faun, with a tiger, fine (307), £2 2s.; again, indifferent, 19s.
49. Venus Wringing her Hair, fine and rare (312), £15 15s.
50. Orpheus, seated, rare (314), indifferent impression, £1 4s.;
another and better impression, £3 3s.
51. A Satyr Surprising a Nymph, fair (319), £1; fine, £3 19s.:
again, very fine, £22 15s.
52. Three infants raising a terminus of Cupid, good impression
(320), £7 17s. 6d.; another impression, brilliant and
in excellent condition, £60; another impression, fine,
£15 15s.
53. Pan and Syrinx, first state, fair (325), 17s.; another impres-
sion, fine. but cut, £4 4s.
54. Vulcan, Venus. and Cupid, fine and rare (326), £4 4s.;
again, £2 2s.
55. Statue of Apollo, fine (333), £3 3s.; another impression,
indifferent, 15s.
56. Apollo, fair (334) 12s.
57. The Three Graces, fine impression (340), £5 5s.; again, fine
impression, but cut, £11 11s.
58. Jupiter Embracing Cupid, Mercury Descending from Heaven,
and Cupid and the Graces (the three angels of the
Farnesina), after Raffaelle, fine impressions (342-4), £52 10s.
59 Cupid and the Three Graces (344), fine with large
margin, £25.
60. Mars, Venus, and Cupid, fair (345), 13s.; again, second state,
£4 10s; again, finished state, £6; again, proof before
the head of Medusa on the shield and before the torch,
&c., £35.
ENGRAVERS AND THEIR WORKS.
443
*
61. Hercules Strangling Antæus, fine and rare (346), £2 15s.;
again, £1 5s.
62. Apollo and Hyacinthus, fair impression (348), £1 5s.; again,
fine, £7 10s.; again, early impression, £38.
63. The Triumph of Galatea, from the fresco by Raffaelle in
the Farnesina (350), fine impression, but repaired, £8;
again, bad impression, 10s. 6d.
64. Four figures conversing, known by the title of "Amadeus ",
good impression (355), £3 16s.
65. Raffaelle's Dream, fair (359), £1 5s.; another impression,
fine, £11 0s. 6d. (This print is so called as it is
supposed by Bartsch to be after Raffaelle.)
66. Trajan between allegorical figures of Rome and Victory, a
good impression of a rare print (361), £12 12s.; again,
good impression, £5 5s.; again, brilliant but slightly
mended, £32.
67. "L'homme et la femme aux boules," fair (377), £1 18s.
68. The Two Women of the Zodiac (379), a good impression,
£7 15s.; another, £1 2s. 6d.
69. A young man standing, holding a scythe in his right hand
(380), an early and good impression but cut, £5; another
impression, £1.
70. Three of the Virtues (387, 391-2), índifferent impressions, 17s.
71. A serpent speaking to a young man (396), second state,
very fine, but badly injured, £7 18s.
72. A man playing the violin, surrounded by naked females,
in the artist's early manner, indifferent impression
(398), £1.
73. A representation of the sufferings of a town during the
plague, from a design by Raffaelle (417), brilliant, but
cut, £8 8s.; another impression, fine proof, before any
of the inscriptions, and without any lines on the lower
part of the pedestal, £105.
74. The Lion Hunt, fine (422), £6 17s. 6d.; another (bad im-
pression), 6s.
75. The Monstrous Child, fair (446), 16s.
76. The Cardinal, fair impression, without margin (459), £1 2s.
77. A man holding a flute (167), 11s.; another impression,
£2 12s. 6d.
78. The Guitar Player, fair (469), 16s.
79. A man and woman holding each other by the hands, first
and second states (171), £1 8s.
80. A naked man bearing the base of a column (476), very
fine, £6.
81. One of the figures from Michelangelo's Cartoon at Pisa,
fine impression. but cut (488), £4 16s.
82. La Casoletta, good, (189), £2 18s.
83. Fourteen medallions of the Cæsars, very bad impressions
(501), s.; other impressions, fair, £1 5s.
84. Portrait of Aretino (513), £1.
85. Façade with Caryatides, bad impression (538), 10s
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ENGRAVINGS AND THEIR VALUE.
86. Thirty-seven prints of the Passion of Christ (584-620), £2 5s•
87. Portrait of Pietro Aretino, after Titian (613), proof before
the monogram, the ornaments in the cap. and the third
and following lines of the inscription, £780. (There is
an equally good impression in the Print Room of the
British Museum, but none elsewhere of any quality, so
far as is known.)
88. The Presentation in the Temple (631), 16s., fair 10s.
89. The Flight into Egypt (634), 12s., fair 10s.
90. The Virgin, with angels (639), fair, 18s. 6d.
91. The Madonna and Child, copied from Albrecht Dürer (640),
fine, £18 10s.
92. The Young Woman, good (650), £1 17s. 6d.
93. The Nobleman and his Lady, good, but cut (652), £2 2s.
Ramberg (Johann Heinrich). This artist, who was
a pupil of Sir Joshua Reynolds, was born in Hanover
about the year 1765, and died there in 1840. His plates,
though not deficient in merit, appear, for the most part, to
have been very hastily executed. As a rule their value
is small.
1. Exposition au Salon du Louvre, 1787, good, 16s.
2. Exhibition of the Royal Academy, 1787, good, £1 9s.
3. The Royal Family Viewing the exhibition of the Royal
Academy, proof, £1 18s.
4. Design for the curtain of the Hamburg Theatre, good, 12s.
Randon (Claude).-By some authorities called John
Randon. This engraver who was living at Rome in 1610,
executed several of the plates of antique and modern
statues for a collection of prints said to have been published
by Giovanni Giacomo de Rossi at Rome, as well as a
number of other subjects after various masters. None of
these are of much importance or value.
Ranson (Thomas Frazer).-Born at Sunderland in
1784, living in 1822, in which year he gained the gold
medal of the Society of Arts, for an engraving after Wilkie's
"Duncan Gray." All this artist's plates are executed with
the graver.
1. The Duke of Northumberland, after Thomas Phillips, good, 13s.
Ravenet (Simon).-This artist was born at London
about the year 1755, and is known to have been living in
ENGRAVERS AND THEIR WORKS.
445
1813. He was a pupil of his father, Simon François Raven et.
Many of his prints are after Correggio, and really fine
examples of these are much sought after. Most of the
impressions offered for sale are, however, very inferior
impressions, and where this is the case the value is small.
1. Jupiter and Antiope, an oblong plate, lengthways, after
Rubens, good, 8s.
2. A series of 32 plates after the works of Correggio at Parma.
Ravenet (Simon François).—A French engraver who
was born at Paris in 1706, and died in London about the
year 1774. He was a pupil of Le Eas. The plates of this
artist are distinguished for their brilliancy and colour as
well as for their neat finish. His drawing is, as a rule,
correct, but his outlines are too sharply defined to be
harmonious.
1. Lord Camden, after Sir Joshua Reynolds, fine, but cut, 9s.
2. David Hume, fair impression, 7s.
3. Alexander Pope, fine and rare, £1 1s.
4. Charity, after Cignani, good impression, 16s.
5. Lucretia Deploring her Fate, after Cozzale, fair, 7s. 6d.
6. The Death of Seneca, after Giordano, good, 12s.; another
impression, very fine, with full margin, £z 5s.
7. The Arcadian Shepherds, after N. Poussin, fine, but slightly
cut, 18s.
8. Venus e Museo Medici, a large upright plate after R.
Dalton, Jan. 9, 1746, good, 6s.
9. Six subjects of Horses, after Tillemans, dated 1753, fair, 10s.
10. The Lord of the Vineyard, after Rembrandt, fine, 14s.
Ravenna (Marco da).-An eminent Italian engraver,
who was born at Ravenna about the year 1490. This artist
was one of the numerous pupils of Marc Antonio Raimondi,
and, if exception be made in favour of Veneziano, the most
talented. Ravenna successfully imitated the bolder engraving
of his master, but was deficient in the quality that Veneziano
excelled in, namely, neatness of expression and accuracy.
The two artists together reflect the sum total of their
master's excellence. The numbers in parentheses given
below refer to the corresponding numbers in Bartsch's
'Le Peintre Graveur" (vol. xi.), in which work, the
446
ENGRAVINGS AND THEIR VALUE.
productions of Marc Antonio Raimondi, Marco da Ravenna,
and Veneziano, are catalogued together.
1. Noah's Sacrifice (4), a fine impression, rare, £5 5s.; again,
fair, £1 5s.
2. The Almighty appearing to Isaac, after Raffaelle (7), fine,
but cut, £2 5s.; another impression, £2 2s.
3. The Annunciation (15), fair impression, but cut, 12s.
4. The Massacre of the Innocents, after Baccio Bandinelli
(21), copy A, second state, with the address of Ant.
Lafrery, fine, £6 12s. 6d.
5. The Virgin and Infant Saviour, with Tobit and the Angel
(54), with two copies of the same, fair, 9s. 6d.
6. The Virgin and Child, enthroned, supported by St. Joseph
and a Bishop, after Polidoro (55), fair, 18s. 6d.
7. The Holy Family (58), brilliant and rare, £5 10s.
8. St. Michael, after Raffaelle (105), fair, 12s.
9. St. Jerome, seated, after Raffaelle (106), fine and rare, £1 10s.
10. Entellus and Dares, after Raffaelle (195), fair, 16s.; the
same, fine and in good condition, £2 12s. 6d.; again, very
fine, £3 10s.
11. A march of Roman soldiers, from the Column of Trajan
(202), fine, 12s.
12. Roman soldiers erecting a fortification, from the Column
of Trajan (205), good, £1.
13. Trajan routing the Dacians (206), extremely fine and very
rare, £6.
14. The Rape of Helen (210), fair impression, 15s.
15. A Battle, after Giulio Romano (211), good, £2 9s.
16. Jupiter, sitting (216), fair, 12s.
17. Cupid's Flight by Sea (219), fine impression, and rare,
£2 2s.; again, fine, £1 19s.
18. The Sacrifice (220), good, £1 2s.
19. Galathea and Polyphemus, from a bas-relief (224), second
state with the address, fair, 15s.
20. Apollo guarding the Head of Admetus, from a bas-relief
(225), second state with the address, fair, 14s.
21. The Man and the Naiad, from a bas-relief (226), second
state with the address, bad impression, 5s.
22. Vulcan, Venus, and three Cupids, from a bas-relief (227),
second state with the address, fair, 17s. 6d.
23. Bas-relief with Cupids (242), indifferent, 5s.; copy reversed,
2s. 6d.
24. The Laöcoon and his Sons (243), first state before the
address, £1 17s. 6d.
25. The Judgment of Paris, after Raffaelle (246), fine and
perfect impression, £4 4s.; another impression, £3.
26. Leda and the Swan (283), brilliant impression, perfect, £8 8s.
27. A Satyr carrying a nymph (300), fine, before the address, 12s.
28. Venus Extracting a Thorn from her Foot, after Raffaelle
ENGRAVERS AND THEIR WORKS.
447
(321), very fine, before the address of Salamanca, £5 5s.;
the same, fair impression, with the retouch, 17s.
29. Venus Rising from the Sea, after Raffaelle (323), second
state, with the address, fine and rare, £4 18s.; another
impression, same state, good, £2 10s.
30. Venus and Cupid, riding upon dolphins, after Raffaelle
(324), second state, with the address, fair, 12s.
31. Juno, Ceres, and Psyche, after Raffaelle (327), fine impres-
sion, perfect condition, £2 15s.; again, fine, £1 10s. 6d.
32. The Amours of Jupiter and Sémelé, after Giulio Romano,
(338), rare, and a good impression but cut, £5 10s.
33. Strength, after Raffaelle (395), fine, £2 15s.
34. The Fisherman (403), fair, 9s.; another impression, good,
but cut, 11s.
35. Three animals, in an oval, from a bas-relief (405), fine, £1.
36. A battle (420), brilliant impression, and rare, £8 10s.;
another impression, inferior, Ss.
37. The Court of Death (425), fair impression, 9s. 6d.
38. The Assemblage of Savans, after Francesco Salviati (479),
good impression, £2 10s.
39. A Man extracting a thorn from his foot (480), fair, 16s.
40. La Cassolette (490), very fine and rare, £4 16s.
41. The equestrian statue of Marcus Aurelius (515), good im-
pression, £4 15s.
66
Rawlyns (Thomas).—A London engraver who flourished
about the year 1760. His name is given as J. Rawlins" by
Strutt. His works are not, as a rule, of much value, unless
in the finest condition.
1. Nathaniel Richards, poet, 12mo, very fine, £3 3s.
Raymond (John).-A French engraver, born at Paris
about 1690. This artist worked entirely with the graver
in a bold, free style and very correctly. His prints, however,
are not held in great estimation, and do not often bring
high prices. His "Entombing of Christ," after Zuccaro,
is one of the best, and the "Holy Family," a circular
plate, after Raffaelle, is also good.
Read (Richard).-This engraver was born at London
about the year 1745, and died there towards the close of
the century. He worked both in mezzotinto and in stipple.
1. Love vanquished, after W. Beachy, stippled in colours,
£2 5s.
2. Mary Queen of Scots, resigning the crown, after Gavin
Hamilton, fair, Ss.
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448
ENGRAVINGS AND THEIR VALUE.
Reclam (Friedrich).—An etcher of considerable repute,
who was born at Magdeburg about the year 1735, and died
at Berlin in 1774. This artist is celebrated chiefly as a
painter. Among his few plates are:
1. Two views near Paris, good, 12s.
2. Five views in Italy (should be 8 in the complete set) dated
1755, good lettered impressions, 16s.
Reeve (Thomas).-Very little is known of this engraver
except that he was working in London about the year 1820.
His name is sometimes found on plates of sporting
subjects. The sets numbered 1 and 2 below, are very
well known.
1. Cock-fighting, after Alken, the set of four small plates in
colours, 8s.
2. Coursing, after Wolstenholme, the set of four, in colours,
£2 18s.
3. The Battle of Waterloo, after Heath, open letter proof in
colours, 18s.
4. The Beagles, after Wolstenholme, in colours, good, 14s.
Regnault (Nicolas François).—A French engraver, also
noted as a painter, who was born at Paris about the year
1750, and is supposed to have died there about 1805.
Among his plates are:
1. Truth and Tenderness, after Lagrenée, fair, 5s.
2. Le Vou de la Nature, good, 7s. 6d.
Reindel (Albrecht Christoph).-Born at Nuremberg
in 1784; died there in 1853. This artist worked with the
graver in a neat, clear style.
1. The Virgin with the Infant Jesus, after Da Vinci, proof,
12s. 6d.
2. The Emperor Charles the Great, half length, crowned,
holding a globe in one hand and a sword in the other,
after Dürer, fair but cut, 7s. 6d.
Reinsperger (Johann Christoph).--A German en-
graver, who flourished about the year 1760. The artist's
portraits, which comprise the greater part of his subjects,
are nearly as large as life, and are executed in a coarse
and very heavy style.
ENGRAVERS AND THEIR WORKS.
449
1. The Empress Marie Therese, Queen of Hungary and
Bohemia, large three-quarter length, in circle, verses
in French beneath, after Liotard, good, £1 11s. 6d.
2. Elizabeth Christiana, Empress Dowager of Germany, fair,
8s.; again, very fine impression, £1 6s.
Reiter (Bartolome).-An engraver of considerable
merit, who was living at Munich in the year 1618. He is
said to have been a first-rate painter, but only one example
from his easel has been found. Among the prints with
which he is credited, the following may be mentioned.
1. Neptune, on a sea-horse, 1610, fair impression but cut,
8s.; again, another impression, fine, and in perfect
condition, £1 12s.
2. St. Jerome, half length, a lion to his left, good, 12s.
3. A series of eight prints. representing naked children (8),
very fine and exceedingly rare, £7 7s.; again, in good
condition, £2.
4. Venus, with a mirror, sitting with Cupid under a tree,
after Geo. Becham, good, 11s.
Rembrandt (Rembrandt Harmensz Van Rijn).
This artist, whose family name was Gerretsz, acquired what
is probably a pseudonym by reason of his being the son
of a miller who carried on his business between Leyderdorp
and Leyden-on-the-Rhine. Rembrandt was born at Leyden
on the 15th July 1606, and, equally with Albrecht Dürer and
Marc Antonio Raimondi, is regarded not merely by collectors,
but by all who take an interest in art in any of its varied forms,
as a prince among engravers. Genuine specimens of his work
bring ever-increasing prices, and as this artist is popularly
supposed to have manufactured "states" for purposes of
sale, the study of his numerous plates may well occupy a
lifetime. Rembrandt's etchings have all that freedom of
touch, spirit, and greatness of effect, discoverable in his
paintings, and some of them are extremely scarce and
valuable, finish and merit having apparently not so much
influence on the price as scarcity. Strutt, writing many
years ago says, "I myself, commissioned by an eminent
collector, gave six and forty guineas for the Great Coppenol,
with the white back ground, that is, before it was finished,
Z
t
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29
450
ENGRAVINGS AND THEIR VALUE.
(
when the same evening, at the same sale, I bought a most
beautiful impression of the same print finished, distinguished
by having a black back ground, etc., with the address of
Rembrandt at the bottom, for fourteen guineas and a half.
It cannot be reasonably supposed that such a difference could
exist between two good impressions of the same plate and
speaking as an artist I should certainly have taken the last
in preference to the first." Strutt's experience is by no means
unique though since his day prices have increased enor-
mously. His "six and forty guineas" was represented by £1359
at the recent Holford Sale, that being the sum paid for a first
state of the large portrait of Coppenol, such as he describes.
The works usually referred to by cataloguers and others
whose duty or pleasure it is to chronicle accurately the
productions of this master, are Wilson's "Catalogue of the
Works of Rembrandt," and Blanc's "L'Euvre Complet de
Rembrandt," The figures in parentheses coincide with
those in Wilson's Catalogue, and the works of the master are
arranged under subjects, in the usual manner. As far as
possible the values given have been brought well up to date.
Portraits of Rembrandt.
1. A portrait of Rembrandt, with moustaches, first state (2),
£62 5s.
2. A bust of Rembrandt, with a fur cap and dark dress,
coarsely etched, first and second states (6), £14 14s.
3. A portrait of Rembrandt in a turned-up hat and an em-
broidered mantle, dated 1631, fifth state (7), £14 14s.
The same, first state drawn upon by Rembrandt, £420
(Holford Sale), again, seventh state, £3 3s.
4. A bust resembling Rembrandt in his youth, with an air of
grimace, second states (10), £2 10s.
5. A bust of a young man with an open mouth, resembling
Rembrandt (13), £1 7s.
6. A bust resembling Rembrandt in his youth, with a fur
cap and robe (14), £1 1s.
7. A bust resembling Rembrandt, with a mantle and cape,
first and second states (15), £3 15s.
8. A bust very much resembling Rembrandt, with a round
fur cap, early impression (16), £4 4s.
9. A portrait of Rembrandt, with a scarf round his neck,
third state, with the name and date 1633 (17), fine, £3 15s.
ENGRAVERS AND THEIR WORKS.
451
10. A portrait of Rembrandt, with a drawn sabre held upright
(18), £5 5s.; the same, first state, only four impressions
known, £2000 (Holford Sale).
11. The portraits of Rembrandt and his wife, early impression
(19), £4 10s.
12. Portrait of Rembrandt, in a cap and feather, second state
(20), good, £3 3s.
13. Ditto, without the name, £1 1s.
14. Portrait of Rembrandt leaning on a stone sill (21), second
state, fine, £13.
15. The portrait of Rembrandt drawing, eighth state (22), £4;
the same, fifth state, £82 (Holford Sale), the same, third
and best state, £280 (Holford Sale).
16. A portrait of Rembrandt, in an oval, third state (23),
£5 10s., again, ordinary impression, fair, £1; again,
second state before the angles were effaced, £15 15s.
17. Portrait of Rembrandt with short curly hair, without
Rembrandt's name (26), £3: again, 18s.
18. Portrait of Rembrandt, full face, laughing (29), £5.
19. Portrait of Rembrandt, with haggard eyes and a mutilated
cap (33), £1 13s.
Subjects from the Old Testament.
20. Abraham Entertaining the Three Angels (36), fine, on thick
Japanese paper, £22.
21. Abraham Sending away Hagar and Ishmael, fine (37),
£5 10s.; again, very fine, with "fond sale," £15.
22. Abraham with his Son Isaac (38), early impression, with
Burr, on Japanese Paper, £8 15s.
23. Abraham's Sacrifice (39), £1 6s.; again, on Japanese paper
with Burr, £17 10s.
24. Jacob's Ladder, print for a Spanish book (40), £2 18s.
25. Joseph Telling his Dream to his Brethren in the presence
of his Father and Mother, second state (41), £1 8s., the
same, first state, £10 10s.
26. Joseph and Potiphar's wife, fine, from the Garle Collection,
£5 10s.
27. The Triumph of Mordecai (44), unfinished, very fine,
£19 10s.
28. David on his Knees (45), £1 1s.
29. Tobit, blind (46), £1 1s.
30. The Angels Ascending from Tobit and his Family, second
state (48), £2 5s.
Subjects from the New Testament.
31. The Angel appearing to the Shepherds, fourth state, fine
impression (49), £42, again, ordinary impression, fine,
£13 10s.
32. The Nativity, or Adoration of the Shepherds, first state,
452
ENGRAVINGS AND THEIR VALUE.
with the white spaces towards the top (50), £1., again
16s.
33. The Adoration of the Shepherds, a night piece, third state
(51), £4.
34. The Circumcision, first state (52), 18s., again 16s.
35. The Circumcision (53), £1 1s.
36. The Presentation of Jesus in the Vaulted Temple, second
state, but pale and worn (54), 15s., again, lettered im-
pression, 10s.
37. The Presentation, in Rembrandt's dark manner, fine (55),
£25; another impression, good, £18 10s.
38. The Presentation, with the angel (56), £2 2s.
39. The Flight into Egypt, a small print, first state (57), £4
10s.; another impression, first state, very fine, £25.
40. The Flight into Egypt, second and fourth states (58), £5.
41. The Flight into Egypt, the Holy Family crossing a rill
(60), £3 5s.
42. The Flight into Egypt, in the style of Elsheimer, second
state, with large margin (61), £140 (Holford Sale).
43. The Rest in Egypt, in a wood, by night, second state
(62), £15 10s.
44. The Rest in Egypt (63), £1 5s.
45. Jesus Found by His Parents on their Journey to Jerusalem
(64), £11 11s.
46. The Holy Family, second state (66), £2 10s., again, lettered
impression, 10s.
47. Jesus Disputing with the Doctors in the Temple, a large
plate (69), £1 1s., again, 7s.
48. The same subject, a small upright, third state (70), £1 3s.
49. Christ Preaching, second state, very fine (71), £135 (Holford
Sale), another impression, £30 10s.
50. The Tribute to Cæsar, second state (72), £3 10s.
51. Jesus Christ Driving the Money-changers out of the
Temple, second state (73), £3 5s.
52. Jesus and the Samaritan Women at the Well, an upright
plate (74), £1 12s.; another impression, second state,
before name and date, £74.
53. Jesus and the Samaritan Women at the Well, an upright
plate (75), very fine impression, £35 (Lord Leighton's
Sale).
54. The Resurrection of Lazarus, a large print, third state
(77), £125 (Holford Sale).
55. Christ Healing the Sick, called "The Hundred Guilder
Piece," second state, very fine impression on india-paper,
with margin (78), £1290 (Holford Sale). The same, first
state, £1750 (Ibid.), again, ordinary impression, £9 9s.
56. Our Lord in the Garden of Olives, fine impression on
india-paper (79), £6 6s.
57. Our Lord before Pilate, fifth state (80), £45., again, first
state on Japanese Paper, £1250 (Holford Sale).
58. Our Lord Crucified between the two Thieves, third state
ENGRAVERS AND THEIR WORKS.
453
(81), £22; another impression, first state, £125 (an old
sale).
59. The Descent from the Cross, second state before the
address (84), £37, again, before the address, £4.
60. Our Lord on the Cross between the two Thieves, an
oval (85), £8 8s.; again, first state, £200 (Holford Sale).
61. The Crucifixion, a small square plate (86), £1 14s.
62. The Descent from the Cross, a sketch (87), £7 7s.
63. The Descent from the Cross, a night piece, on india-paper
(88), £12, again, not good. 10s.
64. The Funeral of Jesus (89), £5.
65. Jesus Christ Entombed, second state (91), £16 16s.
66. Our Lord and the Disciples at Emmaus, second state (92),
£5 10s.
67. Our Lord and the Disciples at Emmaus, 1634, a small
print (93), first state, £6, again, good ordinary impres-
sion, £1 6s.
68. The Good Samaritan, first state, with the white tail of
the horse, the margin cut off (95), £32; the same,
second state, very fine, £39; the same, fourth state
with the wall above the house shadowed and before the
name and date, fine, £9.
69. The Prodigal Son (96), £5.
70. Peter and John at the Beautiful Gate of the Temple
(98), second state, on Japanese paper, £13.
71. St. Peter (101), £1 13s.
72. The Martyrdom of St. Stephen (102), good, £3 10s., again,
fair, 15s.
73. The Baptism of the Eunuch (103), first state, the cascade
nearly white, with burr, very fine, £24 10s.
74. The Death of the Virgin (104), £1 1s., again 18s., again,
first state, £145 (Holford Sale), again, third state with
the elbow chair shaded and the scratches of the needle
burnished out, fine, £7 10s.
Pious Subjects.
75. St. Jerome, sitting at the foot of a tree, fine (105), £11.
76. St. Jerome, kneeling, an arched print, second state (106),
£2.
77. St. Jerome, kneeling (107), 11s.
78. St. Jerome, sitting before the trunk of an old tree, second
state (108), £21, again, fair, £3 5s., again, first state on
Japanese Paper, £61 (Holford Sale).
79. St. Jerome, unfinished, second state (109), £18, again,
£5 5s.
80. St. Jerome, in Rembrandt's dark manner, second state
(110), £1 12s.; another impression, first state, fine,
£21 10s.
81. St. Francis praying, good, £5 10s.
2
454
ENGRAVINGS AND THEIR VALUE.
着
​Allegorical, Historical, and Fancy Subjects.
82. Youth Surprised by Death, scarce (113), £36.
83. Fortune, an allegorical piece, second state (115), 10s.
84. Medea, or the Marriage of Jason and Creusa (116), first
state, before the crown on the head of Juno, on Japanese
paper, fine, £12.
85. The Star of the Kings (117), £36 (old sale).
86. A Lion Hunt (118), £8, again, fair, £1 6s.
87. A Lion Hunt; and the companion (119), £3 3s.
88. A Battle, second state, rare (121), £2 2s.
89. The Travelling Musicians (123), £1 1s.
90. The Spanish Gipsy, very fine, and scarce (124), £70 (old
sale).
91. The Rat Killer, second state (125), £16 16s. (old sale).
92. The Goldsmith (127), 12s.
93. The Pancake Woman (128), £2 5s., again, £1 15s.
94. The Sport of Kolef, or Golf, second state, bad impression
(129), 14s.
95. A Jews' Synagogue, first state (130), £9 (old sale).
96. The Schoolmaster (131), 6s.
97. The Mountebank (132), £3., again, good, £4 4s.
98. The Draughtsman (133), 10s.
99. Peasants Travelling (134), 18s., again, 12s.
100. A Jew with a high cap (135), £2 15s.
101. An old man with a boy, fine, but stained (135*), £6.
102. The Peasant, with his hands behind him, third state
(136), 8s.
103. The Blind Fiddler, second state (138), £4 18s.
104. A Polander (140), £3 10s.
105. Another Polander, second state (141), £2 6s.
106. The Travelling Peasants (144), £5 10s.
107. A Philosopher meditating (145). £3 15s.
108. A man meditating, first state (146), £12 (old sale).
109. An old man without a beard, third state (148), £2 12s.
110. An old man with a bushy beard (149), 18s.
111. The Persian, second state (150), £16 16s. (old sale).
112. The Hog, second state (154), £5 (old sale).
113. The Shell, first state, with the white background, very
fine (156), £200 (old sale).
Beggars.
114. A beggar, standing and leaning on a stick (159), £3 5s.
115. A beggar, standing, seen in profile in a cap, rare (160),
£4 4s.
116. Two beggars coming from behind a bank, fair, 16s.
117. A beggar-woman asking alms (167), 5s.
118. The Ragged Peasant, with his hands behind him (169), £4.
119. A beggar, warming his hands over a chafing-dish (170),
12s., again 6s.
ENGRAVERS AND THEIR WORKS.
455
120. A beggar, sitting on a hillock, with his mouth open, first
state (171), £2 10s.
121. An old beggar, with a long beard, and a dog by his side,
very rare (172), £51 10s.
122. Beggars at the door of a house (173), fine, £6 10s.
123. A beggar, and its companion, in two pieces (174-5), £1 1s.
124. A beggar, with a wooden leg (176), 18s.
Academy Figures.
125. A painter drawing from a model (189), first and second
states, the former unique, £125 (Holford Sale).
126. An academical figure of a man, called in Holland "The
Prodigal Son" (190), £3 15s.
127. Academical figures of two men (191), £2 2s.
128. A woman sitting before a Dutch stove, fifth state (194),
£2 7s. 6d.
129. A woman with her feet in the water, full of burr, fine, £3.
Landscapes.
130. Six's Bridge, second state (205), £21 (old sale).
131. View of Omval, near Amsterdam (206), £320 (Holford Sale).
132. A View of Amsterdam (207), £20 (old sale).
133. The Sportsman, second state (208), £47 10s.
134. The Three Trees (209), £170 (Holford Sale); again, £29,
again, full of burr, particularly in the sky, fine, £121
(Dent Sale).
135. A peasant carrying milk-pails, second state (210), £64 10s.,
again, first state on Japanese Paper, £145 (Holford Sale).
136. The coach landscape, on China paper (212), first state,
£145 (Holford Sale); again, £130 (Ibid.).
137. A village near the high road, arched (214), £34 (old sale);
another impression, third state, fine, £50 (old sale).
138. Another impression (214), £31 (old sale).
139. A village with a square tower, arched (215), good, £14,
again, £5 5s.; again first state, £210 (Holford Sale).
140. A landscape with a man sketching the scene (216), £8,
again, fair, £1 5s.
141. The Shepherd and his Family (217), £16.
142. The Canal, a landscape of an irregular form (218), £260
(Holford Sale); again, £120 (Ibid).
143. A landscape with a vista, third state, very rare (219),
£114.
144. The landscape with a ruined tower and a clear foreground,
first state (220), £145 (Holford Sale).
145. An arched landscape with a flock of sheep, first state (221),
£245 (Holford Sale).
146. A large landscape with a cottage and a Dutch hay barn,
fine, first state (222), £170 (Holford Sale), again, ordinary
impression, £5 15s., £7 7s.
456
ENGRAVINGS AND THEIR VALUE.
147. A large landscape, with a mill-sail seen above a cottage
(223), £12; again, £6.
148. An arched landscape with an obelisk, first state (224),
£155 (Holford Sale).
149. A village, with a canal, and a vessel under sail, touched
with Indian ink (225), £2 2s.
150. A grotto with a brook, first and second states, rare (228),
£107 (old sale).
151. A cottage with white pales, second state (229), £12 10s.,
(old sale).
152. Rembrandt's Mill, stained (230), £7.
153. The Gold-weigher's Field (231), fair, £10 10s.
154. A landscape with two houses, lightly etched and coloured,
exceedingly rare, £345 (old sale).
155. A landscape with a large boat (233), £200 (Holford Sale).
156. A landscape with a cow drinking, second state (234),
£27 10s. (old sale).
Portraits of Men.
157. A man in an arbour (258), £1 5s.
158. Bust of an old man with a long beard, with the date 1631
(261), £2 12s. 6d.
159. A man with a short beard (265), £1 18s.
160. Jan Antonides van der Linden, third state (266), £1 15s.
161. An old man lifting his hand to his cap (260), fair, £1 18s.
162. An old man with a large white beard (264) good, £4 15s.
163. An old man in a fur cap, divided in the middle, with date
1640 (267), £6 6s.
164. Janus Silvius (268), finest impression, £450 (Holford Sale);
again, indifferent, £1 10s.
165. A young man musing (270), £6 6s.; again, £1 5s.
166. Manasseh Ben Israel, second state (271), £3 15s.
167. Doctor Faustus, second state (272), £6 (old Sale).
168. Renier Ansloo (273), good, £14 10s.
169. Clement de Jonge, second state (274), £22 (old Sale).
170. Ditto, fourth state (274), £5 15s.
171. Ditto, fifth state (274), £1 10s.
172. Abraham Fransz (275), £3 3s.
173. Ditto, fifth state (275), £2 5s.
174. Old Ħaaring, third state, fine and rare (276), £255 (old Sale).
175. Young Haaring (277), £4 4s
176. Jan Lutma, first state, very rare and fine
and fine (278), £180
(Holford Sale).
177. Ditto, third state (278), £2 2s.
178. Jan Asselyn, second state, on India paper (279), £121.
179. Ditto, third state (279), £8 8s.
180. Ephraim Bonus (280), £20; the same, first state with the
black ring, £1950 (Holford Sale).
181. Wtenbogardus, third state (281), £21 (old Sale).
182. The Gold-weigher, second state, on India paper, with large
ENGRAVERS AND THEIR WORKS.
457
margin (283), £52 10s.; again, ordinary impression, £3 3s.
183. Another impression, on India paper (283), £5 5s.
184. Another impression, Counterproof of the first state, the
face added in pencil and Indian ink, £11.
185. Portrait of Coppenol, the small plate, of India paper (284),
£7 7s.
186. Portrait of Coppenol, the large plate, third state, with verses,
autograph, and date 1661 (285), £185; again, first state,
£1359 (Holford Sale).
187. Van Tolling, fine and rare, second state (286), £530 (Hol-
ford Sale).
188. The Burgomaster Six, second state, on Japanese paper, with
the two figures in the date reversed (287), £380 (Holford
Sale); the same, third state, with the name and age,
£255 (ibid.).
Fancy Heads of Men.
189. First head (288), £3.
190. Second head (289), £4 4s.
191. A young man in a Mezetin cap (291), first state before the
lock of hair below the chin, good, £3 7s.
192. Bust of an old man with a large beard (292), £1 5s.
193. Bust of an old man, bald-headed, with a long beard
(293), £2.
194. Profile of a bald-headed man (294), £1.
195. Profile of a bald-headed man (295), 10s.
196. An old man with a bald head (296), fair, £1 6s.
197. Bust of an old man without a beard, in a very high fur
cap (299), 10s.
198. The slave, with the great cap, first state (302), £2 2s.
199. Bust of a man, seen in front in a cap (304), £2 5s.;
again, 14s.
200. Bust of a man with curling hair, and his under-lip thrust
out (305), 15s.
201. Profile of a bald old man with a short beard, first state,
the top margin cut (306), 15s.
202. Bust of a man in a fur cap, stooping (307), £3.
203. Profile of a bald-headed man-coarsely etched, first state
(308), £7 7s.
204. An old man with a large white beard (310), £2 8s.;
again, 16s.
205. A young man, a half length, early impression (311), £19 19s.
206. A man with a broad-brimmed hat and a ruff (312), £1 5s.
207. An old man, with a square beard, in a rich velvet cap
(314), good, £9 9s.
208. A man with moustaches in a high cap, sitting (319), £3 15s.
209. Bust of a man bald-headed (322), 16s.
210. An old man with a very large beard (323), £1,
211. A grotesque head, in a high fur cap (324), 18s.
212. Another grotesque head with the mouth open (324), 13s.
458
ENGRAVINGS AND THEIR VALUE.
Portraits of Women.
213. The Great Jewish Bride, first state (337), £175; again, the
fourth state, fine, £4 10s.
214. St. Catherine (338), £21 (old Sale).
215. An old woman sitting, looking to the right, third state
(339), £4 14s.
216. An old woman sitting, looking to the left (340), fine, £3 19s.
217. A young woman reading (341), good, £3 18s.
218. A young woman, with a head-dress of pearls, dated 1631
(342), £6 10s.
219. Rembrandt's mother, second state (344), £2 6s.
220. An old woman sleeping (345), £3 10s.
221. A head of an old woman, etched no lower than the chin
(347), £6 10s.
222. Bust of an old woman, lightly etched (348), £3 3s.
223. A woman with a basket (350), £3 5s.
224. A Morisco, second state (351), £2 4s.
225. Bust of a woman, the lower part oval (352), £2; again,
£1 14s.
226. A woman in a large hood (353), £1 2s.
Studies of Heads and Sketches.
227. Rembrandt's wife, and five other heads (359), £3 10s.
228. Three heads of women (361), £1 16s.
229. Three heads of women, one asleep (362), 18s.
230. Two women in separate beds, and other sketches, fine
(363), £21.
231. Rembrandt's head, and other sketches, scarce (364), £17 17s.
232. Sketch of a tree, and other subjects, very rare (366),
£24 10s.
Renatus.-See Boivin (René).
Reni (Guido).-One of the most famous painters of
antiquity. He was born at Calvenzano, near Bologna in 1575,
and died at Bologna in 1642. This artist is said to have
"amused himself" with the point, though his prints are etched
with the greatest freedom in a most masterly style which has
often been imitated, notably by Simone Cantarini, who worked
with such precision, that it is often a difficult matter to
distinguish between the etched works of these two masters.
1. Madonna and Child, in an oval; ditto in a circle; ditto
in a reverse direction; the Madonna and Child with
St. John (4), fair impressions, £1.
2. The Holy Family, and Saint Clara, after Annibale Carracci,
first state before the address of van Aelst, good 15s.
ENGRAVERS AND THEIR WORKS.
459
3. St. Christopher, St. Jerome (2), good, £1 6s. 6d.
4. Cupid breaking his bow, fair, 9s.
5. The head of an old man, fine and very rare, £2 2s.
6. A glory of Angels, after Cambiaso, very fine, £1 17s.
Reverdino(Cesare).—An Italian engraver, who flourished
in the year 1570, and was probably a pupil of Eneas
Vico when that artist was working at Rome. His plates
which are executed entirely with the graver in a neat and
clear style, are, however, often defective in design and,
as a rule, inferior in general effect.
1. Leda (No. 21 in Bartsch), proof before the addition of the
scarf, fine, £2 2s.
2. Leda, an upright piece (No. 22 in Bartsch), fine, £2 15s.
3. David Cutting off the Head of Goliath, 53in. by 5gin. (not
mentioned by Bartsch), fine, first state before the address
of Nobilibus, 9s.
4. Mary Magdalene recumbent before a crucifix, "G. Rever-
dinus, f.," 8in. by 54in.; an old man, half-length figure,
holding an hour-glass, on the left a skeleton, on the
right a devil, a female head behind, 6in. by 54in., with
the artist's name as above (2), £2 10s. (Neither of
these pieces is mentioned by Bartsch).
5. The Last Judgment, a circle, fair, 17s. 6d.
6. Tarquin and Lucrece, fair, Ss.
7. Women bathing, good impression, but cut, £1 5s.
8. Four different prints, each representing a dance of children,
three only described by Bartsch (Nos. 36-8), fine, from
the Wellesley Collection, £2 14s.
Reynolds (Samuel William).-An eminent engraver
in mezzotint, born at London in 1773; died there in 1835.
This artist's works, consisting of portraits and general
subjects, are very numerous, no fewer than three hundred
being after paintings by Sir Joshua Reynolds.
1. Madonna Cul. Bambino, after Sir Joshua Reynolds, proof,
open letters on India paper, fine, £3 5s.
2. Captain Forbes. three-quarter length, in square, after
Northcote, artist's proof, 12s. 6d.
3. The Right Hon. William Dundas, three-quarter length, the
head to the front, after Hoppner, printed in colours, 4s.
4. Thomas Girton, water-colour painter, three-quarter length,
holding crayon and sketch-book, good, 15s.
5. John Opie, painter, three-quarter length, proof before
letters, 18s.
6. James Watt, engineer, after the bust of Chantrey, 11s.
460
ENGRAVINGS AND THEIR VALUE.
7. General West, three-quarter length, in a small square,
proof, 17s.
8. The Right Hon.
William Pitt, three-quarter length,
trial proof, the head only, after Sir Joshua Reynolds,
India paper, 12s.
9. William Wyndham, statesman, proof before letters, 14s.
10. Charles Smith, painter of the Great Mogul, three-quarter
length, wearing turban and holding a roll of paper,
good, 15s.
11. Sir Joshua Reynolds when young, three-quarter length,
brilliant proof, with the artist's name merely etched in,
£16 10s.
12. Robert Barstow, Colonel of the Chester Militia, 1832,
good 17s.
13. Sarah Countess of Exeter, after Sir Thos. Lawrence, good,
£1 11s. 6d.
14. Charles James Fox, after J. R. Smith, fair, 13s.
15. The Duchess of Bedford, open letter proof ("First Fifty "),
fine, £53.
16. The acquittal of the Seven Bishops, open letter proof,
£1 12s.; the same, good lettered impression, 15s.
17. Paying the Horse Dealer, after Morland, in colours, proof,
£10.
18. Officers of the Prince of Wales' Regiment being blessed
by the Pope, after Northcote, engraver's proof, £1 8s.
19. The Pet Lamb, (24 in. by 20 in.), good, 8s.
20. The Cottager's Favourite, after James Ward, in colours,
fine, £2 12s.
Ribera (Josef).-See Spagnoletto (Lo).
Richomme (Joseph Theodore).-An engraver of
great repute, who was born at Paris in 1785. Single impres-
sions of this artist's work, if in a fine or rare state, some-
times realise extraordinary prices. His portrait of Aretino,
a small engraving, sold for upwards of £500 at the Brentano
Sale, at Leipzig, in 1871; though the circumstances were,
in this case, highly exceptional, as the particular state of
the print was supposed to be unique. Richomme died in 1849.
1. Marc Antonio Raimondi, the engraver, after a fresco by
Raffaelle, on India paper, £1 15s 6d.
2. Neptune and Amphitrite, after Giulio Romano, proof before
any letters, £14; another impression, good, £3 10s.
3. La Vierge au livre, after Raffaelle, artists proof on India
paper, £2 4s.
Richter (Adrian Ludwig).—A celebrated painter and
engraver, born at Dresden in 1803; died there in 1884.
ENGRAVERS AND THEIR WORKS.
461
This artist's etchings number considerably more than two
hundred, of which some seventy views near his native town
are perhaps the best. None of his plates are, however, of
any great value.
1. The Garden Rose, after himself, in colours, fine and rare,
£1 11s. (This plate may possibly be by Karl August
Richter, the father of the artist).
2. Thirteen plates of landscapes, views near Dresden, good, 18s.
Ricoveri.-See Barbiere (Domenico del).
Ridinger (Johan Elias).-Pre-eminently an engraver,
though in his own country of Suabia he also enjoyed a
tolerable reputation as a painter. Ridinger was born at
Ulm about the year 1695, and died at Augsburg in 1767.
His prints are exceedingly well executed, in a bold free
style. They are not, however, very highly finished.
1. Sixteen landscapes, with cows and other animals, all after
Roos, fine, £6.
"
2. The set of forty-one wild animals in large woody land-
scapes, entitled "Contemplatio Ferarium Bestiarum, &c.,
fine, £7 7s.
3. The set of twelve fables, with the German, Latin, and
French letterpress, £2.
4. Fifty-one plates of stags, wild boars, &c., in upright land-
scapes, £6.
5. Eighteen large upright plates of horses exercising, 12s.
6. Twenty-three plates of various wild animals with impres-
sions of their feet and German letterpress descriptions,
£3 3s.
Rigaud (Jean).—This artist, who was born at Paris
about the year 1700 was, according to Strutt, a relation
of Hyacinthe Rigaud, the portrait painter. He seems to
have lived in England for some time, as most of his
etchings, which are fairly numerous, represent English
scenes. His style is neat and masterly, and his figures,
when they are introduced, are exceedingly well executed.
1. The Plague at Marseilles, 1720, a medium sized oblong
plate, lengthways, good, 12s.; again, fine proof, full
margin, £1 8s.
2. Greenwich Park, St. James's Park, Hampton Court, three
prints, good, 18s.
3. A series of marine subjects (6), fair, 7s. 6d.
J
462
ENGRAVINGS AND THEIR VALUE.
Rivalz (Antoine).-Born at Toulouse in 1667; died
there in 1735. This artist is credited with a few slight
etchings of little pecuniary value. His nephew Barthélemy
Rivalz, was also an etcher of some repute. His plates, too,
are of little interest, though exception may perhaps be
made in the case of "The Fall of Satan" after Antoine
Rivalz, and 'The Death of Mary Magdalene," after
Benedetto Luti.
""
Robeta, or Robetta. This old engraver, who was
probably born about the year 1450, derived his name from
his method of marking his plates, "Robeta," "Robetta,
or "R.B.T.A.” Nothing is known of his private life. His
prints are excessively scarce, but executed in a very coarse
and rough style. Like most early engravers, Robetta was
a goldsmith.
1. Adam and Eve, with their infants, Cain and Abel, very fine,
£14; the same, first impression, before the round hole
in the middle of the plate at bottom, very fine, and rare
in this state, £65.
2. The Adoration of the Magi, fine, £4 4s.
3. The Madonna and Child.
4. The Madonna, the Infant Christ, and St. John, with angels,
early state £4 7s.
5. Faith and Charity, good, £1 15s.
6. Ceres, very fine, £16.
7. Venus, attended by Cupids, fine, £6 10s.
8. Apollo and Marsyas, fine, £4 10s.
9. Hercules killing the Hydra, second impression, fine, £2 15s.
10. Hercules and Antæus, very fine, £8 15s.
11. The old woman and the four lovers, very fine impression,
and rare, £4 17s.
12. The young man tied by his left arm to a tree, fine and
rare, early impression, £5.
13. Mutius Scævola, fine, £3 3s.
14. The Sacrifice of Cain and Abel (not mentioned by Bartsch),
fine and rare, £6 15s.
Robins (William).-A mezzotint engraver, who was
living in 1740. All the prints known to have been executed
by this artist consist of portraits, which are scraped in a
good style and are said to be excellent likenesses of the
persons represented.
ENGRAVERS AND THEIR WORKS.
463
1. Jobn Baliol, in armour, rare; Robert Vere, Duke of Ireland,
and his wife Philippa de Courcy (octagon), entitled
"Connubium Irlandicum," also rare (2), £2 12s. 6d.
2. William Bateman, Bishop of Norwich, oval half sheet, fine
impression, and very rare, £5 10s.
3. Sir Thomas Pope, ob. 1558, ætat. 50, good, £1 17s. 6d.
4. Johannes Key, M.D., founder of Caius College, in profile,
half sheet, fine, £1 10s.
5. Dr. William Warren, LL.D., after Heim, good, £1 Is.
Some of his plates
Most of his works
Robinson (John Henry).-Born at Bolton, Lancashire,
in 1796; died at Petworth in 1871. This artist's prints, if
good impressions, are highly esteemed.
will be met with in Rogers' "Italy".
are in line though he occasionally worked in mezzotint.
1. The Duchess of Bedford, after Vandyck, half length, from
the picture at Petworth, proof, fine, £6 15s.
2. Rubens, after Vandyck, half length, standing, proof, 12s.
3. Sir Walter Scott, after Lawrence, fair, 8s.
4. Queen Victoria, seated, with letter in her left hand, after
Thorburn, artist's proof, 12s. 6d.
5. Queen Victoria, half length, standing, her left hand
resting on a table, after Partridge, proof in frame and
glass, 14s.
6. Sir James Worsley, half sheet, mezzotint, good, £1 1s.
7. The Seven Bishops (ornamented ovals), half sheet, mezzo-
tint, rare, and a fine impression, £4 10s.
Robinson (Richard).-Working in London in 1688.
The name of this artist appears on several plates, all
mezzotinto portraits. No reliable details of his private
life are available.
1. A group of seven ovals representing the seven Bishops
sent to the Tower in 1688 by James II.; names beneath,
18s.
2. Portrait of Charles I, after Vandyck, good, 12s.
Robusti (Jacopo).-This celebrated painter who is also
known by the name of Tintoretto was born at Venice
in 1519, and died there in 1594. He left a single scarce
etching, a portrait of Paschal Ciconia one of the Doges of
his native city. See Tintoretto.
Rogers (William).-Born at London about 1540; living
in 1602. This artist was one of the earliest English
464
ENGRAVINGS AND THEIR VALUE.
engravers who worked for the booksellers. He was also the
earliest of English copper plate engravers, and illustrated
H. Broughtons "Concent of Scripture," published in 1596.
His prints consist of portraits, frontispieces, and general
ornaments for books, some of which are very scarce.
1. Queen Elizabeth, holding an orb and sceptre, in an orna-
mented oval, Royal arms beneath, motto "Rosa Electa,"
fine impression of a very rare print, £20.
2. Robert, Earl af Essex (oval), in a hat and feather, holding
a baton, half sheet, fine and very rare, £22 10s
3. Thomas Moffet, naturalist, with three other portraits on
the same plate, viz., Edward Wotton, Conrad Gesner,
and Thomas Penn (small ovals), folio, a most rare print,
and very fine, £13 (old sale).
4. Thomas Moffetus Anglus, the same as the preceding, but
before the introduction of the miniatures of Edward
Wotton and Thomas Penn, brilliant proof, £25 (old
sale).
5. Charles, Earl of Nottingham, good, £1 15s.
6. Maximilian of Austria, full length, standing under an
archway, good, £1 5s.
7. Queen Henrietta Maria, after Rosslini, good, £2.
Rogman (Roeland). - This artist was born at Amster-
dam in 1597, and is celebrated chiefly as a painter. He,
however, etched about forty plates from his own designs,
consisting of views of ruined buildings, old houses and
the like, among which may be mentioned the following:
1. A set of the Views in Holland (8), oblong, fine and scarce,
£2 5s.
2. Companion set of the
and scarce, £2 10s.
Views in Holland, (8) oblong, fine
3. The Breaking-up of the Dyke at Hontewael, four different
representations on one sheet, perfect and very fine,
with reference at the bottom, £21 10s.
Roman (The).-See Picart (Etienne).
Romney (George).—This talented painter was born at
Dalton in Lancashire in 1734; died at Kendal in 1802.
The following twelve prints by different engravers, are
after the works of this master. The prices were realised
during the year 1896. For a description of the prints after
Romney and their various states, see H. P. Horne's" Catalogue
of the Engraved Works of George Romney."
ENGRAVERS AND THEIR WORKS.
THEI
465
1. James Adair, by C. H. Hodges, first state, £1 6s.
2. Rt. Hon. Edmd. Burke, by J. Jones, second state, before
the title, £33 12s.
3. John Henderson, as Macbeth, by the same, first state, £1 1s.
4. John Henniker, by H. Hudson, fair, £1 2s.
5. Rt. Hon. William Pitt, by J. Jones, first state, very fine,
£23 2s.
6. John, Earl of Westmoreland, by the same, first state, £4 4s.
7. The Hon. Mrs. Beresford, by the same, second state,
£28 7s.
8. Lady Charlotte Legge, by J. Grozer, second state, £34 13s.
9. Miss Benedetta Ramus, by W. Dickinson, second state,
£24 3s.
10. Mrs. Stables and her Daughters, by J. R. Smith, second
state with engraved title, £57 15s.
11. Miss Frances Woodley, by J. Walker, first state, £58 16s.
12. Mrs. Warren, by C. H. Hodges, first state, £69 6s.
Roos (Johann Heinrich).-—Born at Ottenberg in 1631;
perished in a burning house at Frankfort in 1685. All
this artist's prints comprise compositions in which animals.
are represented. They consist entirely of etchings, executed
in a bold and free, yet neat style. A son of this engraver,
Philipp Peter Roos, better known as Rosa da Tivoli (1657
1705), also executed a few etchings all of which are
very scarce.
1. A set of thirteen sheep, goats, &c. (numbered 18 to 30 in
Bartsch), including the very rare title (proofs before the
inscriptions of Nos. 19 and 25) which divides them into
two sets, and before the letters of the alphabet a to f
on the last six plates, very rare, £7 7s. (old sale).
2. The Shepherd and his Flock in Repose (38 in Bartsch),
dated 1660, an extremely rare print and very fine, £16 10s.
(Dent Sale).
3. The Goat (35); the Newly-shorn Lamb and Ram (36); the
Goats (37); all fine and extremely rare, £21.
Rosa (Salvatore).-This famous painter, was born
at Renella near Naples in 1615, and is supposed to have
died at Rome in 1673. His paintings rank among the
most admired productions of any age, but his prints-
numbering in all about ninety, no less than sixty-two of
which represent banditti, soldiers, and other figures-are
not of the same importance, though executed in a bold
and masterly style. All are etched.
30
466
ENGRAVINGS AND THEIR VALUE.
1.
A series of 42 etchings of various subjects, fair, £2 12s.
2. The Death of Regulus; The Death of Polycrates (2), both
early impressions, Ss.
Rosa Sisto.-See Badalocchio (Sisto).
Rosex (Nicola).-See Modena (Nicoletto da).
Rossi (Girolamo).-Born at Rome in 1680; working in
1722. This artist was the son of Girolamo Rossi the elder,
who was born at Rome in 1630, and is credited with a
number of slight but meritorious etchings. The younger
Rossi worked entirely with the graver in a stiff, heavy
style. Prints by either artist are of little importance or
value.
1. Pope Innocent XII., in an oval, illustrated with historic
scenes (by Rossi, the younger), fair, 3s.
Rota (Martin).—This eminent engraver was born at
Sebenico about the year 1545; the date of his death is not
known. The artist's print of "The Last Judgment," after
Michelangelo, is by far the best of his productions, and,
if in really fine condition, frequently brings a high price.
He worked entirely with the graver, in a neat, clear style,
though his plates are not very highly finished.
1. The Last Judgment, after Michelangelo, second impression,
with the copy by Gaultier, £1 5s.; the same, first state,
with the address of Guarinoni, fine, £3 15s.
2. Portrait of C. Clusius; ditto of J. Fichardus (2), £1 12s. 6d.
3. Maria of Austria and Mary Queen of Scots (2), both rare,
not mentioned by Bartsch, slightly cut, £2 5s.
4. The Flagellation of Christ, after Titian, fine, 18s.
5. Alexander and Cosmo de Medici, two small circles, Fame
standing upon a lion between them, holding a crown over
each, on one plate, fine, £1.
6. Rudolphus II., three-quarter length, in imperial robes,
brilliant impression, £2 15s.
7. The Life and Passion of Christ, after Albrecht Dürer (19),
indifferent impressions, 21s.
8. The Last Judgment, from Rota's own design, first state
before the address of Guarinoni was erased, £2 14s. ;
the same with a curious variation, in which the portraits
of the princes of the House of Austria are introduced
into Heaven (2), good, £2 15s.
9. Venus and Adonis, after Titian, proof before the verses at
bottom, £1 10s.
ENGRAVERS AND THEIR WORKS.
467
Roullet (Jean Louis).-Born at Arles, in Provence, in
1645; died at Paris in 1669. The ablest of the pupils of
François de Poilly.
1. Edouard Colbert, bust in an oval, with drapery, 15s.
2. Jacques Louis, Marquis de Beringhen, after Mignard, 12s.
3. Louis XIV., after Mignard, three-quarter length, in armour,
good, £1 7s. 6d.
4. The Visitation, after Roullet, proof, 18s.
5. The Three Marys Lamenting over the Body of Christ, after
Carracci, fine proof before the inscription, £2 15s.
Rousselet (Gilles).-An artist of average reputation,
who was born at Paris in 1610 and died there in 1686.
It is uncertain from whom he learned the art of engraving
but he appears to have studied the works of François de
Poilly whose style he copied with considerable success.
His prints number about eighty, and their value is, as a
rule, small.
1. The Dead Christ in the Lap of the Virgin, after Annibale
Carracci, fine proof, £1 5s.
2. La Belle Jardinière, after Raffaelle, good, 8s.
3. The Holy Family, after Bourdon, fair 4s.; again, fine, 12s.
4. A Pieta, after Le Brun, good, 7s. 6d.
Rowlandson (Thomas).—This artist was a celebrated
designer of caricatures and other subjects, mostly of a
grotesque and bizarre character and quite original in style.
He was born in London in 1756, and died there in 1827.
Among the numerous works illustrated by Rowlandson,
either solely or in conjunction with others, may by mentioned
"Advice to Sportsmen," 1809, 8vo, "Adventures of Baron
Munchausen," 1811, 8vo, Collier's "Art of Ingeniously
Tormenting," 1808, 8vo, "The Dance of Life," 1817, 8vo,
"Dance of Death," 2 vols., 1815, 8vo, Combe's Three Tours
of Dr. Syntax, "in search of Consolation, the Picturesque,
and a Wife," "Johnny Newcome," 1818, 8vo, "Johnny Quæ
Genus," 1822, 8vo, "Miseries of Human Life," 1808, 4to,
"Naples, and the Campagna Felice," 1815, 8vo, “Qui Hi in
Hindostan,” 1816, 8vo, “Sentimental Travels,” 1821, 8vo, and
"Poetical Sketches of Scarborough," 1813, 8vo. Rowlandson
468
ENGRAVINGS AND THEIR VALUE.
also illustrated several of Fielding's works, an edition of
Gambado's Academy," Wigstead's "North and South
Wales," and many other books which bring ever-increasing
prices, mainly on account of the coloured plates which they
contain. Rowlandson not only designed the plates with
which his name is intimately associated, but sometimes
handled the point with great facility and expression.
1. La Place Victoire à Paris, after Rowlandson, in colours,
good, £3 10s.
2. The High Mettled Racer, a pair, in colours, £2 8s.
3. Slugs in a Saw-pit, in colours, fine, £1 2s.
4. Interior of a room, children dancing, in colours, very fine
and rare, £18.
5. A Penny Barber, a caricature, in colours, (13 ins. by 9 ins.),
rare, 14s.
Rubens (Peter Paul).-Born at Siegen in Westphalia
in 1577; died at Antwerp in 1640. This famous painter
etched a few plates, which are executed in a slight, but
bold and free style. All are after his own designs.
1. St. Catherine, standing on a wheel, the Magdalen, St.
Francis (3), all fair impressions, £1 10s., again, St.
Catherine, fine early impression, £3 4s.
2. A woman holding a light, which she screens with one hand
from the endeavours of the devil to extinguish it with
a pair of bellows; an angel on the right driving the
devil away; measurement 71in. by 43in.; a very curious
etching, fine and very rare, £6 15s.
Rubusti or Robusti (Jacopo).-See Tintoretto.
Rugendas (Georg Philipp).-Born at Augsburg in
1666; died there in 1742. The plates of this artist consist
almost entirely of hunting and battle scenes, soldiers on
the march, and other scenes of active life. He worked
both with the point and in mezzotint.
1. Twenty-two etchings of horses (in mezzotint), military
campaigns, &c., fair, £1 1s.
2. Cavalry on the March, six plates, (in mezzotint) fine,
£1 5s.
Ruisdael (Jacob van).-See Ruysdael.
Rupert (Prince). — This artist, so well known in English
history, was at one time the supposed inventor of the
ENGRAVERS AND THEIR WORKS.
469
mezzotint process, though the credit of the discovery is now
universally given to Colonel von Siegen (q.v.), an officer in the
service of the Landgrave of Hesse. Prince Rupert was born
at Prague in 1619, and died at London in 1682. His prints,
which are extremely scarce, are chiefly mezzotints, though
he is credited with a few small etchings after Callot and
others.
1. Head of the Executioner of St. John the Baptist, early
impression, fine, £39 18s.
2. An executioner holding a sword in one hand and a head
in the other, after Lo Spagnoletto, called "The Great
Executioner," second state with " Rup. p. fecit Franco-
furti anno 1658, MA,LA" at the bottom, very rare, £51.
3. The Magdalen, after Meriau, inscribed "Rupertus D.G.,C.P.,C.B.
Princeps Imperii animi gratia lusit," fine, £48.
Rutlinger (John).-This artist's name is not to be
found in any dictionary of engravers that I have consulted.
He is supposed to have lived about the middle of the
sixteenth century. All his prints are scarce.
1. Queen Elizabeth, when young, half length, in a large oval,
in her left hand a fan of ostrich feathers, exceedingly
rare (imperfect), £22 10s.
Ruysdael (Jacob van).-A landscape painter who was
born at Haarlem, probably in 1630. He died there in 1682.
This artist etched a considerable number of landscapes
of various sizes, executed in a very slight but masterly
style, bearing some resemblance to that of Waterloo. They
are very valuable, especially when in early states, and, as
to their general appearance, may fairly be considered in
the light of beautiful sketches from nature.
1. The Little Bridge, first state, very rare, £16.
2. The Travellers, first state before the clouds, excessively
rare, £86 (Dent Sale).
3. The Corn Field, first state before the shadow on the trunk
of the Tree, extremely rare, £33.
4. The three oak trees, very good, £16.
Ryall (Henry Thomas). -This well-known engraver
was born at Frome in August 1811; he died at Cookham
in September 1867. His plates are engraved in a style
470
ENGRAVINGS AND THEIR VALUE.
distinctly shewing a mixture of stipple and line. They
invariably have a good effect and are well drawn and finished.
1. The fight for the standard, after R. Ansdell, artist's
proof, £3.
2. The Holy Well, after Bruton, fair, Ss.
3. Coronation of Queen Victoria, after Hayter, proof, £1 6s.
Ryder (Thomas).—This engraver and draughtsman was
a pupil of Basire. He was born in London about the year
1745 and is supposed to have died there in 1810. Ryder
worked in the dotted manner after Opie, West, Shelley,
Kauffman and others, and executed eight of the large plates
for Boydell's Shakespeare Gallery. These last are his
best works. Some of his plates are printed in various tints
and some are also found in colours.
1. Lavinia and her mother and companion, after Shelley,
circular, in red, full margin, good, £1.
2. The Boy of Brecknockshire, after R. Westall, fair, 7s.
3. Scene from the Arabian Nights, after Bunbury, in colours,
fair, 8s.
4. Venus shewing Eneas the road to Carthage (12 ins. by 16
ins.), after Angelica Kauffman, fair, 5s. 6d.
5. Penelope taking down the bow of Ulysses (12 ins. by 16
ins.), after the same, full margins, Ss.
Ryland (William Wynne). This artist, who was
one of the best of English engravers was born at London
in 1732, and subsequently became a pupil of Ravenet, who
was at the time living in England. He executed a large
number of plates, some of which are in the peculiar chalky
manner which he is said to have introduced into this country.
Many of these are after the pictures of Angelica Kauffman,
and frequently command high prices. Ryland engraved
a set of fourteen plates for Sir John Hawkins's edition
of Walton's "Angler," and in addition to a pension of
£200 per annum, which he received as engraver to George
III., had a large business as a printseller. Ryland was,
unfortunately, hanged for forgery in 1783, a harsh straining
of a harsh law in his case, for he was a man respected
and beloved by all who knew him intimately, and of an
exceedingly generous disposition and good character.
ENGRAVERS AND THEIR WORKS.
471
1. George III., whole length, after A. Ramsay, fair, 7s.
2. Queen Charlotte, after F. Cotes, fair, 7s.
3. Cupid punished by the Graces, after Angelica Kauffman,
in red, fine proof before letters, uncut margins, £4.
4. Juno borrowing the Cestus from Venus after the same,
in red, proof, uncut margins, £2 18s.
5. The Judgment of Paris, after the same, in red, proof before
letters, uncut margins, £6 10s., again, ordinary impres-
sion in red, £1 14s.
6. The Triumph of Venus, after the same, in red, proof
before letters, uncut margins, £6 6s.; again, in red,
lettered, £2 10s.
7. Maria, after the same, in red, proof, margins uncut, £2 10s.,
again, ordinary impression in red, £1 8s.
8. Perseverance, after the same, in red, proof with uncut
margins, £1 10s.
9. Young Woman weeping over an urn, after the same, in
red, proof before letters, margins uncut, £2 5s.
10. Two nymphs adoring a statue, in red, fine, £2.
11. Infancy, in colours, margins intact, fine, £2.
12. A Lady in a Turkish dress, after Angelica Kauffman, in
red, proof before letters, £1 5s.
13. Cleopatra decorating the tomb of Antony, after the same,
in red, fair, 12s.
14. Charity, after Vandyck, in colours, good, £1.
15. Louis XIV., with allegorical figures, engravers proof, 5s.
16. Hebe and Jupiter's Eagle, proof, 11s.
17. Eloisa, after Angelica Kauffman, oval, open letter proof
in red, £1.
18. Erminia, after the same, in colours, good, £2.
19. Ludit Amabiliter, after Angelica Kauffman, in red, good,
£1 12s.
20. Morning Amusement, after the same, in colours, framed,
£1 8s.
Ryther (Augustine).—An artist who engraved the
maps of Westmoreland, Cumberland, Gloucestershire and
Yorkshire for Saxton's Atlas, a work published in the time
of Queen Elizabeth (1579). A good copy of the atlas is
worth £50, and in some instances more. Ryther is also
credited with several plates representing incidents in the
Spanish invasion, and some plans of London and Westminster,
on wood. All are scarce.
Sadeler
(Ægidius).—This
(Ægidius).—This artist, whose christian
name is sometimes given as Gillis, was born at Antwerp
in 1575. He died at Prague in 1629, having executed
472
ENGRAVINGS AND THEIR VALUE.
some exceedingly fine plates many of which are rare
and valuable. The Sadeler family consisted of Jan, whose
name appears next on the list; Ægidius, above mentioned;
Raphael, the younger brother of Jan, who was born at
Brussels in 1555; Marcus, supposed to have been a son of
Jan, and who in all probability was a publisher and not
an engraver; Raphael, the younger, the son of the elder
Raphael, born about 1570; and Tobias, supposed to be the
son of Egidius, who was living at Vienna about 1680.
There were also several other engravers and publishers of
the same family, but their works are mixed up beyond
hope of identification. Further information may be obtained
from Nagler's “Künstler-Lexicon." The best engravers of
this family were Ægidius, Jan, and Raphael the elder, though
several of the others were possessed of considerable artistic
taste. The works of the Sadeler family considered as a
whole, are very numerous.
1. Anna Catherine, daughter of Ferdinand of Austria, half
length, in her imperial robes; Matthias, Emperor of
Germany (1616), half length, under a canopy, in his
imperial robes (2), fine, £3 3s.
2. Charles de Longueval, three-quarter length, a small
illustrated oval, fair, 12s.
3. Sir Anthony Sherley, fine impression, full margin, £1 1s.
4. The Palatine Family, good, but inscription cut away, £1 11s.
5. The Virgin and Child in a landscape, after Albrecht Dürer,
proof before any letters, very rare, £6.
Sadeler (Jan).-This artist was born at Brussels in 1550,
and is suppossed to have been a pupil of Van den Broeck,
the painter. His prints are all scarce. Some of them are
dated, the last being marked 1600, in which year he is
supposed to have died at Venice. Jan Sadeler worked
with the graver only, in a clear, neat style, though none
of his plates are highly finished. His drawing, particularly
of the human figure, is excellent.
1. Sigismund Feyerabend, a printer, 1587, three-quarter length,
in a cap, fair, with margin, 14s.
2. Marie de Medici, when young, three-quarter length, in ruff
and necklace, fair, 7s.
ENGRAVERS AND THEIR WORKS.
473
3. The Twelve Months, after Basan, fair, £1 2s.
4. The Deluge, after Bernard, good; the Last Judgment, from
the painting in the Church of St. James, at Antwerp,
good (2), £2 5s.
5. The Last Supper, after Pietro Candido, fair, 8s.; another
impression, very fine, full margin, £1 10s.
Sadeler (Raphael, the elder).—This engraver, who was
the younger brother of Jan Sadeler, was born at Brussels
in 1555 and is believed to have died at Venice in 1616.
The best prints by this artist are those which are executed
in a bold, powerful style, the most highly esteemed of all
being his portraits.
1. Leopold of Austria, Bishop of Salzburg, good, 14s.
2. The Judgment of Paris, after Johann Von Achen, fair, 4s.
3. Death seizing a Lady at a feast, after Stradanus, fine, 16s.
4. Lot and his daughters, after J. Van Winghe, good, Ss. 6d.
Saenredam (Joannes).-A Dutch engraver, born at
Zaandam, about the year 1565, who is supposed to have
been a pupil of Hendrik Goltzius. Saenredam was a clever
artist, who worked entirely with the graver in a neat,
clear, free style, his prints being also remarkable for
their delicacy and softness of finish. His drawing is
generally correct and such of the compositions as he designed
himself are excellent.
1. Set of the Planets; History of Adam and Eve, &c. (15), 7s.
2. The Cave of Pluto, Ss.; another impression, 11s.
8. Vertumnus and Pomona, 8s.
4. Bacchus, Venus and Ceres, good, £1 9s.
5. The Five Senses, 8s.
6. Lot and his daughter, after Goltzius, first state before
the address of De Band, 5s.
Saftleven (Cornelis).-Born at Rotterdam in 1606;
died there about 1670. This artist was chiefly celebrated
as a painter, but he executed a few etchings in a neat
and spirited style.
1. Set of twelve figures, cats, dogs, fowls, &c., fair, 11s.
2. The Five Senses, grotesque plates, good, with margin (5),
£2 2s.
Saftleven (Herman).-This artist was the younger
brother of Cornelis. He was born at Rotterdam in 1609,
474
ENGRAVINGS AND THEIR VALUE.
and died at Utrecht in 1685. He is supposed to have been
a pupil of Van Goyen.
1. His portrait, good impression, but cut, 8s.; again, very
fine, £1 8s.
2. The Four Seasons (4), fair, 16s.
3. Large landscape (No. 34 in Bartsch), fair, 4s.
4. The Dutch Barn, good, 17s. 6d.
5. View of Utrecht, fair, 5s. 6s.
6. Eighteen plates of elephants, dogs, cats, &c., indifferent, 6s.
7. The Great Tree, fine and rare, £2 16s.
8. The Two Boats, £2 3s.
9. The Mansion at the foot of the Rock, rare, £2 13s.
St. Aubin (Augustin dė).—See Aubin (Augustin
de St,).
St. Aubin (Gabriel Jacques
(Gabriel Jacques de).-See Aubin
(Gabriel Jacques de St.).
Salamanca (Antonio).—This celebrated print-dealer
and publisher is supposed to have himself handled the
graver, although it is probable that he did little, if any,
more than retouch the worn out plates belonging to his
stock. He may, however, have engraved a plate after
Michelangelo's "Pietà," 1547, a portrait of Baccio Bandinelli,
1545, and a subject after Raffaelle. known as The Creation
of Animals," 1548.
Sallaert (Anțoine).—A wood-engraver, who flourished
at Brussels about the year 1620. He was a contemporary
of Rubens and is thought to have assisted him in some
of his larger compositions. His blocks are cut in a bold
open style and are possessed of great merit. Strutt credits
him with a set of heads of the four Evangelists and Bryan
with an "Ecce Homo."
Sandby (Paul).-Born at Nottingham in 1725; died at
London in 1809. This artist is said to have introduced
the process of engraving in aquatint into England from
France, and though this is disputed by some authorities
there is no doubt that he was the first to practice aquatint
engraving in this country. A number of small etchings
ENGRAVERS AND THEIR WORKS.
475
are also credited to this master, whose style is natural
and unaffected.
1. The series of etchings of Hyde Park, fine and scarce, £2.
2. Chepstow Castle (aquatint), good, 2s.
3. An old Beech Tree (aquatint), good, 2s. 6d.
4. Exterior of Warwick Castle, with the bridge and weir
(aquatint), 3s.
Sandrart (Jakob von).-An artist who is said to
have been born at Frankfort in 1630 and to have died at
Nuremberg in 1708. His prints consist almost entirely of
portraits, which indeed are regarded as his best plates.
They are worked entirely with the graver in a neat, clear
style.
1. John George, Duke of Saxony, three-quarter length, in
oval, 1653, good, £1.
2. John Septimus Jorger, in armour, oval with inscription
round, very fine, with margin, £1 12s.
3. The Emperor Ferdinand III., fair impression, no margin,
7s. 6d.
Sandrart (Joachim von).-Born at Frankfort in 1606;
died at Nuremberg in 1683, in which year he published a
Latin edition of the "Lives of the Painters," with portraits
by himself. He is also credited with a few excellent
etchings after his own compositions. None of these are,
however, of much value unless in fine proof state.
Sandrart (Johann Jakob von).-This artist, the son
of Jakob von Sandrart, was born at Ratisbon in 1655, and
died at Nuremberg in 1698. He etched a few plates, notably
a portrait of the Queen of Prussia surrounded by emblematical
figures.
Santi (Pietro).—Otherwise known as Il Perugino, was
born at Perugia about the year 1635; died at Rome in 1700.
This artist's plates, which are very numerous, are nearly
all pure etchings, though some are finished with the graver
and others worked entirely with that instrument.
1. Coriolanus and his family, after Annibale Carracci, good, 12s.
2. The adoration of the Magi, after Raffaelle, good, 5s.
476
ENGRAVINGS AND THEIR VALUE.
3. The Birth of the Virgin, after Albani, fair, 5s.; again, fine,
14s. 6d.
4. Daniel in the Lions Den, after Pietro da Cortona, good, 8s.
Sanutus (Giulio).-A Venetian engraver, who flourished
between the years 1540 and 1570. Nagler gives a list of
twelve prints by this artist. See also Bartsch, vol. xv.
The whole of this artist's prints, if in good condition, are
rare. They are executed with the graver in a coarse
heavy style, and with single strokes without any cross
hatching, so as to bear great resemblance to wood-cuts.
1. Two plates of the Story of Marsyas, after Correggio (there
should be three), £1 6s.
2. The Dance of Bacchanals, minus inscription, very fine
impression, £2 2s.
3. The Three Cupids, with the globe, very fine, £3 3s.
4. An allegorical representation of Fortune, sometimes ascribed
to Eneas Vico, good, £1 5s.
Savage (John).-An English engraver, who flourished
in London about the year 1680, and mainly devoted his
time to limning the features of malefactors confined in
Newgate Prison and Elsewhere. Savage worked almost
entirely with the graver, without taste.
1. Sir Henry Chauncey, author of the "Antiquities of Hert-
fordshire," good, 10s.; another impression, fine, £1 15s.
2. Catherine Brudenel, Countess of Middleton, after Kneller,
very good, £1 4s.
3. Three medals and their reverses, Mary I., James IV. of
Scotland, and Henri II. of France, from a book, fair, 8s.
4. James, Duke of Monmouth.
5. Sir Edmundbury Godfrey, murdered on Primrose Hill,
good, 18s.
6. John Gadbury, Astrologer, fair, 6s.
Savart (Pierre).-A French engraver, who was born
at Paris about the year 1750. His works consist mainly
of portraits, executed in the neat and laboured style of
Etienne Ficquet, some of which, if in fine condition, are
of value. The majority, however, are not of much
importance.
Savoyen (Carel van).—This artist was a painter, and
is only credited with one or two plates of little value. He
ENGRAVERS AND THEIR WORKS.
477
1
was born at
born at Antwerp about the year 1619 and died
there in 1680.
1. His own portrait, proof before letters, fine and rare, £1 2s.
Say (William).—An engraver in mezzotint who,
according to Redgrave, was born at Lakenham in 1768
and died at London in 1834. He was the first to use steel
as a substitute for copper in the mezzotint process. His
plates number more than 300 and all are in demand at
the present time.
1. Mr. F. Yates, of the Adelphi Theatre, after Lonsdale, proof
before letters, 13s.
2. Lieut-General A Mackenzie, after G. H. Harlowe, open
letter proof, 16s.
3. Lord Nelson, after Beechey, scarce, £2.
4. The Race horse, 'Copenhagen', after Smyth, in colours,
fair, 6s.
5. Lady holding watch to her ear, proof before any letters,
in colours, £1 10s.
6. Dorothea (Don Quixote), after Clarke, in colours, fine, £10.
7. The Road-side, after W. Owen, R.A., in colours, very
fine, £21.
Scalberg (Pierre).-This French artist was living
in 1638, but very little else is known cencerning him. His
few etchings enjoy a medium reputation. They are, as a rule,
incorrect and hastily executed.
1. The Entombment, scarce, but indifferent impression, 5s.
2. Venus and Cupid. 1638, fair, 4s.; another impression, good,
with large margin, 16s.
Scaminossi (Raphael).—This artist was born at Borgo.
S. Sepolcro and is spoken of as a painter. His plates,
which consist entirely of etchings, are executed in a bold
dark style which gives them a disagreeable appearance at
first sight, though, on examination they will be found to
possess great merit. Their value is, however, small as a
rule. Scaminossi was born about 1570; the date of his
death is not known.
Schalcken (Godfried).—A painter of repute, born
at Dort in 1643; died at The Hague in 1706. Only two
prints are usually credited to this artist. The first
478
ENGRAVINGS AND THEIR VALUE.
mentioned below is doubtful, and the second is catalogued
solely on the authority of Bruillot.
1. Rembrandt van Ryn, bust in oval, face to the front, 10s. 6d.
2. A peasant laughing, three-quarter length, hiding his face
in part with his hand, in an oval, inscribed Quam
meminisse Juvat," a very rare etching, fair impression,
£1 15s.; another impression, brilliant, with slight margin,
£15 15s.
Schäufelin (Hans Leonhard).-This old master was
a native of Nuremberg where he is supposed to have been born
about the year 1490. He is said to have been a pupil of
Albrecht Dürer. The cuts of Schäufelin are executed in a
bold, spirited manner and his designs are excellent, though
the stiffness which characterizes the style of nearly all
the old German masters, obscures much of their merit.
He usually marked his prints with an H and an S, or an
I and an S, joined together in various ways. The prints
attributed to this artist number 175, inclusive of 40 cuts
executed for Steyner's "Der Teutsch Cicero," published at
Augsburg in 1534, and a very fine series of blocks to illustrate
the "Adventures of Sir Teuerdanck" an allegorical Poem
in folio, first published at Nuremberg in 1517.
1. The Adoration of the Magi, fair, 18s.
2. The Creation of Eve, a print of bad design and indifferently
cut, fair, 7s. 6d.
3. The Captain with a lance in his left hand, to the right
four soldiers (No. 98 in Bartsch), very fine, full margin,
£2 18s.
4. The raising of Lazarus, a large subject, from eight blocks
joined together, very fine and rare, £3 10s.
Schenck (Pieter).-Born at Elberfeld, in Germany,
in 1645; died at Amsterdam, where he lived nearly all
his life, in 1715. This artist engraved a large number of
plates many of which are in mezzotint. Among other
subjects we have by him a set of a hundred small half-
sheet plates, lengthways, entitled "Roma Eterna." These
consist of views in or about Rome.
1. Domenico Andreas, after Kneller, good, 11s. 6d.
2. The Seven Bishops, fair, 8s.; again, good, £1.
ENGRAVERS AND THEIR WORKS.
479
3. William, Duke of Gloucester, fair, 4s.
4. George I., fair, 5s. 6d.
5. William, Duke of Devonshire, fine and rare, 18s. 6d.
Schiavone (Andrea).—See Meldolla (Andrea).
Schiavonetti (Luigi). – A talented engraver, who was
born at Bassano in 1765; died at London in 1810. Schiavo-
netti's prints, are held in great estimation by collectors. They
are executed in stipple and so closely resemble those of
Bartolozzi that mistakes would be frequent were not the
works of both artists so well known. Schiavonetti executed
a series of etchings for "Blair's Grave" (edition 1808, large
4to), after the designs of Blake, and several of the "Cries
of London" (see Wheatley, Francis).
1. William Blake, half length, seated, holding pencil, proof
on India paper, £2 2s.
2. Vandyck in the character of Paris, fair, 7s. 6d.
3. The Death of General Wolfe, fine, £1 5s.
4. The Duchess C-, coming out of the Cavern, after T. F.
Rigaud, fair 8s.; the same, in brown with large margin,
12s.
5. The Duchess of C- and her Daughter, both after Rigaud,
ovals, in colours (2), £3 18s.
6. The Hon. Mrs. Damer, after R. Cosway, in colours, very
fine, £18 17s. 6d.
7. Two Bunches a Penny, Primroses, after Wheatley, in
colours, with margins, £6 5s.; the same in black,
£1 10s.
8. Milk Below, Maids, after Wheatley, good impression
in colours, full margin, £10; the same in black, £1,
again, in colours, £1 10s.
9. Sweet China Oranges, after Wheatley, fair, £1.
10. New Mackerel, after Wheatley, in brown, large margin,
£1 16s.
11. The Pilgrimage to Canterbury, after Stothard, good,
£1 16s.
Schidone (Bartolommeo).-Born at Modena in 1560;
died at Parma in 1616. This famous painter is only
credited with the one etching mentioned below.
1. The Holy Family, first state, before the address of Rossi, 8s.
Schley (Jacob van der).-Born at Amsterdam in 1715.
This artist was a pupil of Bernard Picart, whose style of
designing and engraving he imitated with considerable
480
ENGRAVINGS AND THEIR VALUE.
success. His few portraits and book-plates are generally
sold in parcels, and bring small sums.
The best are his
illustrations for "Don Quixote," after Coypel, published in 1746.
Schmidt (Georg Friedrich).-A talented engraver,
who was born at Berlin in 1712, and died there in 1775.
This artist's style assumed different forms at various periods
of his life, so that to judge of his works from their mere
appearance is exceedingly difficult. Sometimes he etched
in the style of Rembrandt, and at others imitated Della
Bella and Castiglione. Most of his plates are executed
with the graver.
1. Marie de Rabutin Chantal, Marquise de Sevigné, three-
quarter length, in oval, £1 5s.
2. Constantinus Scarlati, oval, with arms beneath, 10s.
3. Maurice Quentin de la Tour, oval, 9s. 6d.
4. Dinglinger, three-quarter length in oval, 13s.
5. Lot and his Daughters, after Rembrandt, proof, very fine, 18s.
6. Frederick Henry, Prince of Prussia, after Vanloo, fair,
cut, 6s.
Schongauer (Bartel), otherwise known as Bartel Schön,
is said to have been a brother of Martin Schön next named.
The prints of the two are very much alike though those
of Bartel are not executed with the same neatness and expres-
sion which we find in the works of Martin. Bartel
Schongauer is supposed to have been practising at Ulm in
1480; further than this nothing reliable is known of him.
1. A wild man, among foliage, fine and very rare, £15 10s.
Schongauer (Martin), sometimes called Martin Schön.——
This artist is considered to have been the father of the
German school of engraving. He was born at Colmar, in
Franconia, about the year 1440, and is supposed to have
died there in 1499, though the date is uncertain. This
artist's plates, all of which are from his own compositions,
number 116, and are engraved with the burin on copper.
Good impressions are extremely scarce.
1. The Virgin Receiving the Annunciation, good, £10 (a
brilliant impression of this print has sold for more
than £70).
ENGRAVERS AND THEIR WORKS.
481
2. The Virgin and Child, good impression, £12 10s.
3. The Virgin with the paroquet, fine, £15 15s.
4. St. Anthony, the First Hermit, fine early state before the
retouch, £114 15s.
5. The Nativity, rare, £6 10s.; again, very fine, £68 (Dent
sale).
6. The Adoration of the Kings, rare, £21 (old sale)
7. The Flight into Egypt, good, but cut, £1 14s.; again, fair,
16s.; again, fine, £8 15s.
8. The Crucifixion, very fine, £90 (Dent sale).
9. The Entombment, £1 5s.
10. Our Saviour with the Magdalene, fine and rare, £18 10s. ;
again, fine, £32 15s.
11. The Wise and Foolish Virgins, a complete set of these ten
very scarce and valuable prints, finest states, brilliant,
£125 (old sale).
12. A half-size figure of a Foolish Virgin (No. 87 in Bartsch),
fine, and very rare, £11 11s.
13. St. John the Baptist, good, £10 10s
14. The Virgin seated by the side of the Almighty, a fine
impression, £27 15s.; again, fine, £18 10s.
15. St. Catherine, fine, £12 12s. (old sale).
16. A wild man holding a shield, fair, 10s.
17. Christ before Caiaphas, indifferent, 10s.
18. Christ bearing his cross, fair, £1 2s.
19. St. James fighting against the Saracens, from the Bromley
collection, fine, £27.
Schuppen (Pieter van).-A Flemish engraver, born
at Antwerp in 1623; died at Paris about the year 1700.
This artist, whose prints are highly esteemed, was a pupil
of Nanteuil, though his style often resembles that of François
de Poilly. His best works consist of portraits.
1. Margaret, Duchess of Newcastle, sitting under a canopy,
six English verses, folio, good, £1 19s.
2. The Virgin and Child, called "La Madonna," after Raffaelle,
fine, £7 10s.; another impression, £1 8s.
3. Pierre de Braux, Marquis d'Anglure, fine, £2 15s.
4. M. de la Reynie, proof before any letters, £3 10s.
5. Hardinus de Perefixe de Beaumont, three-quarter length,
fine, with margin, £1 5s.
6. Louis XIV., in oval, dated 1664, after Charles Le Brun,
good, 10s.
7. Ludovicus Delphinus, in large oval, three-quarter length,
in armour. dated 1684, 16s.
S. "Max Henrie D. G. Archiep. Colon," bust in oval, fine
and rare, £1 10s.
9. Guillaume de Harwonys de la Seilleraye, fine proof before
31
482
ENGRAVINGS AND THEIR VALUE.
the wig was finished, described as probably unique, 5s.
(old Sale, probably a mistake for £5).
10. Louise d'Orleans, Duchesse de Montpensier, good, 14s.
Schut (Cornelis).-Great difference of opinion exists
with regard to this pupil of Rubens, both as to identification
and with regard to the times of his birth and death.
Most probably he was born at Antwerp before 1600, and
died there in 1665. Schut etched in a style resembling
that of Castiglione, but bolder and more determined.
1. Charles II., in an oval supported by angels, representing
his embarkation at Scheveling, touched proof before any
inscription, £4.
2. Bacchus, Ceres, and Pomona, fair, 12s.
3. The Triumph of Peace, good, with margin, £1.
Scolari (Giuseppe). -A native of Vicenza, near Venice,
where he was living about the year 1580. His prints
consist entirely of woodcuts executed in a rough, rude
style. Really good impressions are, however, valuable.
1. St. George and the Dragon, woodcut, good, 13s.; another
impression, fair, 4s. 6d.
2. St. Jerome in the Desert, large upright woodcut, fair, 15s. 6d.
3. The Rape of Proserpine, nearly square woodcut, fair, 9s.
Scorodomoff (Gabriel).—This engraver was born at
St. Petersburg in or about the year 1750, and died there in
1792. Early in life he visited England where he studied
under Bartolozzi and engraved in the dotted manner after
Reynolds, Kauffman, Hamilton and other noted artists.
Fine impressions from his plates are sought after at the
present time.
1. An offering to Love, after Kauffman, in red, good, £1 3s.
2. Cupid's struggle with the Graces, after the same, in red,
good, £1 8s.
Scott (James). This engraver, about whom little is
known, was working in London at the beginning of the
present century. His name and those of E. Scott and
B. F. Scott are often met with on prints, usually of a
domestic or trifling character. James Scott, however, executed
ENGRAVERS AND THEIR WORKS.
483
a number of sporting subjects, which are in considerable
demand.
1. Lingo and Cowslip, after Singleton, circular, in brown, good,
£2 4s.; again, open letter proof in black, full margins,
good, £1.
2. Boys bathing and boys robbing an orchard, both after
Morland, fair, £1 11s.
3. Breaking Cover; The Death, both after S. Gilpin, good
(2), £3 15s.
4. The Cottage, open letter proof, full margin, 5s.
5. A Fencer (M. Angelo), by B. F. Scott, after J. R. Smith,
scarce, £2 2s.
6. Godolphin (Arabian), by J. Scott, after Stubbs, good, £1 8s.
7. Crib and Rosa; Warwick, a hackney, by J. Scott, after
Cooper (2), good, £4 10s.
8. Orville (a Racer), by J. Scott, after Thomson, coloured,
£2 15s.
Scriven (Edward).- A talented English engraver,
who was born at Alcester in 1775. His works resemble
those of Bartolozzi, under whom he may have studied. Scriven,
who worked chiefly for Boydell and the publishers, died
in 1841, leaving a large number of prints of excellent
description and quality executed in the chalk and dotted
manner.
1. Lord Falkland, half length, seated, proof before letters, 12s.
2. Sir Thomas More, in hat and fur collar, bust, 6s.
3. Sir Thomas More and his Family, after Holbein, 7s. 6d.
4. Sir William Russell of Thornhaugh, 5s.
5. Thos. W. Coke Esq., after Reinagle, fair, 7s.
Semolei (IL).-See Franco (Giovanni Battista).
Sericus (Philippe de).-This artist was living at Rome
in 1568, when a set of twenty-eight portraits of the Popes,
bearing his name, was published there. He worked with
the graver only in a neat pleasing style, after his own
designs. The artist is also known as Philippe de Soye.
1. Lucretia, first state before the plate was reduced, fine, £1 10s.
2. Apollo and Marsyas, good, 14s.
3. The Holy Family, after Buonarotti, an upright plate, good,
12s.; another impression, fine, with margin, £1 7s. 6d.
Serwouter (Pieter).—See Perjecouter (Pieter).
Seymour (Robert).-A celebrated designer and etcher,
}
484
ENGRAVINGS AND THEIR VALUE.
born in London in 1800, died in 1836. This artist will be
remembered as the first illustrator of "The Pickwick Papers,"
for which he executed a few plates when that novel was being
published in parts. Books containing plates or illustrations
by Seymour are extremely numerous, and among them will be
recognised the "Humerous Sketches," "Figaro in London,"
"New Readings from old authors," and many more. Plates
by Seymour, when detached from the books in which they
originally appeared and of which they should form part,
are of little value.
Sharp (William).—An excellent English line-engraver,
who was born at London in 1749; died in the neighbourhood
of Chiswick in 1824. Sharp was a follower of Joanna
Southcott, and Brothers, the "Prophet," whose portraits he
engraved. The inscription round the portrait of Brothers
runs as follows: "Believing him to be a man ordained, by
God I engrave his portrait." The comma should of course
come after the word "God." This mistake caused Sharp
to be much ridiculed at the time, and contributed to the
sale of the print, which is now very scarce. All this artist's
plates are executed with the graver.
1. General Cathcart, three-quarter length, in square frame,
1791, proof, 15s.
2. Charles I., King of England, three-quarter length, proof,
open letters, £1 5s.
3. Hart Davis,
connoisseur, three quarter length, after
Laurence, 11s. 6d.
4. John Kemble, three-quarter length, right elbow on table,
fine, £1 2s.
5. Joanna Southcott, three-quarter length, seated, with open
Bible, proof before all letters, £1 10s. 6d.
6. George Washington, three-quarter length, proof before
letters, £2 10s.
7. The head of Christ, after Guido, proof, 16s.
8. The Magdalene, after Guido, proof on India paper, very
fine, £2 5s.
9. The Holy Family, after Reynolds, second state, 8s.; again,
good impression, 18s. 6d.
10. The Doctors of the Church, after Guido, proof before all
letters, £8 5s.
11. King Lear, Act III, sc. 4, "Off, off, you lendings, come
unbutton here," (24 ins. by 15 ins.), good, £1 1s.
ENGRAVERS AND THEIR WORKS.
485
Sherwin (John Keyse).-A talented engraver, born
at Eastdean in Sussex in 1751; died at London in 1790.
He was a pupil of Bartolozzi, and an artist of exceptional
talent, but dissipated. His print of "The Finding of
Moses" is a masterpiece, and experienced great success
at the time of its publication.
1. Mrs. Abington, as Roxalana, in the "Sultan," after Reynolds,
£3 7s.; again, fine, £5; again, open letter proof, £12 10s.
2. William Pitt, Earl of Chatham, letters, 16s.
3. Lancelot Brown, after Dance, proof, open letters, 11s.
4. Edward VI., from the picture at Kensington, fair impres-
sion, 4s.
5. Marriage of Cupid and Psyche, from a cameo, after Cipriani,
good, 8s.
6. The Finding of Moses (the Duchess of Devonshire
representing Pharaoh's daughter), fine impression, £8 8s.;
again, fine proof, £38 12s.
7. The Garland, oval, fair, 6s.
8. A Tale of Love, after Bunbury, good, £1 12s.
9. Catullus and Lesbia, after Angelica Kauffman, oval, in red, 16s.
10. Sir Joshua Reynolds, fair, 12s.
11. A court beauty at her toilet, proof before title, 8s.
12. The Fortune Teller, after Sir Joshua Reynolds, fine, £2 10s.
Sherwin (William).-This English engraver was born
at Wellington in Shropshire about the year 1650, but beyond
this very little appears to be known about him. Some of
his prints consist of mezzotints, which, though indifferently
executed, frequently command high prices. The well-known
work "God's Revenge against Murder," was illustrated by
this artist after his own designs.
1. James I., with Ribbon and Order of the Garter, small
folio, mezzotint, fine and rare, £2 14s.
2. Sir William Jones, folio, and the same, a proof before any
inscription, fine and rare (2), £ 6s.
3. Edward Massey, Esq., on horseback, truncheon in his
hand, 4to, exceedingly rare, £5 10s.
4. Prince Rupert, sash round his waist, &c., large 4to,
excessively scarce, £21 (old sale).
5. George, Duke of Albemarle, circular head, in armour, mezzo-
tint, very fine, and excessively scarce, £25 (old sale).
6. William, Viscount Say and Seale, in armour, on horseback,
Svo, very fine and rare, £7 2s. 6d.
7. Slingsby Bethell, Esq., Sheriff of London. 1680, very fine
and exceedingly rare, £15 15s.; again, £1 18s.
486
ENGRAVINGS AND THEIR VALUE.
8. Richard Smith (author of the "Obituary"), oval, fine and
rare, £5 5s. (old sale).
9. Richard Atkyns (author of the "Origin and Growth of
Printing"), 8vo, fine and rare, £4 4s.
10. William Sermon, M.D., 4to, very fine, £2.
11. The Lady Grey, after Lely, proof, good impression, £1 18s.
12. Barbara, Duchess of Cleveland and Countess of Castlemaine,
as a shepherdess, proof before the painters name, 1670,
very fine, £30 10s.
13. Blanche, Lady Arundel, from the painting at Windsor,
proof before letters, 5s.
Shuttle (Master of the).-See Master of the
Shuttle.
Sichem (Christopher van).-A native of Holland,
who resided chiefly in Amsterdam, and flourished about
1600. He engraved both on wood and copper, his prints
in the latter style being very neatly executed. None of
this artist's cuts or plates are particularly scarce. Another
engraver of the same name, Christopher van Sichem, the
younger, may have been a relation of the artist named,
though it is impossible to say with certainty and the
same remark applies to Cornelis van Sichem, who was
working at Amsterdam in 1640. The works of these
engravers are often confounded, though the style of
Cornelis is much heavier and stiffer than that of either
of the other artists. Prints by these engravers are numbered
in hundreds.
1. A set of whole-length portraits of Governors of the Nether-
lands, and others (14), fair impressions, £4 10s.
2. Judith with the Head of Holofernes (woodcut), after Goltzius,
good, 18s.
3. St. Cecilia, after the same, fair, 8s.
Siegen (Ludwig von). This engraver was an officer
in the service of the Landgrave of Hesse, and, according
to the better opinion, was the inventor of the process of
mezzotint engraving. The discovery was perfected in
1642, in which year he scraped a portrait of the Princess
Amelia Elizabeth, Land-gravine of Hesse. It is probable
that Prince Rupert, who introduced this style of engraving
ENGRAVERS AND THEIR WORKS.
487
into England, learned the process from Siegen. The whole
of Siegen's prints are excessively rare and valuable. There
is a fine collection to be seen in the Print Room at the
British Museum.
Silvestre (Israel).-This celebrated artist was born
at Nancy in 1621, and is supposed to have died at Paris
seventy years later. His works number upwards of 700
prints, and consist mainly of landscapes and views, executed
with great taste, lightness, and beauty of effect. They
are frequently enriched with figures, judiciously introduced,
and drawn in a masterly style. The artist's principal
undertaking consists of what is known as the " Grand
Carousal," a series of 108 views of a Royal entertainment
given in Paris in 1662. He was assisted in this extensive
work by F. Chauveau. Ordinary lettered impressions of any
of the works of Silvestre are of small value.
Simmons (William Henry).-See Landseer (Sir
Edwin Henry).
Simon (Jean). An artist who was born in Normandy
about the year 1675. While resident in this country he
worked almost entirely in mezzotint, and was frequently
employed by Sir Godfrey Kneller. The plates which this
artist executed in France are worked with the graver and
are of small account.
1. John Campbell, Duke of Argyll, after Aikman, fine, with
good margin, £1 15s.
2. John, Lord Cuts, after Kneller, good impression, with good
margin, £3.
3. Sir Stephen Fox, after J. Baker, good, with margin, £1 15s.
4. Sir Samuel Garth. after Kneller, fine, with margin, £1 19s.;
again, £1 1s.
5. Sir Theodore Mayerne, after Rubens, fine, with good
margin, £2 4s.
6. Sir Isaac Newton, after Thornhill, fine, with good margin,
£t 17s.
7. The Earl of Peterborough, proof before letters, fine, £4 10.
S. Mary Queen of Scots, in an oval frame, ornamented with
laurel, the thistle, and fleur-de-lis, fine, £6 10s.
9. John, Lord Somers, after Kneller, fine, £5 10s.
10. Sir John Vanbrugh, after Kneller, fine, £2 4s.
488
ENGRAVINGS AND THEIR VALUE.
11. Sir John Vanbrugh, three-quarter length, with a pair of
compasses in left hand, good, £1 1s.
12. Elizabeth, Queen of England, three-quarter length, in an
oval, good, £1 11s. 6d.
13. Mr. Steel, three-quarter length, standing, £1 1s.
14. William Shakespeare, after Zoust, three-quarter length, in
oval, scarce, £2 10s.
15. The Indian Kings, after Verelst, good impressions of the
four rare prints, £7 2s. 6d.
16. Joseph Addison, after Kneller, fair, £1 1s.
17. Spring, Summer and Winter, after Rosalba, fair (3), 18s.
18. The prudent Mother; The Governess, both after Chardin,
good, £1 14s.
Simon (Pierre).-A French engraver, born at Paris
about the year 1640. He is supposed to have been a pupil
of Nanteuil, whose style he imitated with considerable
success. The artist's best works are portraits which he often
drew himself and many of them are life size.
1. Antoine Pierre Alvarez Olaris, three-quarter length, in
armour, 16s.
2. Clemens Decimus, three-quarter length, in oval, 16s.
3. Louis de Bourbon, bust, life size, in oval, £2.
4. Duc d'Orleans, bust, life size, in robes, fine, £3 12s. 6d.
Simon (Pierre, the younger).—An engraver who seems
to have been born in London about the year 1750; he
worked there in the chalk and dotted manner for many
years. This artist was one of the engravers employed by
Boydell to illustrate his "Shakespeare Gallery."
1. Mrs. Opie as "The Sleeping Nymph" after John Opie,
proof before letters, £4 12s.; again, lettered impression,
good, 13s.
2. The Woodman, after Gainsborough, in colours, 19s.; again,
£1 3s.
3. The Three Holy Children, after Peters, in colours, fair, 18s.
Simone da Pesaro.- See Cantarini (Simone).
Simoneau (Charles).—This eminent French engraver
was born at Orleans in 1645, and is supposed to have died
at Paris in 1728. His plates number over one hundred,
and of the historical subjects, portraits, and vignettes
which make up the total, the best are undoubtedly those
first named. The artist's earlier plates are executed with
+
ENGRAVERS AND THEIR WORKS.
489
the graver only, but he afterwards took up the point and
the prints which he produced by a union of both these
instruments are infinitely superior to those in which the
point is absent. Louis Simoneau, a younger brother of
the artist, also combined the point and the graver with
considerable success. Fine specimens of this artist's skill
are sought by collectors on account of their neat and
pleasing style.
Simoneau (Philippe).—A son of the above, who was
also an engraver, though he does not seem to have attained
any great proficiency in the art.
Sisto Rosa.-See Badalocchio (Sisto).
Skelton (William).—An English line-engraver, who
was born at London in 1763, and died there in 1848. His
chief work consists of a series of portraits, embracing
every member of the Royal Family, from George III. to
the accession of Victoria in 1837. These, though interesting,
are not of any great pecuniary value. Joseph Skelton, a
younger brother of this artist, was working in 1850. He
is better known as a book-illustrator. Many of his plates
will be found in Meyrick's "Arms and Armour," 1830,
Cantabrigia Depicta," 1809, and other well-known books.
1. David Garrick, by William Skelton, after Pine, good, £1 3s.
Smith (Anker).—This artist was one of the engravers
employed by Boydell for his "Shakespeare Gallery." He
was born in London in 1759, and died there in 1819.
The engraver's prints, with a few exceptions, consist of
book-plates, among which are his illustrations for Smirke's
edition of "Don Quixote," Bell's "British Poets," and
Coombe's "Ancient Marbles."
1. The Death of Hippolytus (10 ins. by 7 ins.), after
Rubens, good, 8s.
Smith (John).—An eminent mezzotint engraver, born
at Daventry in 1652; died at Northampton in 1742. The
490
ENGRAVINGS AND THEIR VALUE.
:
artist's best prints are those after Sir Godfrey Kneller, but
all are highly esteemed if good impressions. They are
invariably soft and clear and admirably preserve the spirit
of the paintings.
1. James I., after Vandyck, half-sheet, proof and letters; the
same, a mezzotinto in 4to, proof (3), £2 10s.
2. Charles II, good, £1 10s.
3. James II. (when Duke of York), in armour, leaning on an
anchor, fine proof, very rare, £9 9s.
4. Queen Mary, after Kneller, proof, £1.
5. Robert, Earl of Ailesbury, three-quarter length, with staff,
after Lely, proof, very fine, £8 8s.
6. John, Earl of Bridgewater, after Kneller, proof, £2 10s.
7. James, Duke of Monmouth, 4to, fair, Ss.
8. Thomas Herbert, Earl of Pembroke, after Wissing, fair, 18s.
9. Edward Rich, Earl of Warwick and Holland, after Wissing,
scarce, 17s.
10. John Chetwynd of Ingestre, M.P., fine, £1 1s.
11. Sir George Hamilton, of Binnie and Barton, 1694, in
armour, very scarce, £7 7s.
12. Dame Helen Balfour, after Sir John Medina, fine and in
good condition, £2 2s.
13. Isaac Beckett, very fine, £4 4s.
14. Sir Thomas Bury, after Richardson, £1 2s.
15. Sir Godfrey Copley, after Kneller, £1 6s.
16. The Lady Copley, after the same, £1 5s.
17. Mary, Lady Goodricke, after T. Hill, fine and in good
condition, £3 10s.
18. William, Marquis of Annandale, after Kneller, brilliant
impression, £7 7s.
19. Sir Christopher Wren, fine, £1.
20. Charles XII. of Sweden, fair, 11s.
21. Admiral Sir Cloudesly Shovel after W. de Rijck, scarce, 19s.
22. W. Wycherley, after Lely, very fine, £2 10s.
23. The Hon. Mrs. Sherard, after Kneller, fair, 14s.
24. James, Earl of Salisbury, after Kneller, fair, 12s.
25. The Right Honourable Robert Cecil, after Kneller, proof,
£1 4s
26. Rubbing down the Post-Horse, after Morland, lettered
impression in black, £1.

•
Smith (John Raphael).-Born at Derby about the
1750;
year 1750; died at Doncaster in 1812. This artist left
behind him a large variety of prints, mostly in mezzotint,
the best of which are portraits after Sir Joshua Reynolds,
and general subjects after George Morland (see Morland).
Coloured impressions are frequently of considerable value.
3
ENGRAVERS AND THEIR WORKS.
491
1. The Fortune Teller, after Peters, 16s.
2. The Calling of Samuel, after Sir Joshua Reynolds, fair, 10s.
3. An old lady admonishing her daughter, who is about to
start on a journey with her lover, after Morland, proof
before letters, in brown, £6 10s.
4. Lady Beaumont, bust in oval, after Reynolds, £1 15s.
5. The Hon. Frances Ingram, three-quarter length, in oval,
scarce, £1.
6. Mrs. Mordaunt, three-quarter length, in oval, after Reynolds,
fine, £5 16s.
7. Mrs. Morris, three-quarter length, in oval, after Reynolds,
fine, £ 12s.
8. Lady Elizabeth Compton, three-quarter length, very fine,
£6 18s.
9. Richard Robinson, D.D., half length, stick in right hand,
proof before letters, £2 15s.
10. Abrahamus Hondius, painter, three-quarter length, very this punt

fine, £T 2s.
11. Master Crewe as Henry VIII., after Reynolds, first state
before the plate was cleaned, fine, £12; again, second
state, £4 4s.
12. John, Lord Mountstuart, fine, no states, £1 16s.
13. The Infant Jupiter, after Reynolds, proof, names merely
scratched in, £7 7s.
14. School Boys giving Charity to a Blind man, after W. R. Bigg,
10s.; again, very fine, £9 5s.
15. Charlotte at the Tomb of Werter, circular in brown, good,
8s. Charlotte and Werter, three plates, fair, £1 1s.
16. Wood Nymphs; The Shepherdess, both after Woodward, in
colours, full margins, good, £1 5s.
17. The Fisherman's Hut, after Morland, good, £2.
18. Dogs Fighting, after Morland, in colours, £2 2s.
19. Mrs. Stables and her Two Daughters, Harriet and Maria,
after Romney, brilliant impression, £95 11s.
X-20. Mrs. North, after Romney, very fine with large margin. £64.
21. A Visit to Grandmother, after Northcote, in colours, fine,
£7 (see W. Ward, No 18, for the companion print which
together with this one has realised £21, colours).
22. The Promenade at Carlton House, fine early impression, £18.;
again, very fine, in colours £26 15s.
23. James Bradshaw, after H. Morland, open letter proof, 8s.
24. Slave Trade, African Hospitality, after Morland, in colours
(2), £ 15s.; again, very fine, £12 12s.
25. Dressing for the Masquerade, after Morland, in colours,
very fine, £9 10s.; again, in colours, £8.
26. The Fair Penitent, after Morland, in colours, very fine, £8 10s.
27. The return from Market, after Morland, open letter proof,
£5 5s.
28. Going to Market, after the same, open letter proof, £4 15s.
29. The Silver age, after West, open letter proof, £1 (see
Valentine Green, No. 22).
to clated
1689
× Mrs Knollys wants a
copy.
492
ENGRAVINGS AND THEIR VALUE.
.....
30. The Country Butcher, after Morland, good, £2.
31. Henrietta, Countess of Warwick, after G. Romney, first
state, £152 5s.; again, £199.
32. Mrs. Robinson, after G. Romney, second state, £34 13s.;
again, proof, etched inscription, £56.
33. Mrs. Carnac, first state, very fine, a beautiful print, £205;
again, fine proof impression, £56.
34. Mrs. Musters, first state, after Reynolds, Title and Line
of publication in M.S., very fine, £174.
35. Napoleon, First Consul of France, after Appiani, in colours,
very rare, £10.
36. Colonel Tarleton, after Reynolds, in colours, rare, £15 5s.
37. Nature, after G. Romney, good, £4 10s.
38. George, Prince of Wales, with his horse, in colours, good,
£5 15s.
39. Selina and Flirtilla, ovals, in red (2), £2 10s.; again, Flir-
tilla only, very fine, £4 4s.
40. Mrs. Payne Gallwey and Child after Reynolds, first state,
fine, £45 3s.
41. Hon. Mrs. Stanhope, after the same first state, fine, £45 3s.
42. Lady Hamilton as a Bacchante, after the same, coloured,
£13 13s; again, very fine, £25.
43. Phoebe Hoppner, after J. Hoppner, good, £7.
44. Richard Arkwright, after Joseph Wright, scarce, full
margin, £2 2s.
45. Miss Sneyd as "Serena," after Romney, fine. £7 10s.
46. A wife, by and after J. R. Smith, rare, £3 10s.; again,
£2 14s.
47. A Cremonese Lady, a Sclavonian Lady, a Parmesan Lady,
after Peters (3), £3 11s.
48. Delia in the country and Delia in the Town, a pair after
Morland, fine, £5 10s
49. Thoughts on a single Life, designed and engraved by
J. R. Smith, very fine, in colours, £21 (the companion
print, Thoughts on Matrimony, is by William Ward).
50. The Virtuous Parent, after Morland, in colours, good, £6 15s.
51. What you will, fine, in colours, £28.
52. The History of Lætitia, the set of six plates, after Morland,
in colours, very fine, £78.
53. The Elopement, from the series "The History of Lætitia,'
after Morland, in colours, £6 10s.
54. The
Fruit Barrow, after Walton, very fine uncoloured
mezzotint, £16.
55. The Discovery, and the companion print, both in colours,
fine, £42.
56. Vauxhall, after Rowlandson, coloured, full margin, framed
and glazed, £5.
57. Breaking the Ice, after Morland, fine, £3 3s.
58
The Fruit Barrow, after Walton, very fine and rare, £16.
59. George Prince of Wales, after Gainsborough, in colours,
good, £2.
ENGRAVERS AND THEIR WORKS.
493
Smith (Tom).--This engraver, who was known among
his companions as "Squire Smith," by reason of his having
inherited a fortune, was born about the year 1750; he
died in 1785. Smith was a pupil of Charles Grignon.
His prints are of little importance or value.
1. The Lady Elizabeth Willmot, fair, 3s.
2. Mrs. Yarborough, after Kneller, fair, 7s.
Smith (William).-Born at Guilford about the year
1708; died in 1764. This artist was chiefly celebrated as
a painter of portraits and afterwards of fruit and flowers.
The following plate is, however, attributed to him.
1. Marie Josephine Louise of Savoy, after Drouais, very fine
and rare, £4 17s. 6d.
Snayers (Hendrik).—This engraver was a native of
Antwerp where he was born about the year 1610. As
Strutt says, it is not certain from whom he learned the
art of engraving but he imitated the style of Scheltius à
Bolswert with much success. He drew correctly and his
prints retain much of the spirit and expression of the
pictures he copied. The best prints by this artist are
those which he engraved after Rubens and one of these
"The Virgin seated upon a step, surrounded by several
Saints," is very rare when in the earliest state. Second
and later impressions can be distinguished by the darkness
of the shadows, which had been increased to make the effect of
the light parts of the print more powerful. The artist's
portrait of Prince Rupert is also a desirable piece, but the
remainder of his productions are not very important, nor,
as a rule, of much value.
Soiron (François).—Hardly anything seems to be known
of this engraver except that he was born at Geneva about
the year 1755, and evidently passed some time in England.
Judging from the prices quoted below, this artist's prints
must be very scarce. No impressions from any plate by
either François or Philipp Soiron are to be met with at
494
ENGRAVINGS AND THEIR VALUE.
the British Museum. Philipp who was born in 1784 was
perhaps the son of François. Nothing definite is, however,
known of either artist.
1. St. James Park and a Tea Party, a fine pair in colours,
original black and gold frames, £25; again, very fine,
in colours, £68; again, very fine, in colours, £84.
Solis (Virgil). This artist was born at Nuremberg,
most probably in 1515, and died there 1562. He engraved
on both wood and copper, and, on account of the smallness
of his prints, is ranked among the "little masters." Bartsch
only catalogues ten wood-cuts by this engraver, but
many others are given in Nagler's "Künstler Lexicon" and
other works of reference. This artist's early works in
copper resemble those of Beham, but when he engraved
from the designs of Raffaelle and other Italian Masters, he
adopted a more open and spirited style. As to his wood-
cuts, these bear a great resemblance to those of Jost
Ammon, not only with respect to the execution but to
the composition also. Virgil Solis is said to have had his
eyes put out for engraving indecent subjects after Giulio
Romano.
1. The Nine Muses, standing in a row, fine, but cut close;
a, frieze of a boy carrying sausages, &c., and dragging
a hog (2), £2 10s.
2. Twenty-four designs for vases, goblets, and arms, and the
artist's own portrait, in a portfolio, very rare, £12 12s.
3. Soldiers fighting over their wine, good, £1 2s.
4. Frieze, ten heads, warriors and poets and their wives, an
ornament of vine running at the bottom, all on one
plate, very rare, £3 10s.
5. Colericus, one of a set, £1 1s.
6. Frieze, four heads in medalions, "Augustus-AVR—Vecin
and Julius M," very rare, and not described, £5 10s.
7. Marriage of Cupid and Psyche, after Raffaelle, good, 14s.
Somer (Jan van). - This artist, who worked somewhat
roughly in mezzotint, was born in Holland about the
year 1640. His prints, which consist of portraits and general
subjects after Ostade, Teniers, and other Dutch and Flemish
artists, are of little value.
ENGRAVERS AND THEIR WORKS.
495
Somer (Paul van).-A Dutch artist, who was born at
Antwerp about the year 1575. After working in Paris for
some years, he settled down in London, where he died
on the last day of the year 1620. This engraver's works
consist of etchings, engravings, and mezzotints, the last
of which are valuable, if good impressions.
1. Sir Matthew Lister, M.D., 1646, fine and rare, £5 12s. 6d.
2. John Broadgate, alias the Smirna Doctor, ætat. 75, 1701,
mezzotint, good, 15s.
3. Isaac Dubourdieu, mezzotint, good, 12s.
4. Mlle. Charlotte de Beeurewaerd, after Lely, fine and scarce, 19s.
5 Samuel Butler, after Lely, £1 4s.
6. The Family of Mr. Cooke, of Norfolk, after Housman, fine
and rare, £3 14s.
7. Fredericus Spanhemius, good, £1.
8. Henry Stone, after Vandyck, fine, £1 5s.
9. Venus Persuading Adonis from the Chase, a small print
in mezzotint, very rare, £2 10s.
10. Head of a man, crowned with laurel, fine impression, and
very rare in this condition, £2 2s.
11. Nil Placet; or, The Old Man and his Ass, a set of six
etchings, after Griffier, fair, 18s.; another set, fine, with
margin, £1 13s.
Soutman (Pieter).—A Dutch painter of considerable
talent who, according to the better opinion, was born at
Haarlem in 1592. He was a pupil of Rubens, and, though
his chief works consist of paintings, he etched a few plates
with great spirit. Soutman was working in 1650.
1. The Drunken Silenus, after Rubens, good, 8s.
2. The Boar Hunt, dated 1642, fair, but cut, 6s.
3. The Last Supper, after Leonardo da Vinci, very fine, with
margin, £2; another impression, good, 13s.
4. Sennacherib and his Army Defeated, 5s.; another impres-
sion, very fine, with margin, £1 17s. 6d.
5. The Crucifixion, fair, 8s.
6. The Descent of the Damned, after Rubens, 9s.
7. Philip IV., fair, 6s.
Soye (Philippe de).-See Sericus.
Spagnoletto (Lo).-This artist, whose name was Josef
Ribera, was born at San Felipe near Valencia in 1588, and is
said to have died at Naples in 1656. He was, of course,
chiefly celebrated as a painter, though he executed about
496
ENGRAVINGS AND THEIR VALUE.
a score of etchings in a bold and powerful style. Among
the best are the equestrian portrait of Don John of Austria,
"St. Jerome reading," "The Martyrdom of St. Bartholomew,"
and "Bacchus Drunk."
1. St. Jerome, angel above blowing a trumpet, good, £1 5s.
2. The Martyrdom of St. Bartholomew, very fine, £5 5s.
3. The Maries bewailing the dead body of Christ, fine,
£1 10s.
4. St. Jerome reading, good, 10s.
5. A Poet crowned with laurel, from the Mariette collection,
fine, £2.
6. Don John of Austria, equestrian portrait, first state, before
the head was altered to that of Charles 2nd, fine, £4.
Spierre (François).—A skilful French artist, who was
born at Nancy in 1643; died at Marseilles in 1681. He was
a pupil of François de Poilly. The print numbered 3 below
is very curious, being executed with single strokes, in the
style of Claude Mellan, a method of handling the burin
for which Spierre was much admired when in Italy.
His plates are all executed with the graver in a masterly
manner.
1. Lorenzo, Count de Marsciano, fair, 8s.; another impression,
good, 17s. 6d.
2. The Conception of the Virgin, after Cortona, good, 12s.
3. Christ on the Cross, first impression, before the cherubs
at the top, very fine and rare in this state, £2 5s; the
same, second impression, with the heads of the cherubs
added, fine, £1 8s.
Spilman (Hendrik).-Born at Amsterdam in 1721;
died at Haarlem about the year 1785. This artist is often
confounded with Jan Spilman, who was born considerably
earlier, and whose prints are of no importance. Hendrik
executed several portraits, and a few landscapes and views-
which, however, unless very good impressions and in the
finest possible condition, do not command much attention.
Spilsbury (Jonathan).—A mezzotint engraver who,
from the dates on his plates, was living and working
between the years 1786 and 1810. His best prints are
after Gainsborough. A great deal of confusion exists between
ENGRAVERS AND THEIR WORKS.
497
the works of Jonathan, John and Inigo Spilsbury, but
according to Chaloner Smith, John was "no engraver of
heads, but of maps, plans, writing, ornaments, &c." The
name Inigo" was perhaps given to Jonathan on account
of his having scraped a portrait of Inigo Jones, after
Vandyck, and in order to distinguish him more readily
from his brother John (see on this subject Chaloner Smith's
"British Mezzotinto Portraits," part iii., p. 1323).
1. Mrs. Richards, after Gainsborough, first state before any
inscription, no other impression of this kind known,
£64 Is. (Chaloner Smith sale).
2. Mrs. Richards as "The Beautiful Florist," good, £2 5s.
3. Miss Pond, half-length, after his own design, good lettered
impression, 10s. 6d.
Spooner (Charles).—A mezzotint engraver, who was
a native of County Wexford, and acquired the art of
engraving in Dublin, where he seems to have practiced
from 1749 to 1752. He died in London on the 5th, December
1767. The five prints scraped by this artist in Dublin are
very rare.
1. Nellie O'Brien, after Sir Joshua Reynolds, half length,
fine, £1 14s.
2. George Bridges, Lord Rodney, half length, in uniform, cut,
10s. 6d.
3. Beaumont Place, Oxford, 1774; Interior of Theobald's Inn
(by S. Spooner, jun.), fine; Friezes on the N. and S.
fronts of Adderbury Church, Oxfordshire (3), £1 1s.
4. George III., after Meyer, fine but toru, £1 10s.
Springinklee (Hans).—An old German engraver, who
is said to have lived for some time with Albrecht Dürer.
His prints, which are all from wood-blocks, include a number
of cuts in an edition of the "Hortulus Animæ," first
published in 1516, a number of figures of saints, and two
good subjects representing the Emperor Maximilian as the
Patron of arts and sciences, and the funeral procession of
the same monarch. None of these are particularly valuable.
Springinklee was born about the year 1480, and died some
sixty years later.
32
498
ENGRAVINGS AND THEIR VALUE.
1. St. Jerome in his cell, wood cut, good, 12s.
2. Angels receiving souls from Purgatory, good, 15s.; again,
fair impression, 4s.
3. Five of the apostles (should be seven, the series having,
apparently, not been completed), very fine even set,
£3 16s.
Star (Master with the).-See Staren (Dirk van).
Staren (Dirk van).—A Dutch engraver, who flourished
about the year 1540. Bartsch (vol. viii.), gives a list of
nineteen of his plates, the whole of which, if good im-
pressions, are very valuable and much sought after by
collectors. Nearly all the plates of this artist are marked
with the letters D. V., separated by a star, and nearly
all are dated. They are consequently very easy of identi-
fication. This artist, who is perhaps more generally known
as "The Master with the Star," used both the point and the
graver in the execution of his plates, which are, in general,
very neatly finished. The dates on his prints range from
1520 to 1550.
1. Christ Calling St. Peter and St. Andrew, dated 1523, fine
and scarce, £8 8s.
2. St. Bernard Adoring the Infant Saviour, dated 1524, fine
and rare, £7 15s.
3. St. Luke Painting the Portrait of the Virgin, 1526, fine,
£7 10s.
4. A man asleep, dated 1532, fine, £6 5s.
5. The Deluge, first undescribed state before the work in
stipple over the figures, very rare, £13.
6. St. Peter walking on the Sea, good, £5 10.
7. Christ tempted by the devil, dated 1525, fair, £2 10s.
8. Venus riding on the Sea, brilliant, £6 5s.
Steen (Francis van der). This artist was born at
Antwerp about the year 1630; date of death not known.
Van der Steen is spoken of as a painter, though he executed
a considerable number of plates in a weak and somewhat
careless style. Some of the plates for the collection of
prints known by the name of the "Teniers Gallery," are
by this engraver.
1. Charles II., in an oval, after van den Hoeck, folio, good, 15s.
2. Cornelis Cort, the engraver, fair, 8s. 6d.
ENGRAVERS AND THEIR WORKS.
499
3. Jupiter and Io, after Correggio, a rare print, tolerable
impression, £1; another impression, very fine, £5 10s.
4. Ganymede, after Correggio, a rare print, good, £2.
5. Cupid Bending his Bow, after Correggio, a rare print, fair
impression, 17s. 6d.
Stefano (Cavaliere Giovanni di).- See Lanfranco
(Giovanni).
Stella (Claudine Bouzonnet.-This artist was born
at Lyons in 1636, and is certainly one of the best of the
very few lady engravers who have risen above mediocrity.
Claudine Stella died at Paris in 1697. A sister of the
above-Antoinette Bouzonnet-was born in 1637, and also
worked in a powerful manner, especially with the point.
1. The Finding of Moses, after Poussin, on two sheets, first
state, very fine, £1 1s.
2. The Holy Family, after Poussin, fine, with good margin,
8s. 6d.
3. The Holy Family, Angels presenting flowers, after Poussin,
fair, 7s. 6d.
4. The Crucifixion, after Poussin, very fine, 18s. 6d.
5. A set of sixteen prints, all pastoral, with title (17), after
Jacques Stella, fair, £1 15s.
Stella (Jacques). This eminent French painter, who
was born at Lyons in 1596, and died at Paris in 1647
(not 1657 as stated by Bryan), etched a few plates after
his own compositions, among them one representing
the Homage to the Grand Duke of Tuscany on St.
John's Day, 1621. This is a good print of some value
under favourable circumstances, but none of the artist's
other plates attract much attention.
Stent (Peter).—A London printseller, who is supposed
to have occasionally handled the graver. He was in
business in London up to 1662. The few prints attributed
to this engraver are seldom met with, and good impressions
always command high prices.
1. Donna Catharina, Infanta of Portugal, &c., oval of foliage,
fine and rare, £4 14s. 6d
2. Andrew Willet, Latin verses below, very rare and a fine
impression, £5 10s.
I
1
500
ENGRAVINGS AND THEIR VALUE.
ཨཱམཎ་ཙ*ཀ-,
Stimmer (Tobias).-Born at Schaffhausen in 1539;
living in 1590. This artist, who was a painter of some
eminence, engraved on wood after his own designs in a
very neat and precise style. His most important production.
is the series of Bible prints, published at Strasburg in 1590,
under the title "Nova Tobie Stimmeri Sacrorum Bibliorum
Figuræ." A younger brother of Tobias-Johann Christoph
Stimmer-who was born at Schaffhausen in 1552, also
executed a number of Bible cuts, published at Basle in 1586.
Stock (Andreas).—A Dutch artist, who flourished at
Antwerp about the year 1625. He is supposed to have
been a pupil of Jakob de Gheyn the elder, at least he
imitated his style of engraving, sometimes with success.
There is by this artist a number of plates in Thibault's
Academie de l'espée," a series of the months, a set of
small landscapes after Paulus Brill and some others.
"
1. George William, Elector of Brandenburg, on horseback,
landscape behind, Latin verses below, fine and rare,
£4 4s.
2. Lucas van Leyden. bust with a cap, in oval. fair, 10s.
3. A set of twelve plates of the Months, after Wildens, good,
£2 10s. another set, fair impressions, 18s.
4. Albrecht Dürer, dated 1629, good, £2; another impression,
very fine, with large margin, £5.
Stock (Ignaz van der).-Though very little is known
about this artist, he seems to have flourished at Amsterdam
about the year 1670. There are by him several very slight.
but spirited etchings of landscapes from his own designs and
another series from those of Foquier.
1. Landscape, forest scenery, and a river winding in the
distance on the right, an etching after Foquier, fine,
with large margin, £1 2s. 6d.
Stoop (Dirck). This artist, who is sometimes called
by his baptismal name Thierry, or again, as by Walpole,
Pierre or Roderigo Stoop, was born at Utrecht, about the
year 1612, and died there about 1686. Bartsch (vol. iv., p. 95),
gives a list of nineteen etchings by this artist, of which
the most important are the eight large plates representing
ENGRAVERS AND THEIR WORKS.
501
the procession of Queen Catherine from Portsmouth to
Hampton Court on her arrival in England in 1662.
Several of Stoop's prints may be here specially referred
to. One represents a battle between the Spaniards and
the Portuguese, on one sheet, and another consists of a
caricature of Oliver Cromwell dancing on a tight rope.
Both these are excessively rare. Dumesnil attributes eight
rare Lisbon views to Stoop, the first states of which are
before the numbers or address; the second with the numbers.
The Voyages and Processions of Catherine of Braganza"
is also a very rare series. The first impressions of these
prints are before the titles at the top.
1. Entrance of the Lord Montague into Lisbon, 28th May,
1662; Procession of Queen Catherine through Lisbon,
20th April, 1662; the Manner of her Embarkation for
England; the Royal Navy proceeding up Channel, four
oblong etchings, exceedingly scarce, £8 8s. (these prints
are part of the set numbered 3).
2. The set of horses, proofs before the numbers, very rare
(12), £12; the same, good impressions, with the numbers
(12), £1.
3. The Voyage and Processions of Catherine of Braganza, on
her marriage with Charles II., a set of seven rare prints,
£15 15s. (at Baron Verstolk's sale a good set of these
scarce etchings sold for fifty guineas).
Storck (Abraham).—This artist, who was a painter of
Marine subjects, is supposed to have been born at Amsterdam
about the year 1630 and to have died there about 1710.
Bartsch mentions six etchings by this artist, all of which
are rare. Some authorities, however, doubt the authorship.
Stoss (Franz).-One of the earliest of the German en-
gravers, who is supposed to have been born about the
year 1450. Very little is known about him except that he
worked at Cracow between 1472 and 1495 and died when
nearly a hundred years old. The artist's few plates, each
of which is marked with an F and an S divided by a
small triangle surmounted by a cross, are exceedingly rare.
1. The Raising of Lazarus, a very rare Print from several
noted collections, £182 (Dent sale).
502
ENGRAVINGS AND THEIR VALUE.
Strada (Vespasiano).This artist, supposed to have
been born at Rome, about the year 1591, was celebrated
as a fresco painter, and many of the churches and monasteries
of his native city were embellished by him. Among his
few etchings may be mentioned "The Marriage of St.
Catherine," "Christ Crowned," and "The Virgin and Child,”
each of which is signed by the artist with his full name.
They are executed in a slight and hasty style, which,
however, displays the hand of a master. All this artist's
plates are scarce.
Strange (Sir Robert).—A celebrated engraver who
was born in the Orkneys in 1721; died at London in 1792.
This artist, who was a pupil of Le Bas, first made historical
engravings popular in this country. Nearly all his prints
are found in three states, and all, without exception, are
executed with a fidelity and vigour that has rarely been
excelled.
1. Charles I., in his robes (20 ins. by 15 ins.), after Vandyck,
fine, £2 7s.; again £1 2s.
2. Charles I., standing by his horse, after the same, fair
£1 9s.; again, £2 5s.
3. Henrietta Maria Magnæ Brit, after Vandyck, 1784, good, 14s.
4. The Magdalene, and Cleopatra, both after Guido, fair (2), 16s.
5. Sir Robert Strange, after Greuze, profile head in a
medallion, 4s. 6d.
6. Sappho, three-quarter length, with wreath of laurel, after
Carlo Dolci, £1.
7. The Children of Charles I., after Vandyck, fine, £1 10s;
another impression, average, 16s.; again, fine £1 18s.
8. The Death of Dido, after Guercino, dated 1776, fair, 12s.;
another impression, second state, very fine, £3 15s.
9. The Young Pretender, good, £1.
10. Venus Attired by the Graces, after Guido, fair, 7s. 6d.
11. Abraham and Hagar, after Guercino, 1763, very good impres-
sion, with margin, £2.; again, proof before letters, 10s.
12. The Aununciation, after Guido, fair, 9s.
13. James Graham, Marquis of Montrose, after Vandyck, good,
£1 1s.
14. Cæsar Divorcing Pompeia, after Pietro da Cortona, good
impression, £1 5s.
15. Venus and Adonis, proof before letters, £1 6s.
16. The finding of Romulus and Remus, after Pietro da
Cortona, English and French inscription, good, 14s.
ENGRAVERS AND THEIR WORKS.
503
17. Cupid asleep, good lettered impression, 8s.; again, fine
proof, 14s.
18. Joseph and Potephar's wife, lettered, 7s.
19. Esther and Ahasuerus, proof before letters, fine, 12s.; again,
good lettered impression, 6s.
20. St. Agnes, after Domenichino, 1759 (18 ins. by 13% ins.),
good, 10s. 6d.
Strutt (Joseph). This artist is better known as a
writer on art than as a practical engraver, his "Biographical
Dictionary of Engravers," at one time taking high rank
as an authority. Many of his prints were executed for
the booksellers. His best are perhaps the twelve illustrations
to the "Pilgrim's Progress," after Stothard, and his "Venus
in the Island of Cyprus." Good impressions of these are
sought after. Strutt is supposed to have been born about
the year 1745, and to have died about 1802.
1. The Innocent stratagem; The Power of Innocency, both
after Stothard, good, £1 6s.
Stubbs (George and George Townley).—These
artists, who stood in the relationship of father and son,
excelled in the anatomy of the horse and other animals.
George Stubbs who was born at Liverpool in 1724, and
died at London in 1806, was primarily a painter, though
he etched and scraped in mezzotint several good plates of
animals after his own designs. George Townley engraved
after his father's designs, with very considerable success.
He was born in 1756, and died sixty years later.
1. The Brown Horse "Mask," by G. T. Stubbs after G. Stubbs,
R.A., mezzotint, £2.
2. Two Hunters and Two Hacks, by G. T. Stubbs, after the
same, mezzotint (2), £4 15s.
3. Bulls Fighting, by G. T. Stubbs, after the same, mezzotint,
very fine, £9 19s. 6d.
4. Portrait of Jupiter and Mars, by G. T. Stubbs, after the
same, proof, £± 4s.
5. A white Horse and a Lion, by G. Stubbs, after his own
composition, dated 1788, fair lettered impression, 4s.
again, fine proof, £2 14s.
Sueur (Nicolas le).-An engraver on wood, who was
born at Paris about 1690, and died there in 1764. There
2
504
ENGRAVINGS AND THEIR VALUE.
were several other members of this family who are also
known as engravers, but Nicolas was the most eminent.
Pierre le Sueur, the elder (born at Rouen in 1636), Pierre
le Sueur, the younger (born at the same place in 1667),
and Vincent le Sueur (also born at Rouen in 1668), executed
many prints which are occasionally met with in tolerable
condition. Desirable impressions are scarce, but not particu-
larly valuable. Among the prints of Nicolas le Sueur
may be mentioned:
1. The Man and the Lion, after Peruzzi, good, 15s.; another
impression, fair, 6s.
2. The Virgin on a throne, after Pietro, very fine and rare,
£1 11s. 6d.
3. The Egyptians in the Red Sea, good but cut, 7s.
Sueur (Pierre and Vincent le). See Sueur
(Nicolas le).
Sullivan (Luke).-This artist is said to have been a
native of Ireland and to have flourished in London about
the year 1750. He engraved Hogarth's "March to Finchley,"
"Paul before Felix," "Moses and Pharaoh's Daughter,"
and many other well known plates after various masters.
See Hogarth (William).
1. St. Anthony's Temptation, after Teniers, Pub. April 1,
1751, by B. Baron, good lettered impression, 10s.
Surugue (Louis).-A French engraver, born at Paris
in 1695; died there about 1770. The prints of this artist
shew a successful combination of point and graver, but
his drawing is frequently very inferior. One of his best
plates represents Christ cleansing the ten lepers.
Surugue (Pierre Louis).—The son (?) of the preceding
artist, born at Paris in 1717; died there in or about 1770.
This artist worked in a style closely resembling that of
his father, though his prints are much inferior.
1. The Judgment of Paris, after Goltzius, good impression,
7s. 6d.
2. The Nativity, after Correggio, fine but cut, 12s.
3. The Virgin and Child, after Guido, good 8s.; again, very
fine, with full margin, £1 1s.
ENGRAVERS AND THEIR WORKS.
505
Sutherland (Thomas).-Born about 1785, date of
death not
not known. This artist practised in London,
chiefly producing plates in aquatint of Hunting Scenes,
Views, &c. One of his best known, and most valuable
productions represents The Peacock Tavern at Islington,
from which the mail coaches for the Great North Road
used to start.
1. Coursing, after Wolstenholme, coloured impression, £2 5s.
2. Shooting, after the same, coloured impression, £2 10s.;
again, the full set of four plates, coloured, £14 14s.
3. The High Mettled Racer, after Alken, in colours, the set
of six, fair, £2 12s.
4. The Miller's Mare, after the same, in colours, fair, 7s. 6d.
Suyderhoef (Jonas).—This eminent engraver was born
at Leyden in 1613, and studied under Pieter Soutman.
His plates are very neat, and engraved with great force of
colour and harmony. Good impressions, which are scarce,
are very beautiful and as all this artist's prints are held
in high estimation, good specimens invariably sell well.
A few of them are mentioned below.
1. Three soldiers quarrelling, second state, with the address
of "Clement de Jonge, Excudit," £1 5s.
2. Augusta Maria, daughter of Charles I., bust in oval, 13s.
3. The Emperor Charles V., in armour, head, in large oval
of laurel leaves, after Titian, fine, £1 16s.
4. Isabella Clara Eugenia, after Rubens, head with wreath
of laurel, large oval, 10s.
5. Hendrik Goltzius, head, in large oval, fine, £3 8s.
6. Charles I., bust, in oval border, after Vandyck, 16s.; again,
fine, £2.
7. Daniel Heinsius, three-quarter length, in large oval, inscrip-
tion round border, Latin verses below, 13s.
8. The Treaty of Munster, after Terburg, from the picture
now in the National Gallery, fine, £7 10s.
9. Philip III., of Spain, head in an oval, ornamented border,
12s., again 8s. 6d.
10. The Emperor Maximilian, after Lucas Van Leyden, fair, 15s.
11. The Burgomasters of Amsterdam, after de Keyser, first
state before the artists' names, rare, £10.
12. Philip II. of Spain, after More, fair, Ss.
Swanenburch (Willem van).-Born at Leyden about
1580; died there, probably in 1612. The drawing of this
506
ENGRAVINGS AND THEIR VALUE.
artist is very incorrect, though his style which is usually
considered good, bears much resemblance to that of
Hendrik Goltzius. He worked entirely with the graver.
1. Maurice, Prince of Orange, full length, in armour, very
rare and fine, £2 12s.
2. Ernest, Count of Nassau, after Moreelse, good, 13s. 6d.
3. Abraham Bloemaert (painter), very rare, fine impression,
£4 4s.
4. Lot and his Daughters, after Rubens, fair, 10s.
Swanevelt (Herman). This admirable painter of
landscapes was born at Woerden about the year 1620, and
died most probably at Venice in 1659. The date is, however,
very uncertain. His etchings, though slight, are executed
in a bold, free and masterly style, somewhat resembling
that of Waterloo. Swanevelt was a pupil of Gerard Douw.
1. The set of twenty-four small oval landscapes, fair, £2 2s.
2. The set of thirteen views in or near Rome, fair, £1 11s.
3. The Wooden Bridge, fine proof before the inscription,
rare, £3.
4. The History of Adonis, six prints, each with the first
address, rare, £3 10s.
5. The set of four landscapes, with the penitents, first states,
fine proofs before the artist's name, £7 7s.
Sweerts (Michael).-A Dutch painter and engraver,
who flourished about the year 1650. Among his etchings,
all of which are after his own compositions, the following
may be noted. None of the paintings of Michael Sweerts,
are known to be in existence.
1. The Virgin, St. John, and the Magdalene, with the body
of Christ, 13s.
2. Herman Saftleven, the painter, very rare, good impression,
£2 2s.; another impression, fair, 6s.
3. A man in a chair, smoking, with a boy by his side, rare,
good impression, £1 5s.
4. A savage shooting an arrow, good, 8s.; again, very fine
impression, 17s. 6d.
Tanje (Pieter).—Born at Bolsward about the year 1706;
died at Amsterdam in 1760. This industrious and clever
artist produced a large number of engravings, including
several for the Dresden Gailery, and a series of five large
plates after the paintings on glass in the Church of St.
ENGRAVERS AND THEIR WORKS.
507
John, at Gouda. These are perhaps his best productions,
though all his prints are of good quality.
1. A painted window, after Dirk Crabeth, good, with slight
margin, 11s.
2. Christina, Queen of Sweden, after Bourdon, fair, 4s.
3. Children dancing, after Albani, fine impression with large
margin, £1 17s. 6d.; another impression, good, 12s.
4. Tarquin and Lucrece, after Giordano, fair, 6s.
Tardieu (Antoine François). This artist, and another
bearing the same name, Jean Baptiste Pierre Tardieu,
were both living at the beginning of this century. Their
works consist entirely of engraved maps and similar
subjects, inclusive of a large variety of street-plans of the
capital cities of Europe, and charts. These are not as a
rule sought after by collectors, and the value is consequently
very small.
Tardieu (Elisabeth Claire).-This lady was the wife
of Jacques Nicolas Tardieu, next named, and an engraver
of some repute. Her principal plates comprise "The
Mustard Merchant," after Hutin, "The Repose," after
Jeaurat, and the Concert," after De Troy. Prints by this
artist are usually of little value.
CC
Tardieu (Jacques Nicolas).—This artist was the son
of Nicolas Henri Tardieu, hereafter mentioned. He was.
born at Paris in 1718, and died there in 1795. His plates
are good, but not particularly scarce or valuable. Louise
Tardieu, who engraved one or two scenes of average merit,
was the wife of this artist.
1. Diana and Acteon, after Boucher, proof, with margin, rare
when in fine condition, as this print was, £3 10s. ; another
impression, good, 12s.
2. The Miseries of War, after Teniers, fair, 6s.
3. Henrietta Maria of France, after Nattier, good, 12s.; another
and better impression, fine, with margin, £1 2s. 6d.
Tardieu (Jean Baptiste Pierre).-See Tardieu
(Antoine François).
Tardieu (Marie Anne). See Tardieu (Pierre
François).
508
ENGRAVINGS AND THEIR VALUE.
Tardieu (Nicolas Henri).-An eminent French engraver
who was born at Paris in 1674, and died there in 1749.
His plates which are invariably of good design are etched
and finished with the graver in a masterly style. This
artist engraved a number of plates for the "Galerie de
Versailles," the "Collection Crozat," and other art publications
of a similar kind.
1. Portrait of Watteau, the painter, and Nicolas Henri Tardieu,
the engraver, in a landscape, proofs before the artist's
name, verses at bottom, good, 17s.
2. A Lady of Constantinople, after Liotard, fair, 12s.
3. Noli Me Tangere, after Titian, fine, with margin, 11s.
4. John Soanon, Bishop of Senez, dated 1716, very fine, £2;
another impression, good, 12s.
5. Hector and Andromache, after Coypel, fair, 3s.; another
impression, very fine, with margin, £2 4s. 6d.
6. The Crucifixion, after Le Brun, fair, 8s.
7. Christ and the Samaritan Woman, after Bertin, fine im-
pression, 16s.
8. Veuus Soliciting Jupiter, good, 12s.; another impression,
fine, with large margin, £1 12s.
Tardieu (Pierre Alexander). This artist, born at
Paris in 1756, was a nephew of Jacques Nicolas Tardieu.
His plates are numerous, and some of them, especially his
portraits, are very superior. He was a pupil of J. G. Wille
and subsequently of Nanteuil and Edelinck.
This engraver
died at Paris in 1844.
1. Maréchal Ney, after Gérard, fair, 8s.
2. Marie Antoinette, good impression, 12s.; another impres-
sion, very fine, £2.
3. The Communion of St. Jerome, after Domenichino, good,
12s. 6d.
4. Psyche Abandoned by Cupid, after Gérard, good, 8s.;
another impression, fair, 3s. 6d.
Tardieu (Pierre François), the cousin of Jacques
Nicolas Tardieu, was born at Paris in 1720, and died
there in 1774. His plates, which are of average merit, are
all worked with the graver. Marie Anne Tardieu, also an
engraver of some little reputation, was the wife of this artist.
1. Perseus and Andromeda, after Rubens, fine impression,
with margin, £1 5s.
2. A set of four architectural views, after Panini, fair, 6s.
ENGRAVERS AND THEIR WORKS.
509
!
Tavernier (Melchior).-A French engraver, who was
living at Paris in or about the year 1630. The few prints
executed by this artist, who was also a dealer, are not
considered meritorious, nor are any of them of much
importance or value. His portraits are perhaps the best,
and among them the equestrian statue of Henri IV. of
France, dated 1627, takes a high position.
Taylor (Isaac).-There were two engravers of this
name, Isaac, the father, born at Worcester in 1730, and
Isaac, the son, born in London about 1755. The last
named was a pupil of Bartolozzi, and engraved chiefly for
Boydell. The elder Taylor engraved many plates for the
"Gentleman's Magazine,” and illustrated an edition of
Richardson's "Sir Charles Grandison." Some of the plates
in this book were reprinted from the original coppers by
Messrs. Field and Tuer, the Leadenhall Press, in 1887.
Taylor (Thomas). This engraver, who flourished in
London about the year 1780, is chiefly known as an artist
employed by Boydell, the publisher. Some of his prints in
Boydell's Collections are very good, if not particularly
valuable, and among them the best are:
1. A Flemish Collection, after Van Harp, fine, with margin, Ss.
2. Democritus and Protagoras, after Salvator Rosa, good,
9s. 6d. another impression, fair, 3s.
3. Henry VIII., after Opie, engraved for Boydell's "Shakespeare
Gallery," fine, 14s.
Taylor (William Dean).—An English engraver, who
was born in 1794, and died in 1857. The following print
was sold by auction some time ago. Of late years his
works, good though they are, have not appeared before the
public to any extent.
1. Arthur Wellesley, Duke of Wellington, three-quarter length,
full face, in military cloak, after Lawrence, published
in 1827, good, 15s.
Tempest (Pearce).—This engraver who is said to
have been a pupil and assistant of Hollar was a publisher
510
ENGRAVINGS AND THEIR VALUE.
of prints, both in line and mezzotint.
Among the
former are the "Cryes of London," 74 plates after Lauron
and among the latter several by Place who probably
engraved many of the prints usually ascribed to this artist,
all of which are very scarce. Pearce Tempest died in 1717,
and was buried in St. Paul's, Covent Garden.
Tempesta (Antonio).—A talented engraver who was
born at Florence in 1555, and died there in 1630. The
subjects affected by this artist consist of cavalcades,
processions, battles, and other scenes in which a large
number of figures are grouped. He was employed by Pope
Gregory XIII. and others to decorate the Vatican and
several palaces at Rome. His plates are found marked
with the monograms AE, TE, or TA, interwoven in various
devices. Bartsch (vol. xvii., p. 125) gives a list of no fewer
than 1461 pieces by this artist, which he states is a
complete catalogue, though many others are mentioned by
Florent le Comte. All are etched and for the most part
very able performances.
Teniers (David, the younger).-This artist was born
at Antwerp in 1610, and died at Brussels in 1694. Though
celebrated as a painter, his prints are also held in considerable
estimation, though they are by no means what might have
been expected from the hand of so great a master.
They are marked with the monogram DT, the former letter
enclosing the latter. David Teniers, the elder, usually
called “Old Teniers," who was born at Antwerp in 1582,
also engraved several plates, which, like those of his son,
marked with the monogram DT as above.
are
1. The Village Festival, with the address of A. Teniers,
rare, £1 15s.
2. The Toper, fine, £1 14s.
3. The Temptation of St. Anthony, fine, £1 2s.; another plate,
an upright composition, fine, with margin, £1 3s.
4. A Philosopher, seated, with an hour-glass before him, fine,
with margin, £1 1s.
5. A man looking at himself in a mirror, fair, 8s.
6. The Witch, fair, with margin, 12s.
ENGRAVERS AND THEIR WORKS.
511
7. Four small plates of pilgrims, very fine and rare, £2.
8. The Kitchen, fine impressions in two states, the first a
pure etching, fine, £4 10s.
9. Portrait of old Teniers, good, 16s.
10. Seven small heads of men, fair, £1.
11. The Archers, fair, 6s.; again, first state, "Teniers in. et
excud. privilegio," £1 18s.
Terry (George).—A mezzotint engraver of considerable
repute, who was living in 1791, in which year he engraved
a Hieroglyphic print "invented" by the Rev. W.
Huntingdon. Beyond this, very little seems to be known
of this artist. He confined his attention entirely to
portraits, among which that of the Rev. John Towers, after
Fisher, is accounted the best. Fair average impressions
of this artist's work may sometimes be met with for
comparatively small sums.
Testa (Giovanni Cesare). This artist was born at
Rome about the year 1630, and was a nephew of Pietro
Testa, next named. He is supposed to have been instructed
by his uncle, and most of his etchings are after his works.
Giovanni Testa died in 1655.
1. The Death of Dido, after P. Testa, good, 8s.
2. The Communion of St. Jerome, after Domenichino, fair,
3s. 6d. ; another impression, good, with large margin, 17s 6d.
3. Portrait of Pietro Testa, fair, 8s.
4. The Death of St. Jerome, the engraver's best work, after
Domenichino, very fine, £1 14s. (This same subject was
engraved by Benoit Farjat and Johann Jakob Frey).
Testa (Pietro).—A celebrated artist who was born at
Lucca in 1617. He was unfortunately drowned in the Tiber
when only forty-three years of age. As an engraver this
artist holds a high position, and good impressions from his
plates command a ready sale. From a technical point of
view it is said that Testa's lighting and shading are not
always true to nature, and that the attitudes of many of
his figures are awkward and clumsy. Nevertheless, his
etching is free and masterly, bearing a great resemblance
to that of Antonio Tempesta.
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ENGRAVINGS AND THEIR VALUE.
1. The Martyrdom of St. Erasmus, fair, 6s.; another impres-
sion, fine, but cut, 16s.
2. The Sacrifice of Iphigenia, good, 12s.; another impression,
brilliant, with slight margin, £1 12s. 6d.
3. A young woman painting, surrounded by cupids, the rarest
of the artist's prints, fair, £1 5s.; another impression,
good, £3 15s.
4. Achilles dragging the Body of Hector round Troy, fair
impression, 6s.
5. Socrates dining with his Friends, dated 1648, good, 14s.
6. The Magdalene in the Desert, rare, good, £1; another
impression, very fine, £3 3s.
Thäter (Julius Cæsar).-Born at Dresden in 1804;
died at Munich in 1870. Among this artist's prints, which
exceed 100 in number, may be mentioned "Charon," after
Carstens, "Cinderella," after Schwind; and "Barbarossa,"
after Schnorr. These are his best plates, though good
impressions of all his works are highly esteemed.
Thévenin (Jean Charles).-A French engraver, born
at Rome in 1819. This artist was the son and pupil of
Charles Thévenin the well known painter. He committed
suicide in 1869, by throwing himself from the top of
St. Paul's, at Rome.
1. The Children of Charles I., after Vandyck, whole length,
trees aud drapery in background, from the Turin Gallery.
(plate 160), proof before letters, £1 5s.
2. The Mandolin Player, after Ingres, good, 18s.
3. Beatrice Cenci, after Guido, fair, 6s.; another impression,
fine, with margin, £1.
4. The "Madonna della Tenda," after Raffaelle, good, 12s.
Thew (Robert). - An engraver of great merit, born at
Patrington in 1758; died at Stevenage 1802. This artist's.
prints, which are nearly all in the chalk and dotted manner,
are of great importance. He was often employed by
Boydell.
1. The Witches and the Cauldron, scene in Macbeth, after
Reynolds, very fine, in brown, £2 13s.
2. A Winter's Tale, after Hamilton, good, 8s.
3. Timon of Athens, after Opie, fair, 7s.
4. Henry IV. (the Boar's Head Tavern), after Smirke, good,
in brown, £1 12s.
5. The Merry Wives of Windsor, after Peters, fair, 8s.
ENGRAVERS AND THEIR WORKS.
513
6. Master Francis Hare (Infancy), proof before letters, in
brown, good, £3 10s.; again, proof in black, £2 12s.;
again, proof in brown, £2 10s.
7. Conjugal affection, after Smirke, good, £2 15s.
8. Sir Thomas Gresham, after Moro, proof in brown, good,
£2 10s.; again, open letter proof in black, £1 18s.
Thomas (Jan).-Born at Yprès about the year 1610;
died at Vienna in 1672. This artist, who was one of the
pupils of Rubens, etched a few plates, which are scarce
and often valuable. Among the best are A Shepherd
and Shepherdess," "A Lady at her Toilet," and "A
Satyr forcing a Shepherdess." Jan Thomas, though an
excellent etcher is, however, chiefly known as one of the
earliest engravers in mezzotint and his plates in this style
invariably command high prices. Among his prints of this
character is a fine portrait of the Emperor Leopold, and
another equally good of Titian, dated March 30th, 1661.
Both these are very scarce.
son of Simon
Thomassin (Henri Simon).—The
Thomassin, mentioned below. Henri was born at Paris in
1688, and died there in 1741. His prints display considerable
merit, though they are frequently rough and inharmonious.
1. Louis, Dauphin of France, after Tocqué, fair, 4s.
2. The Plague at Marseilles, after De Troy, fine, £1.
3. Christ at Emmaus, after Paolo Veronese, good, 16s.
4. Cardinal de Fleury, supported by Diogenes, in an oval,
after Rigaud, very fine and rare, with good margin,
£1 3s. 6d.
Thomassin (Philippe).-A French engraver, who was
born at Troyes about the year 1560; died at Rome when
nearly a hundred years of age. Many of his plates, which
number over 200, are from antique statues at Rome. His
style greatly resembles that of Cornelis Cort and all his
plates are worked entirely with the graver in a slight but
clear and firm style.
1. Apollo and the Muses, after Peruzzi, a frieze, fair, 3s. 6d.
2. The Marriage of Cana, after Zuccaro, good, 11s.
3. The School at Athens, after Raffaelle, fair, 5s.
4. A set of fourteen plates, after Raffaelle, representing Christ
33
514
ENGRAVINGS AND THEIR VALUE.
and His Apostles, fine impressions, with margins, very
rare in this condition (14), £7 15s.
5. The Battle of Ostia, after Raffaelle, good, 9s.
Thomassin (Simon).-The nephew of the previous
artist; born at Troyes about the middle of the seventeenth
century, died at Paris in 1732. This engraver's chief works
consist of a large volume of plates from the statues, &c.,
at Versailles, which was published at Paris in 1694, and
the illustrations to the Benedictine edition of the works of
St. Jerome, published at the same place, in five folio
volumes, 1693-1706. The following, among many other
prints, are also by this artist.
1. Christ disputing with the Doctors, good, 12s.
2. Christ Praying on the Mount of Olives, good, 16s.
3. Charles XII. of Sweden, fair, 5s.
4. Louis, Duke of Burgundy, good, 8s.
5. Pierre Corneille, after Le Brun, fair, 9s.
6. The Emperor Theodore with St. Ambrose, after Boullongue,
fine impression with margin, £1 10s.
Thompson (James).—An English engraver, born at
Mitford about the year 1790; died at London in 1850.
This artist engraved many of the plates for Lodge's
Portraits," and a considerable number of independent
subjects are placed to his credit. Fine proofs of any of his
works are scarce and valuable.
1. Queen Victoria, on horseback, after Grant, 5s.
2. The Bishop of London, after Richmond, good, 9s.; another
impression, very fine, £1 4s..
3. Lady Bagot, Lady Fitz Roy Somerset and Viscountess
Burghersh, whole lengths, in a group, after Sir Thomas
Lawrence, fair, 6s.
4. Diane de Poictiers, from the painting at Althorp, open
letter proof, india paper, fine, £8 15s.
5. Venus, Hebe, after Harper, published Jan. 1, 1842, both
coloured, fair, £1 8s.
Thompson (John).- This energetic wood engraver was
born at Manchester in 1785; died at Kensington in 1866.
As a rule this artist's prints do not sell for large amounts;
possibly the number may account for this, since the quality
of his work is considerably above the average. He executed
ENGRAVERS AND THEIR WORKS.
515
many cuts for Yarrell's works, Butler's "Hudibras," "The
Vicar of Wakefield," and the "Arabian Nights." Thompson
engraved Mulready's design for the old penny and two
penny postal envelopes, and also the figure of Brittannia
which is still to be seen on Bank of England notes.
Thomson (Paton).-An English engraver, who died
about the year 1822 at the age probably, of seventy. His
plates consist chiefly of portraits, and are executed with
much spirit. Among them are the well-known portraits of
Charles Kemble as Vincentio, dated 1821, and Edmund
Kean as Coriolanus, dated 1820. Good impressions of
this artist's work, the theatrical portraits especially, are
valuable.
Thompson (Richard).—See Tompson (Richard).
Thornhill (Sir James).—A celebrated painter, whose
daughter married the still more celebrated William Hogarth.
Sir James Thornhill, who was born at Melcombe Regis
in 1676, left a few bold but slight etchings, among which
are the following.
1. The Fireworks Performed on the Thames on Account of
the Peace, 1713, fair, 13s.; another impression, fine and
rare in this state, £1 12s. 6d.
2. Adam and Eve, fair impression, 6s.; another impression,
fine, but cut, £1.
Thourneyser (Johann Jakob).—This engraver, born
at Basle in 1636, worked with the graver in a manner
bearing some resemblance to that of François de Poilly.
Sometimes he worked in a single line after the manner of
Claude Mellan. Among the artist's chief plates, all of which
are executed entirely with the graver, are portraits of
Louis XIV. when young, St. Francis Xavier, Ignatius Loyola,
Frederick Augustus of Poland and a number of others. He
also engraved many frontispieces for books, and a variety of
plates and ornaments, none of which are of much importance
or value.
Thuldon (Theodoor van).-Born at Bois le Duc in
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ENGRAVINGS AND THEIR VALUE.
1607; died about 1676. Though the celebrity of this artist.
rests almost entirely on his proficiency as a painter, he left
a considerable number of etchings executed in a clear but
very. slight style. As a rule, they are not of much value.
1. Set of the Travels of Ulysses, after Primaticcio (58), fair,
£2 12s. 6d.
2. Set of twenty-four plates representing the Life of St. John,
dated 1633, fair, £1 5s.
3. Set of eight plates, the Prodigal Son, good, with margin,
£1; another set, fine, £1 18s.
Thurston (John).-This engraver who was born at
Scarborough in 1774, and died at London forty-eight years
later was almost entirely employed with book-illustrations.
His designs will be found in the 1814 edition of Shakespeare's
works, 7 vols. 18mo, Falconer's Shipwreck of 1817 and many
other editions of the poets and novelists.
Tibaldi (Domenico Pellegrino).—An engraver of
eminence, who was born at Bologna in 1540, and died there
about 1582. All the plates by this artist are highly
esteemed. "The Palace," after Galassi (No. 5 in the list
given below), is on two plates. Some experts think that
a third plate is required to complete the engraving.
Probably many prints of the day which have not been
ascribed to any artist through lack of proof, are by
Tibaldi.
1. The Repose in Egypt, an early impression, but with the
mark, £1 12s. 6d.
2. The Trinity, after Samacchini, 1570, good, 19s.
3. Peace, first impression, fair, 16s.; the same, second impres-
sion, the mark covered with hatchings, 5s. 6d.
4. Portrait of Pope Gregory XIII., good, £1 9s.
5. The Fountain of Bologna, 1570; the Palace, after Alghisi
Galassi, 1566 (centre-piece only), fair, £1.
6. A devotional piece without the mark or name of Tibaldi,
on the right Christ bearing His Cross, on which is
inscribed "Qui vult venire," &c., on the left a crowd of
pious women, 1570, 154in. by 203in., undescribed, £2 12s. 6d.
Tiepolo (Giovanni Battista).-A celebrated figure
painter, of Venice, where he was born in 1696. His etchings
number about sixty, and are executed with great neatness.
{
ENGRAVERS AND THEIR WORKS.
517
and taste. Among them is a set of twenty-four fancy
subjects, in 4to, a set of ten plates, similar but smaller in
size, and "The Wise Men's offering," a medium sized
upright plate from the artist's own design. This is considered
to be his masterpiece.
Tiepolo (Giovanni Domenico). This engraver was
the son of the artist last named. He was born at Venice
about the year 1725, and died near Madrid in 1804.
Among his few etchings may be mentioned a set of twenty-
six heads, and fourteen plates of the Passion of Christ,
etched somewhat in the style of Castiglione. The value,
as a rule, is small.
Tillard (Jean Baptiste).-A French engraver, who
was born at Paris in 1740, and died there in 1813. His
numerous etchings were nearly all executed for books and
when extracted are seldom of much value.
1. Portrait of Clement XIV., after Porta, very fine, 16s.
2. Hagar and Ishmael, after J. Vernet, 6s.; another impres-
sion, fine, with margin, 8s. 6d.
3. Shepherds, after Le Prince, good, 7s.
4. A series of ten prints representing Savoyard costumes,
fair, 8s.
Tillemans (Pieter).—Born at Antwerp in 1684, died
at Norton in Suffolk at the age of fifty years. This artist
was a landscape painter, but he left a few etchings of
considerable rarity.
1. View of the Duke of Kingston's house at Thoresby, with
a portrait of the Duke and his black groom and dogs,
very rare, £1 16s.
Tinney (John).-An English engraver who was born
at London about the year 1720; died there in 1761. Among
his many plates the following are probably the best.
Woollett was a pupil of this artist. The prints numbered
2, 3 and 4 below are mezzotints.
1. Canal at Gubbins in Hertfordshire; Bowling Green at the
same place; a tomb with figures of Faith and Hope,
after Gravelot; Cliefden House, Bucks, after Donowell
(4), fair impressions, 7s. 6d.
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ENGRAVINGS AND THEIR VALUE.
2. Portrait of George II., after Highmore, very fine, with
margin, £1 4s.
3. Portrait of John Wesley, good, 7s.
4. Portrait of Catherine Clive, after John Ellys, good, 8s. 6d.
Tintoretto.-This artist, whose real name was Jacopo
Rubusti, was born at Venice in 1519, and died there in
1594. He left a single plate, that mentioned below.
1. Portrait of Pasquale Ciconia, Doge of Venice, the artist's
only etching, very rare, £5 15s.
Tolosano.-See Baron (Jean).
Tomkins (Peltro William).-One of the pupils of
Bartolozzi; born in London in 1760, died there in 1840.
This well-known artist worked in the chalk and dotted
manner, and many of his plates, especially those printed
in colours, are highly esteemed at the present time. Some
of his earlier works are after Angelica Kauffman, but he
is seen at his best in his plates for the "Stafford Gallery,"
and "The British Gallery of Pictures." He also illustrated
many popular publications of the day. See also under
Morland (George).
1. Margaret, Duchess of Norfolk, after Lucas de Heere, painted
in 1562, private plate, proof, open letters, 19s.
2. Louis XVI.. taking leave of his family, after M. Brown
published Jan. 1, 1795, fair, £1.
3. Love enamoured, after Hoppner, in brown, fair, 8s.
4. The enchanted Lady, after Harding, in red, good, 15s.
5. Chastity, after Lady Templetown, in black, fair, 6s.
6. Prince Arthur's Vision, in colours, fair, £1 5s.
7. Mrs. Siddons, after J. Downman, framed to the oval, good,
£4 8s.; again, in colours, very fine, £34 13s.; again,
good impression in brown, £6 15s.
8. The Vestal, after Reynolds, printed in brown, £1.
9. Maternal Affection (Mrs. Morgan), after Julia Conyers, in
colours, £4; again, fine, £7 10s.; again, £2 16s.
10. Children feeding Goats; Rural employment, both after
Morland, fine, £7.
11. The Benevolent Lady, after Smirke, fair, 18s.
12. A Lady and Child, after Russell, £3 10s.
13. Children with a bird cage, Children with a dog, coloured
(2), £7 17s. 6d.
14. Affection and Innocence, after Bartolozzi, an oval in colours,
fiue, £9 16s.; again, open letter proof, in brown, £2 8s.
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ENGRAVERS AND THEIR WORKS.
519
15. A Village girl gathering nuts and a village girl shelling
peas. after W. R. Bigg, fine, £7.
16. A Girl of the Forest of Snowden, after H. Bunbury, proof,
open letters, £2 5s.
17. The English Fireside; The French Fireside, both after
Ansell, in colours, £6 15s.; again, fine impressions in
brown, £11; again, in colours, £9 19s.
18. Dressing Room à l'Anglaise, and Dressing Room à la
Française, both after Ansell, in brown, fine, £16.
19. Morning and Noon, both after W Hamilton, R.A., by
Tomkins and Delattre, printed in colours, fine, £17 17s.
20. Redeunt Saturnia Regna, after the same, a large upright
plate, in colours, £2.
21. Mrs. Morgan and Child, after J. Russell, R.A., in colours,
very fine, £14 14s.
22. Spring. after Wheatley, printed in colours, fine, £8 10s.
23. Summer, after Bartolozzi, in red, first proof with Tomkins'
autograph dedication, £3 5s.
24. Hobbinol and Ganderetta, after Gainsborough, in colours,
very fine, £30 9s. 6d.
25. Affection, after Wheatley, in colours, fine, £10.
26. The Tobacco Box, after Walton, and a Circle after Ansell,
both in colours, good, £9 15s.
27. The Mouse's Petition, after Bunbury, in colours, good, £5.
Tomlinson (John).—An English engraver of considerable
merit, who was living in London in 1805. He subsequently
went to Paris, where he committed suicide in 1824.
Nearly all Tomlinson's plates represent landscapes. Their
value, as a rule, is small.
Tompson (Richard).—A print-seller, who was living
in London towards the close of the seventeenth century.
Prints published by this artist frequently command high
prices. There seems to be no clear foundation for Walpole's
assertion that Tompson himself engraved, but inasmuch as
some 50 plates bear his name as publisher and the names
of the painters but not those of the engravers, the
following are, according to the usual custom, catalogued under
his name:
1. Elizabeth Tollemache, Duchess of Argyle, after Lely, fair,
£1 1s.
2. Anthony, Lord Ashley, after Lely, good, 13s.
3. Lady Ashley, after Lely, 14s.
4. Anne, Countess of Exeter, after Lely, brilliant impression,
no states, £5 17s.
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ENGRAVINGS AND THEIR VALUE.
5. Robert Fielding, after Lely, fine, £1.
6. Lady Elizabeth Jones, after Lely, fine, £6 18s. 6d.
7. Madame Jane Long, after Lely, 16s.
8. Thomas Windham, after Cole, very fine and rare, £1 10s.;
another impression, £1 7s.
9. Lady Bellasis, after Lely, fine impression, £5 5s.
10. John Hervey, Esq., after Lely, fine, £1 38.
11. The Duke and Duchess of Lauderdale, after Lely, fine,
£1 18s.
12. Prince Rupert, in his robes of the Garter, after Lely, good,
£2 10s.
13. John Dolben, Bishop of Rochester, after Huysmans, proof,
excellent impression, £6 6s.
14. George I., when Prince, first state, one other known, fine,
£1 16s.
15. The Duchess of Ferrara, after Titian; the same in line,
by Sadeler, both very fine, £9 10s.
16. Madame Gwinn and Sons, fine lettered impression, £5 15s.
Toms (William Henry).- An English engraver, born
in London in 1720. He died there about the year 1750.
This artist is favourably known as an engraver of architectural
and perspective views, though he executed a few por-
traits of average merit. He worked entirely with the
graver.
1. Hawarden Castle and Park in Flintshire; North Prospect
of Clare Mount, Surrey, after Rigaud (2), fair, 6s.
2. Stained-glass window in York Cathedral, after Haynes,
five plates, fair, 11s.
3. Four views of Gibraltar, fair, 4s.
4. Sir Philip Percival, after Vandyck, the artist's best print,
good impression, £1 2s.
Torre
(Flaminio).—This engraver, who was called
Ancinelli, was born at Bologna in 1620. After studying
under Guido, he occupied his time chiefly in copying the
pictures of others. He executed about half-a-dozen etchings
the value of which is well maintained owing to their
scarcity.
1. The Patron Saints of Bologna, after Guido, good, £1;
another impression, fine, £1 12s.
2. Cupid and Pan, after Agostino Carracci, fair, 8s.
3. Samson, after Guido, good, 12s.; another impression,
unfinished proof, very fine, £3 10s.
4. Three children with a salver, good, 10s. 6d.
Tortebat (François).—A French engraver, born near
ENGRAVERS AND THEIR WORKS.
521
Paris in 1616, who is credited with twenty-five etchings
executed in a slight, rough style resembling that of Michel
Dorigny. Many of his plates were executed for De Piles'
L'Anatomie des Peintres." Among his separate prints,
"Peace Descending upon Earth," after Vouet, is perhaps
the best. Their pecuniary value is, as a rule, small.
Toschi (Paolo).-Born at Parma in 1788; died there
in 1854. One of the engraver's finest etchings is a portrait
of Henri IV., after Gérard and a series of 48 plates of Frescoes
after Correggio and Parmigiano.
1. The Madonna della Scodella, after Correggio, fair im-
pression, 4s. 6d.; another impression, good, 12s.
2. Lo Spasimo, after Raffaelle, good, 6s.
3. Portrait of Niccolo Machiavelli, good, 8s.
4. The Descent from the Cross, after Volterra, good, 8s. 6d.
Townley (Charles).—A painter and mezzotint engraver,
born in London in 1746, died there probably in 1802. This
artist practised at first as a miniature painter but afterwards
turned his attention with great success to scraping portraits.
He also worked in the dotted manner. All the prints
mentioned below are engraved in mezzotint.
1. Hogarth, after a painting begun by Weltdon and finished
by Hogarth, fine, £1 6s.
2. Sir Joshua Reynolds, three-quarter length, in cap and
gown, after Reynolds, rare, £2 2s.
3. Leonardo da Vinci, after the master, fine, £1 10s.; another
impression, very fine, with margin, £3 10s.
4. Joseph Allen, M.D., after Romney, fair, 12s.
5. Peter Paul Rubens, after the master, fair, 4s.; another
impression, good, 17s. 6d.
6. Ralph Bigland, William Saunders, M.D., both fair, 7s.
Traballesi (Giulio).—Born at Florence in 1726; died
there seventy years later. This artist's few etchings are
mostly after Bolognese painters, principally the Carracci.
They are not, as a rule, of much value.
Trento (Antonio da).-A Venetian engraver, born at
Trent at the beginning of the sixteenth century. He is
supposed to have been a pupil of Parmigiano, who advised
him to turn his attention to chiaro-scuro engraving, in
522
ENGRAVINGS AND THEIR VALUE.
which art he was instructed by Ugo da Carpi. Most of
his prints are from three blocks, the first of which was
used for the outline, the second for the dark shadows, and
the last for the lighter tints. About the year 1530 he left
Italy, carrying with him a number of drawings and engravings
supposed to have been stolen from Parmigiano. Another
artist of great repute named Antoine Fantose or Antonio
Fantuzzi (q. v.), who worked in Paris until the time of his
death in 1550, is supposed by some to be identical with
Antonio da Trento. Trento was a man of ability who threw
great spirit into his prints, which are, however, extremely
slight. Good impressions either from wood or copper are
scarce.
Treu (Martin).—A German engraver living in 1550,
who is classed among the "Little Masters." His plates,
which are all after his own designs, are about sixty in
number and many are obviously modelled on the style of
Lucas van Leyden. The series of six small prints by this
master numbered 2 below, may probably have given the first
hint to Hogarth for the "Rakes Progress." A second series
of six prints illustrating the same subject is also met with.
1. The Ill-used Husband, fair, 3s. 6d.; another impression,
very fine, with margin, £1 11s. 6d.
2. Six plates of the History of the Prodigal Son, 1541-43,
good, £1 15s.
3. The Wise Virgins, 1540, good, 10s. 6d.
4. Christ and His Apostles, a series of thirteen plates, most
probably by this master, fine, with large margins,
£10 10s.
This artist
Troschel (Hans).-A German engraver, born at
Nuremberg about 1592, where he died in 1633.
worked with the graver in a very neat style. His taste
was, however, deficient and his drawing often incorrect.
His best prints comprise portraits of the Emperor Julian
and Louis XIV. As a rule the value of this artist's work
is small.
Troschel (Peter Paul).-The son of the artist last
ENGRAVERS AND THEIR WORKS.
523
named. Peter Paul Troschel, who flourished at Nuremberg
about the year 1650, worked entirely with the graver and
was chiefly employed by the booksellers. The print mentioned
below is the best he executed. The others are uniformly
indifferent.
1. Pope Paul III., three-quarter length, in oval, in cap and
hood, good impression of a rare print, £1 15s.
Turner (Charles).-This eminent engraver was born
at Woodstock in 1773, and died in Warren-street, London,
in 1857. His plates in mezzotint and aquatint are
especially fine. Twenty-three of the plates in Turner's
"Liber Studiorum" are by this artist who, among many
other subjects, also engraved "Rembrandt's Mill," which is
probably the finest copy ever made of that masterly
composition. Turner was particularly successful as an
interpreter of his name-sake J. M. W. Turner.
1. Lord Castlereagh, half length, standing, after Lawrence,
proof before all letters, £2 5s.; the same, lettered
impression, fine, £1.
2. John Flaxman, the sculptor, proof before letters, 14s. 6d.
3. George Canning, after Lawrence, whole length, proof before
letters, fine, £1 10s.; the same three-quarter length,
seated, after the same, proof before letters, £1 3s.
4. Lady Louisa Manners, after Hoppuer, proof, fine, £26,
again, £32.
5. Sir John Moore, K.B., after Lawrence, fine, on india-
paper, £1 2s.
6. The Emperor Paul of Russia, full length, proof, 13s.
7. Lord Thurlow, half length, proof, open letter, 8s.
8. Willim Pitt, after Lawrence, fine lettered proof, scarce,
£2 8s.
9. J. M. W. Turner, the artist, half-length, artist's proof
with signature, £2 12s.
10. Charles, Earl Wentworth, half-length, standing, proof
before letters, good, £1 14s.
11. The Duke of Wellington, half-length, standing, 12s. 6d.
12. Sarah Countess of Essex, fair, with large margin, £1 5s.
13. Edward, Lord Exmouth, after W. Beechey, subscribers
proof, £3 6s.
14. The Duke of Rutland, after Hoppuer, £1 12s.
15. Lord Collingwood, proof, £2 18s.
16. Mary Morant, after Reynolds, second state, £4 5s.
17. Mrs. Whitmore, after S. Phillips in colours, fair, £1 5s.
18. F. Noel Clarke Mundy and his son, after Reinagle, £1 1s.
524
ENGRAVINGS AND THEIR VALUE.
19. Charlotte, Countess of Cholmondeley and the Hon. Henry
Cholmondeley, after J. Hoppner, etched letters, very
fine, £90 6s.
20. Miss Cholmondeley, after Hoppner, coloured by hand,
small margin, £15 15s.; the same, uncoloured proof
before letters, £1 5s.
21. The Marlborough Family, after Reynolds, the large plate,
proof before letters, £35 14s.; again, £33; again, £21.
22. Miss Fane, after Sir T. Lawrence, proof before letters,
£2 2s.
23. Edmund Kean as Richard III., after J. J. Halls, open letter
proof, large margin, £8 15s.
24. Lavinia, Countess Spencer, after Sir M. A. Shee, £2 5s.
25. The celebrated pointer "Sancho," after Marshall, in colour,
16s.
26. The Duke of Rutland, after Hoppner, good, £1 12s.
27. Lady Charlotte Greville, after the same, fine proof, before
any letters, £25.
28. The Marquis of Townshend, after Reynolds, fine, £2 12s.
29. Lord Viscount Duncan, after D. Orme, good, £3.
30. Going to School, and Returning from School, both after
Maria Spilsbury, in colours, framed, £1.
31. The Bud of Promise, after Sir Thomas Lawrence, open
letter proof, fine, £6 10s.
32. Mrs. Scott Waring and children, after the same, very fine,
£25 4s.
33. Mrs. Stratton, after the same, proof before all letters, very
fine, £26 5s.; again, proof, with artists' names only, good,
£7 15s.
34. My Horse, large upright plate after Guy Head, good
lettered impression, £1 5s.
35. Earl St. Vincent, after Sir W. Beechey, good lettered im-
pression, £2 16s.
36. Raphael with the portrait of La bella Fornarina, after
Brockedon, good, £1 8s.
Turner (Joseph Mallord William).-This celebrated
painter was born in Maiden Lane, London, on April 23,
1775; died at Chelsea on Dec. 19, 1851. Charles Turner,
the engraver last named, was the best interpreter of the
works of this master, but many excellent plates by other
artists are met with and often command high prices. A
selection of well-known plates by different engravers, after
J. M. W. Turner, is given below.
1. Fishing-boats off Calais, engraver's proof, rare, £6 6s.
2. Illustrations to Scott's Poetical Works, proofs (24), £12.
3. Illustrations to the Keepsake, proofs (11), £6.
4. The Burial of Wilkie, etched by B. Debaines, proof, £1 1s.
ENGRAVERS AND THEIR WORKS.
525
5. Dartmouth Cove by W. R. Smith and Tivoli by E. Goodall,
both artist's proofs, £4 14s. 6d.
6. The Fighting Temeraire, by T. A. Prior, artist's proof, £6 6s.
7. Ancient Carthage, the Embarkation of Regulus, by D. Wilson,
artist's proof, £8 8s.
8. Ancient Italy, by J. T. Willmore, artist's proof, £5.
9. Modern Italy, by W. Miller, artist's proof, £4 15s.
10. Approach to Venice, by R. Wallis. artist's proof, £8 8s.
11. The Grand Canal, Venice, by W. Miller, artist's proof, £9 9s.
12. Caligula's Bridge, by E. Goodall, artist's proof, £6 6s.
13. Heidelberg, by T. A. Prior, artist's proof, £6.
14. Mercury and Argus, by J. T. Willmore, artist's proof,
£10 10s.
15. St. Mark's Place, Venice, by G. Hollis, artist's proof,
£6 16s. 6d.
16. Dido and Eneas, by W. R. Smith, artist's proof, £3 13s. 6d.
17. The Temple of Minerva, Cape Colonna, by J. T. Willmore,
artist's proof, £4.
18. The Temple of Jupiter, by J. Pyt, artist's proof, £6 15s.
Engravings from the "Liber Studiorum."
The Frontispiece, £1 10s.; again, first state before the
retouch, £4 10s.
Rispah, second state, £4 8s.
Lake of Thun, first published state, £3 10s.; again, first
state, open letters at the top and with the word "proof",
£14 3s. 6d.
Hind Head Hill, second state, £3.
Inverary Pier, Loch Fyne, second state, £8 10s.
The Source of the Arveron, £5.
Procris and Cephalus, first state, £8 15s.
Pembury Mill, Kent, first state, £6 10s.
The Calm, third state, £13 2s. 6d.
Peat Bog, Scotland, first state, £16.
Solway Moss, engraver's proof, fine, £50; again, first state,
before the mark of retouch, £27 6s.
Raglan Castle, first state, £15 4s. 6d.; again, same state,
signed by C. Turner, £28 7s.
Esacus and Hesperie, first state, £25; again, the etching
before the finished impression, £5 15s. 6d.
The Egremont Sea piece, proof before the title, £21.
Mount St. Gothard, proof, title only roughly etched in the
middle of the plate, £55.
Calais Harbour, first state, before the work on the stern
of the nearest boat, £12 12s.; again, second state, the
stern deeply indicated, before retouch, £10 10s.
An Aqueduct, with a Stork, fine engraver's proof, £40 19s.
Uden (Lucas van).—A landscape painter, who executed
some fifty etchings which though spirited and masterly
526
ENGRAVINGS AND THEIR VALUE.
in style are not of much value. Van Uden was born at
Antwerp in 1595; and died there in 1673. Among his
prints are four landscapes after Rubens, and these are
probably his best. First impressions are before the name of
Rubens was engraved on the plate.
1. Landscape, two females in the foreground, one carrying a
basket of fruit on her head, after Rubens, proof before
the inscription, £1 5s.
Ulmer (Johann Konrad).—An engraver of some little
repute, who was born near Ansbach in 1783; he is said
to have committed suicide in 1820. Among his plates are:
1. The Duke of Buckingham, after Vandyck, fair impression, 5s.
2. St. Cecilia, after Mignard, good, 8s.
3. Carlo Dolci, after the same, good, 7s. 6d.
Ulrich (Heinrich).-A German painter and engraver,
born at Nuremberg about 1570; died there about 1630.
This artist's prints are neat but very stiff and formal,
though, as will be seen, fine impressions invariably
sell well.
1. James I., ætat. 38, in a high-crowned hat, rare, 15s.
2. Robert, Cardinal Bellarmin, 1542-1621, half-length, seated,
good, 15s.
3. Cosmo de Medici and his wife, busts in small ovals on one
sheet, verses beneath, signed "Heinrich Ulrich, sc. 1608,"
very fine and rare, £1 15s.
4. George Frederick, Margrave of Brandenburg, lying in state
in his coffin, 12s.
Umbach (Jonas).-Born at Augsburg, about 1624;
died there about the year 1700. This artist is credited
with considerably over 200 etchings of mythological
scenes and landscapes, the value of which is invariably
small. His works in chiaro-scuro are, however, in a
different position. These are sought after and often bring
fairly good prices.
Unicorn, (Master of the.)-See Duvet (Jean).
Utkin (Nicolai Ivanovitsch).-Born in Russia
about the year 1780, and died there in 1863. Among his
best plates are:
ENGRAVERS AND THEIR WORKS.
527
1. Field-Marshal Suwarrow, after Schmidt, good, 12s.
2. Dr. Leighton, fair impression, 3s. 6d.
3. Eneas escaping with his Father Anchises from Troy, after
Domenichino, very fine, with margin, £1 1s.
Vaart (Jan van der).-Born at Haarlem in 1647; died
at London in 1721. This artist, who was the master of
John Smith, the mezzotint engraver, was originally a
picture restorer, though he practised mezzotint engraving
during the last few years of his life. His prints are not
of much importance, but, like nearly all old mezzotints, they
'sell well. His portraits of Charles II., after Wissing,
Beau Fielding, after Sir Peter Lely, and Anne Scott,
Duchess of Monmouth, after Kneller, are among his best
productions.
Vaillant (Bernard).—See Vaillant (Wallerant).
Vaillant (Wallerant).—Born at Lille in 1623; died
at Amsterdam in 1677. This artist was one of the first
to practise the art of engraving in mezzotint, and a
large number of his prints in this style are extant. His
portraits are especially fine. Wallerant Vaillant had four
brothers, three of whom practised engraving. The best
known of these is Bernard Vaillant, who engraved several
portraits in mezzotint. Good prints by either of these
engravers are very scarce, and command high prices when
met with.
1. The Temptation of St. Anthony, fair, Ss.
2. Anthony Vandyck, fine impression, with margin, £2 2s.
3. Judith and Jael, after Lairesse, good, £1.
4. Prince Rupert, in armour, very fine and rare, £16 10s.
5. Prince Rupert, a different print, representing the prince
leaning his head on his hand, very rare, £12 15s.
6. Venus lamenting, good, £1 Ss.
7. The Prodigal Son, after Geerarts, good, £1 8s.
Valck (Gerard).-Born at Amsterdam about the year
1630. This artist studied under Blooteling, whose sister he
eventually married. Many of his plates are in mezzotint,
others are worked with the graver, but although all are

528
ENGRAVINGS AND THEIR VALUE.
more or less scarce and valuable, none shew high talent.
Some of the engraver's plates were worked upon by
Blooteling and himself conjointly.
1. Sir Thomas Isham, half-sheet, extra fine, £4 10s.; the same,
brilliant proof, before any inscription, very rare in this
state, £17 10s.
2. Hortense Mancini, Duchess of Mazarine, after Lely, 1678,
fine, £2 10s.; the same, first impression, with the plain
robe, very fine and rare, £8 (also engraved by Johannes
Verkolje).
3. Madam Elinor Gwynne, after Cooper, 8vo, 16s.
4. Madam Ellen Gwynne, caressing a lamb, after Lely, first
state, before the cross hatching on the sky, very rare, £15.
5. Ludwig, Margrave of Brandenburg, in large oval, three-
quarter length, fine, with margin, £1 10s.
6. John, Duke of Lauderdale, half-length, in robes of the
Garter, proof before all letters, £2 10s.
Valckert (Werner van).—A Dutch painter and etcher
who was born at Amsterdam about the year 1580. He was
living in 1635, but the date of his death is unknown.
The whole of this artist's etchings-few in number, however
are from his own designs. Probably the best represents
an old man and woman at a table with Death offering
his hand. It is dated 1612, and has been sold several
times recently by auction at sums varying from 12s. to
£2 5s. As a rule, this artist's prints do not command high
prices.
Valdor (Jan the younger). -Born at Liège about the
year 1600; died about fifty years later at the same town.
Some of this artist's plates are engraved in the style of
Hollar, and all are extremely neat, giving an impression
of laborious attention to detail. Many of them are, indeed,
so finely executed that they cannot be properly examined
without the aid of a strong glass. The print numbered
4 below is painfully delicate in detail. There is nothing
original or animated in this engraver's style and for that
reason he has often been described as an artist of inferior
powers.
1. Sir Thomas More, three-quarter length, in small square,
ENGRAVERS AND THEIR WORKS.
529
廖
​fine impression, and rare, £1 18s.; another impression,
fine, £2 2s.
2. Robert Parsons, Provincial of the Jesuits, 12mo, fine and
rare, £1 10s.
3. Ignatius Loyola, ætatis suæ 65, three-quarter length, 15s
4. Saint Ignatius, in small oval, to the right "I. H. S." in
the sky, fine, with margin, 15s.
Valesio (Giovanni Luigi).—This artist, who was a
pupil of Ludovico Carracci, was born at Bologna about
the year 1580, and died at Rome at an early age. He
etched several plates from his own compositions in a
coarse, dark style, somewhat after the manner of Agostino
Carracci.
1. A frontispiece (No. 108 in Bartsch), 5s.
2. A plate representing the Funeral of Gregory XV., good
impression, rare, £1 s.; another impression, very fine,
with margin, £3 5s.
3. The Virgin and Child, fair, 6s.
Vallée (Simon).- Born at Paris about the year 1700.
Some of this artist's plates, all of which were first etched
and then finished with the graver, are of value, but there
is great disparity among them in point of excellence,
and in the vast majority of cases they sell for small sums.
Among the best may be mentioned "The Death of the
Virgin," after Caravaggio, "The Resurrection of Lazarus,"
after Muziano, and "The Transfiguration," after Raffaelle.
Vallet (Guillaume).-Born in or about the year 1635
at Paris, where he died in 1704. This engraver was one
of the numerous pupils of Carlo Maratti. His best plates
include the portrait of the poet Virgilio of Barrea, after
Mola, The Holy Family," after Albani, "The Last Supper,"
after Raffaelle and a Bust of Corneille, after Paillet.
Vallet (Jerome).-A son of the above, who is known
as having engraved sixteen plates after the bas-reliefs of
the pillars of Theodosius at Constantinople, all after the
drawings of Bellini. These are not of much value.
Valvassori.-See Andrea (Zoan).
Van.-Engravers whose names are prefixed by van de,
34
530
ENGRAVINGS AND THEIR VALUE.
van den, or van der, are, with the two exceptions next
named, referred to under their surnames; e.g., Van de Velde
will be found under Velde, Van der Steen under Steen,
Van Voerst under Voerst, and so on. The prefixes referred
to, are equivalent to De, Du, De La, of the French, and
are not, strictly speaking, part of the name itself.
Vanderbanck (Pieter).—Born at Paris about the
year 1649; died at Bradfield, in Hertfordshire, in 1697.
This artist received his instruction from François de Poilly
and, as in the case of so many other pupils of that mastér,
his chief merit lies in the laboured neatness and manage-
ment of the mechanical part of the art. Freedom, harmony
and correctness of outline are by no means characteristic
of his prints. As will be seen, however, really good prints
by this artist invariably sell well. There are, however, many
inferior impressions in the market.
1. Thomas, Earl of Ossory, after Lely, fine and scarce, £3.
2. William, Lord Russell, ætat. 44, 1683, after Kneller, very
fine, £3 12s.
3. George, Lord Dartmouth, large oval, with military trophies,
very rare, £4 10s.
4. William, Duke of Hamilton, in armour, with Order of the
Garter, after Kneller, £2.
5. Richard, Earl of Lauderdale, oval, after Kneller, good, £1 1s.
6. Alexander, Earl of Murray, large oval, fine and scarce,
£3 5s.
7. Earl of Rosebery. Motto "Fide et Fiducia," fol., fine and
scarce, £2 10s.
8. Thomas Lamplugh, Archbishop of York, ætat. 74, after
Kneller, good, £1 11s. 6d. This plate was subsequently
altered and then did duty as the portrait of Archbishop
Tillotson.
9. Sir Thomas Allen, after Kneller, fine, £1.
10 Sir William Temple, after Lely, proof, before any inscrip-
tion, fine, £2 2s.
Vandyck (Sir Anthony).-This eminent portrait
painter was born in Antwerp in 1599, and for many years
resided in England. He died at Blackfriars in 1641, and
was buried in old St Paul's. Among the artist's few etchings
may be mentioned the following:
ENGRAVERS AND THEIR WORKS.
531
1. Christ Crowned with Thorns, fourth state, with the word
"Regis" after "cum privilegio," fair, 12s. 6d.; again,
second state, before the word Regis, from the Dent Col-
lection, £4.
2. Titian and his Mistress, third state before the inscription
"Titian Inventor," &c., and the address of Bon Enfant,
fiue £4 4s.
3. Joannes Breugel, three-quarter length, in ruff, third state,
with "G. H.," 7s.; another impression, proof before letters,
very rare, £3 6s.
4. John Snellincix, proof before letters, very rare, £6.
Vanni (Cavaliere Francesco).—This artist was born
at Siena in 1565, and, though chiefly celebrated as an
historical painter, etched a few plates of great beauty.
They are characterised by great spirit and the drawing is
excellent. Among them the following occur:
1. The Madonna and Child, good, 14s.
2. St. Catherine of Siena, good, with margin, £1 5s.
3. St. Francis, good, 16s.
4. St. Francis, contemplating a crucifix, very fine, £1 10s.
Vascellini (Gaetano),-An Italian engraver, who was
born near Bologna in 1745. The artist's best plates are
after the portraits in the Florentine Gallery. As a rule,
this artist's prints do not excite much attention.
Vasseur (Jean Charles Le).-A French line engraver
who was born at Abbeville in 1735, and died, it is supposed,
at Paris, in 1816. He was a pupil of Daullé and
subsequently of Beauvarlet and engraved in the style of
each of these masters.
1. Hector and Andromache, fair, 3s.; another impression, fine,
with large margin, £1.
2. The Triumph of Venus, after Boucher, good, 7s. 6d.
3. The Death of Leonardo da Vinci, very fine, with margin,
the artist's best print, £2 2s.
4. The Milkmaid, after Greuze, proof before letters, £4 18s.
5. La Belle Mère, after the same, proof before the title, 15s.
Vaughan (Robert).—An English engraver, who flourished
about the year 1650. This artist's prints consist almost
entirely of portraits, and many of them, though some-
what coarsely executed, are highly prized by collectors.
Robert Vaughan was much employed by the booksellers.
532
ENGRAVINGS AND THEIR VALUE.
He engraved some of the plates in Ashmole's "Theatrum
Chemicum," and also many of those in Morton's "Ordinal.”
1. Robert, Earl of Leicester, equestrian portrait, battle in
distance, folio, exceedingly rare, £14 14s.
2. George Clifford, Earl of Cumberland, in armour, 4to, very
rare and brilliant, £22 10s.
3. James, Marquis of Hamilton, Earl of Arran and Cambridge,
oval 8vo, very fine and rare, £5 5s.
4. Henry Vere, Earl of Oxford, in oval, holding a truncheon,
fine, £3 15s.
5. Robert Vere, Earl of Oxford, Slayne at Mastrict, 1632,
lace band and scarf over the armour, motto "Vero nihil
Verius," oval, 4to, extra rare and fine, £15 15s.
6. James Lenox, Duke of Richmond, Earle of Marche, oval
4to, extra fine and rare, £15 15s.
7. Thonias, Earl of Strafford, Lieutenant-General, in his robes
of the Garter, 4to, very fine, and extra rare, £9.
8. Sir William Dick, Lord Provost of Edinburgh, folio, en-
graved by William and Robert Vaughan, extra fine and
rare, £22.
9. Sir John Wynn de Gwedyr, Bart., obiit 1626, ætat. 73,
half-sheet, very fine and rare, £15.
10. Abraham Cowley, ætat. 13, 1633, two angels suspending
a chaplet of laurel, six English verses, 4to, very fine and
rare, £5 10s.
11. John Tatham, poet, four English verses, very fine and
rare, £2 12s. 6d.
12. George, Earle of Cumberland, brilliant impression, extremely
rare, £16 16s.
13. Sir Francis Drake, his left hand on a globe, a sphere, &c.,
on the table, arms in the background, scarce, £1 14s. ;
another impression, 11s.
14. Vera Effigies Doctissimi Poetarum Anglorum Ben John-
sonii, with laurel round his head, gloves in his hand,
eight Latin verses and two English ditto, fine and very
rare, £1 19s. (a very low price for a print of the quality
described).
Vaughan (William).-This artist, who was living in the
year 1664, was probably a relation of Robert Vaughan.
The set of three prints from his graver, entitled “Suffer-
ings of Sir William Dick, of Braid" is very scarce. He
also engraved a set of 13 small plates of animals after
Barlow, 1664.
Vavassori.—See Andrea (Zoan).
Veen (Maerten van). -Otherwise known as Marten
ENGRAVERS AND THEIR WORKS.
533
van Heemskerck. This celebrated Dutch painter, was born
at Heemskerck, near Haarlem, most probably in 1498; died
at Haarlem in 1574. His plates, which are numerous, are
executed with the point in a neat style, though the drawing
is, as a rule, very inferior. They consist almost entirely
of scriptural subjects and are generally of little value.
Velde (Adriaen van de).—A celebrated painter of
Amsterdam, who was born there about 1635, and died at
the same City in 1672. Bartsch, in the first volume of
his "Peintre Graveur," describes twenty-one etchings by this
artist, and Weigel, in his "Supplement," Leipzig, 1843, gives
our more. Prints by this engraver are very rare, particularly
those of cows, sheep, goats, and other animals, which
occupy no fewer than sixteen plates of the twenty-five. Two
prints, the first representing a male and a female peasant,
without signature or date, and the other a man on horseback,
dated 1653, and signed, are very scarce, though the whole
of this artist's prints are more or less rare. Another
artist, by name Esaias van de Velde, who was born at
Amsterdam about the year 1590, etched several pieces,
which, though not to be compared either in merit or
value with the above, occasionally bring good prices. His
best print, representing a whale cast ashore, was
engraved in 1614, when he was seventeen years of age.
The undermentioned etchings are by Adriaen van de
Velde.
1. The cow, two sheep at the foot of a tree, good, £1.
2. The Bull Grazing, and the three sheep, good impression,
£1 11s.
3. The two cows near the trunk of a tree, good, £1 1s.
Velde (Jan van de).—This artist, who was probably of
the same family as the preceding, was a painter of landscapes,
battles, skirmishes and subjects of a similar kind. He is
supposed to have flourished about the year 1720 at Leyden,
where he worked in two distinct styles. One was with
the point, and his etchings, which consist almost entirely
534
ENGRAVINGS AND THEIR VALUE.
F
of landscapes, are bold and powerful, yet very free and
determined. His other style of working was with the
graver only, or with very little assistance from the point.
His prints in this style are neat and laboured, resembling
those of Goudt, and consisting for the most part of scenes
by candle light and similar subjects requiring strong
contrast of light and shade.
1. Abraham Aurelius, 1631, fiue, and scarce, £1 13s.
2. Oliver Cromwell, O. C. P. R. at the four angles of the
print, large oval, fiue, and rare, £2 2s.
3. Johannes Torrentius, Amsterd. Pictor, &c., bust in oval,
proof, 14s. 6d.
4. Sir John Caltenclyck, in ruff aud fur-trimmed cloak, three.
quarter length, in oval, proof before any inscription on
tablet below, very rare in this state, £1 11s. 6d.
5. Laurent Coster, the Dutch printer, bust in a small square,
four Latin lines beneath, 18s.
6. Jacobus Zaffius, half length, seated at a table, fair, 4s.
Vendramini (Giovanni).—This eminent engraver, who
was one of the pupils of Bartolozzi, was born near Bassano
in 1769; he died at London in 1839. Though many popular
pictures by contemporary artists were engraved by Vendramini,
he is better known at the present time as the engraver of
several of the plates in Francis Wheatley's
"Cries of
London," a series which, if coloured often sells for a large
sum of money. See Wheatley (Francis).
Veneziano (Agostino), sometimes called Agostino de
Musis. This artist was born at Venice about the year
1490. Like Marco da Ravenna he became a pupil of the
celebrated Marc Antonio Raimondi, and, following the
example of Bartsch, many collectors place the engravings
of these three artists together. I have, however, thought it
better to keep them distinct. Veneziano is said to
have died at Rome in 1540, having executed a large
number of prints, in which he was sometimes assisted
by Marco da Ravenna. He imitated the style of his
master with great success, and was, upon the whole,
the most successful of all his pupils. In neatness and
ENGRAVERS AND THEIR WORKS.
535
mechanical execution with the graver he often equalled
and sometimes surpassed him, but in point of taste
and in purity and correctness of outline he was much
inferior. As is well known, by far the greater number of
the engravings of Veneziano and the other artists of the
early Italian schools are of rare occurrence. The number
in parentheses refer to the corresponding numbers in
Bartsch, where a full description of each print thus referred
to will be found.
Scriptural Subjects.
1. The Sacrifice of Abraham, after Raffaelle (5), good, but
cut, £1 11s. 6d.
2. The Israelites collecting Manna, after Raffaelle (8), fair, 16s.
3. Judith and Holofernes (not mentioned by Bartsch), fine,
but cut, £4 4s.
4. The Adoration of the Shepherds, after Giulio Romano (17),
good, £3 10s.
5. Christ Bearing His Cross, after Raffaelle (28), first im-
pression, with the date 1517, rare, £4 17s.
6. The Three Marys going to the Sepulchre, after Michel-
angelo (33), good, £3 3s.
7. The dead body of Christ supported in the Sepulchre by
the Madonna, St. John, and other disciples (36), £1 17s.
8. The Death of Ananias, after Raffaelle (42), engraved
conjointly by Veneziano and Marc Antonio, fine impression,
and very rare, £16 10s.
9. Elymas the Sorcerer struck blind, after Raffaelle (43),
£2; another impression, very fine, £6 6s.
10. The Madonna with the Infant Christ, St. John, and two
angels, after Francia, first state before the date 1516
was altered to 1518, £1 2s.
11. The Evangelists, after Giulio Romano (92-95), wanting
St. Mark, good, £1 14s.
12. St. Jerome, seated, reading, good, £2 14s.
13. St. Michael (105), good, £2 2s.
14. St. Paul (114), fair, £1.
15. The Cumean Sybil (123), good, but cut, £1 6s.
Historical and Mythological Subjects.
16. Cleopatra, after Baccio Bandinelli (193), good, but cut,
£1 11s 6d.
17. Iphigenea recognising Pylades and Orestes (194), very fine,
£5 5s.
18. An unknown subject from Roman history (196), an
536
ENGRAVINGS AND THEIR VALUE.
+
exceedingly fine and clear impression, and quite perfect,
very rare, £25.
19. Cupid Lamenting the Death of Cleopatra (198), fair im-
pression, 12s.
20. The Story of Camillus (201), fine and rare, £3 15s.
21. Tarquin and Lucretia, after Raffaelle, second impression
(208), fair, £1.
22. The Battle of the Cutlass (212), £1 1s.
23. The Triumph of Bacchus (215), £1 15s.
24. Leda and the Swan, after Giulio Romano (232), very fine,
£3 10s.
25. Cupid Sailing on his Quiver, after Raffaelle (234), good,
£2 5s.
26. The Triumph of Silenus (240), fair, 14s.
27. The Assembly of the Gods, after Baccio Bandinelli (241)
fine, £5 10s.
28. Lycaon changed into a Wolf, after Raffaelle, seeond im-
pression (244), £1 10s.
29. A frieze of Nymphs and Fauns dancing, in two pieces,
after Raffaelle (250), good impression, £5 5s.; another
impression, 12s.
30. Orpheus (259), fair, 16s.
31. Venus and Cupid, after Raffaelle (286), second state before
the retouch, £1 8s.
32. Hercules Strangling the Lion (287), £1.
33. The Termini (301-4), and three copies, 14s.
34. Hercules Strangling the Serpent (315), good, £3.
35. The Apollo Belvedere (328), fair, £1 10s.
36. The Sacrifice to Priapus (336), good, but cut, £4 10s.
37. Venus, Vulcan, and Cupids, after Raffaelle (349), fair
impression, £1 5s.
38. Prudence, after Raffaelle (357)-Temperance, after the same
(358), good, £2 17s. 6d.
39. A Woman holding a helmet, attended by Cupid (370),
good, £2 14s.
40. The Dragon and the Fly (406). fair, £1 5s.
41. Venus and Cupid (410), good impression, £3.
42. The Two Armies, after Nadat (415), fair, 16s.
43. The Academy of Baccio Bandinelli (418), fair impression,
clean, £1 7s. 6d.
44. The Court of Death, after Baccio Bandinelli (424), £1 4s.
45. The Stregozzo (426), first impression before the letters
A. V. on the horn, very rare, £6 10s.
46. The Two Philosophers (439), £1 11s. 6d.
47. Apollo and Daphne, after Baccio Bandinelli, first state
with the date 1515, fine, £1 8s.
48. The Country woman carrying a Child (450), the Woman
Selling Eggs (453), £3 16s.
49. The Naked Man Seated (454), the Old Woman Approaching
Her Grave (456), the Cardinal on His Mule (459), good
impressions of these three prints, £6 6s.
ENGRAVERS AND THEIR WORKS.
537
50. The Man Putting on his Armour, after Michelangelo (463),
marked "A. V. 1517," a copy of the original print,
£1 17s. 6d.; fair impression of the original, £1 10s.
51. A woman carrying a vase (470), a man and woman holding
each other by the hands (471), fine, £6 10s.
52. The Bark (473), £2 15s.
53. A man seated, holding a branch of laurel (491), fine,
£3 10s.
54. A group from the School of Athens, after Raffaelle (492),
fine impression, £5.
Portraits.
55. Girolamo Alexander, Archbishop of Brundisium (517),
second impression, good, £1.
56. Frederick Barbarossa (520), second impression, fair, 12s.;
another impression (1st), good, £3 5s.
57. The Emperor Charles V. (524), first impression, rare, £7 10s.
58. Francis I., King of France, three-quarter length, in armour
and crown, very fine and rare, £22.
Architectural Pieces, Tases, &c.
59. The Altar of Jupiter (535), The Altar of Cupid (536), good,
£1 11s. 6d.
60. The set of twelve vases (541-52), fair, £3 5s.
61. Ten prints, part of the set (numbered 564-83), fair impres-
sions, £2 14s.
Venne (Adriaen Van der).—The undermentioned print
which was certainly engraved by one of the family of
Van der Venne or Vinne, the celebrated Dutch painters,
may be by Adriaen of that name, who was born at Delft
in 1589. The print is well designed and neatly executed
with the graver.
1. An allegorical composition, relating to the Duke of Alva's
cruelties in the Low Countries in 1569. The Duke seated
on a throne to the left, Cardinal Granville blowing with
a bellows in his ear, and Margaret of Palma in the
background fishing in blood, dated 1622, very rare, £3 6s.
Venturini (Giovanni Francesco).-Born at Rome
at the commencement of the seventeenth century, and died
there in or about the year 1660. This artist engraved
several plates in a neat, pleasing style after the manner of
Galestruzzi, a Florentine painter and engraver who was
contemporary with him. Good examples of his work
538
ENGRAVINGS AND THEIR VALUE.
are found in "Diana and her Nymphs," after Domenichino,
and in a set of plates after Caravaggio. Their value is, under
ordinary circumstances, small.
Verhelst (Egidius).-A well-known engraver, who
was born at Ettal in Bavaria in 1742, and died at
Munich in 1818. This artist spent the early portion of
his life in the studio of a sculptor, and afterwards placed
himself under the tutorship of J. G. Wille, the engraver.
His prints consist for the most part of small portraits,
which are neatly executed and occasionally command
good prices.
1. Clement Wenceslaus, Elector of Trèves, good, with margin, £1.
2. Two plates representing Innocence and Simplicity, engraved
for Lavater's Physiognomy," fair, 6s.; two other im-
pressions, very fine proofs, with margins, £2 12s. 6d.
3. Elizabeth Augusta, wife of the Elector of Bavaria, 1790,
fine, 16s. 6d.
Verkolje (Johannes). - Born at Amsterdam in 1650;
died at Delft in 1693. This artist, who is also celebrated
as a painter, was one of the earliest Dutch engravers in
mezzotint, an art then lately discovered, and the prints
which he produced, are much superior to what would be
expected at so early a period. In all probability Verkolje
practised for some time in London, as several of his portraits
are after London artists.
1. Martinus von Boeckeller, dated 1683, fine and rare, £1.
2. Diana and Calisto, after Netscher, good, 17s. 6d.
3. Venus and Cupid, 1682, very rare, £1 10s.
4. Hortense Mancini, Duchess of Mazarine, after Sir Peter
Lely, 1678, fine and rare, with large margin, £5 5s. (also
engraved by Gerard Valck).
Verkolje (Nicolaas).---This engraver was the son and
pupil of the last named artist. He was born at Delft in
1673, and died at Amsterdam in 1746. Nicolaas Verkolje
engraved in mezzotint, having doubtless learned the secret
from his father, whom he far surpassed in talent.
1. A Shepherd and Shepherdess, after Netscher, good, 10s. 6d.
2. The Holy Family, fair, 3s. 6d. ; another impression, very
fine, £1.
ENGRAVERS AND THEIR WORKS.
539
1
1
1
3. The Garden Party, after Weenix, a brilliant impression
with large margin, £3 3s.
4. Jan Pieter van Zomer, after Boonen, with a print in his
hand, fine, £1 1s.; the same, but without the print,
exceedingly rare in this state, good, £5 15s.
Vermeulen (Cornelis).—A Flemish engraver who was
born at Antwerp in 1644; he died there in 1710. This
artist worked with the graver only in a very clear and
neat style. His best prints consist of portraits.
1. Nicolas de Catinat, Maréchal de France, good, £1.
2. Joseph Roettiers, three-quarter length, in oval, very fine,
£1 1s.
3. Marie Louise de Tassis, after Vandyck, 3s. 6d. ; another
impression, a little better, 6s.
4. François de Montmorency, Duc de Luxembourg, half-length,
in armour, good, 12s.
5. Bacchus and Erigone, after Guido, good, 8s. ; another
impression, fine, 12s. 6d.
Vernet (Antoine Charles). This artist was one of
a well-known family of painters. He was born at Bordeaux
in 1758, and died at Paris in 1836. Most of his works
consist of paintings, but he executed a few lithographs,
which are not of much note.
Vernet (Claude Joseph).-Born at Avignon in 1714;
died at Paris in 1789. Among this artist's few etchings
may be mentioned:
1. A view of a market-place, fair, with margin, 6s.
2. A canal, good, 8s. 6d.
Vernon (Thomas).—An English engraver, born in
Staffordshire in or about the year 1825; died in 1872.
This artist practised in the pure line manner in a finished
and elaborate style. He excelled greatly in his figures.
1. Christ Healing the Sick, after Murillo, good, 8s. 6d.
2. Lady Constance Grosvenor, after Winterhalter, fair, 4s.;
another impression, fine, with margin, £1 2s.
3. Madonna and Child, after Raffaelle, good, 12s. 6d.
Veronese (Paolo).- See Cagliari (Paolo).
Vertue (George).—Born at St. Martin's-in-the-Fields,
London, in 1684; died in 1756, and was buried in the
540
ENGRAVINGS AND THEIR VALUE.
cloisters of Westminster Abbey. Vertue was one of the
first members of the Royal Academy, instituted by Sir
Godfrey Kneller in 1711. The works of this engraver,
which are exceedingly numerous, consist of portraits, copies
from ancient pictures and antiquities of all kinds. An
account of his life together with a complete list of his
works will be found in Walpole's "Anecdotes of Painting,"
3 vols, 8vo, 1888.
1. A set of thirty-eight Kings and Queens of England, fair,
£2 5s.
2. Cenotaph of Henry VII. and Henry VIII.; the children
of Henry VII. (2), both proofs, £3 15s.
3. Sir Thomas Gresham, choice proof, very rare, £5 10s.
4. Sir Philip Sidney, before the name of the engraver; ditto,
proof before any inscription (2), good, £3 68.
5. William Lambarde, proof and letters, very fine, £3 3s.
6. Beaumont and Fletcher, folio, proofs before any inscription
(2), very good, £2 10s.
7. William Shakespeare, folio, choice proof before any letters,
£5 5s.; another and ordinary impression, £1 1s.; another
impression, brilliant proof before all letters, £12 12s.
8. Oliver Cromwell, small 4to, in an ermined cloak, fine and
rare, £2 10s.; another impression, 14s.
9. Sir Edward Nicholas, proof before any inscription, £2 15s.
10. Richard Graves, of Mickelton, proof and letters, 16s.
11. John Milton, three different prints, very fine, £2; the same,
three-quarter length, in oval of stonework, proof before
all letters, very fine, £10 10s. (old sale).
12. Sir James Ware, historian, folio, proof, £1 14s.
13. Edmund Waller, five different portraits, fair, £1 1s.
14. Anne, Queen of England, three-quarter length, in oval, 13s
15. Thomas Sackville, Earl of Dorset, three-quarter length, in
oval, fair, 5s.
16. William Cavendish, Duke of Newcastle, three-quarter
length, in oval, after Vandyck, 12s
17. Geoffrey Chaucer, three-quarter length, in oval, insci ption
at top, good, 17s.
18. King Charles I., and the Heads of the Noble Lords and
Others who Suffered for their Loyalty, on ten sheets,
published in 1746, by S. Austen, in Newgate-street, fair,
£2 5s.
19. John Dryden, three-quarter length, with wreath of laurel
in his hand, 10s.
20. Ben Jonson, three-quarter length, in oval, brilliant proof
before all letters, £15 15s.
21. William Laud, Archbishop of Canterbury, fair, 8s.
ENGRAVERS AND THEIR WORKS.
541
22. The Rev. John Owen, fine proof, before the Latin lines,
rare in this state, £7 7s.
23. The Countess of Sunderland, proof before letters, 12s.
24. The Countess of Carlisle, proof before letters, 15s.
25. Portraits of celebrated British Poets, good impressions (11),
£4 12s.
Viani (Giovanni Maria).-Born at Bologna in 1637;
died there in 1700. This artist's etchings are few in
number and all after the Carracci.
1. The Madonna and Child and St. Francis, after Ludovi co
Carracci, fine, £1 10s.
2. Dido, after Annibale Carracci, good, 16s.
3. War, after Ludovico Carracci, fine, £1.
Vicentino (Niccolò).-A wood engraver, also known
as a painter. He was born at Vicenza, about the year
1510, and was working at Bologna in 1540. Many of this
engraver's blocks are difficult to distinguish from those
of Niccolò Boldrini, to such an extent indeed that the
works of the two artists are frequently classed together.
See Boldrini (Niccolò).
1. Five bold etchings of landscapes, fair, 12s.
2. Venus and Cupid, good, 16s.

3. Clelia escaping from the Camp of Porsena, fine, 168.
4. A Sibyl reading, fine, 8s.: another impression, fair, 3s. 6d.
Vico (Enea or Æneas).-A celebrated engraver, who
was born at Parma about the year 1520, and died there
in 1567. This artist, whose plates number about 500, was
a pupil of Barlacchi, and as some say of Marc Antonio,
whose style he closely imitated. His prints are, however,
neither so neat nor so clear as those of the artist last named.
Eneas Vico seems to have engraved on wood for the
print numbered 17 below is apparently from a block. This,
however, is denied by some authorities.
1. Judith and Holofernes, after Michelangelo; the Annun-
ciation, first impression; the Madonna and Child in the
Clouds, after Marc Antonio (3); fair, £1 3s.
2. The Burial of Christ, after Raffaelle, good, 12s.
3. St. George and the Dragon, after Clovio, very fine, £2 10s.
4. The Conversion of St. Paul, after Salviati, good, 14s.
5. The Battle of the Amazons, good, with large margin, £1 6s.
542
ENGRAVINGS AND THEIR VALUE.
6. Lucretia, after Marc Antonio, and the same subject after
Parmigiano (2), good, £1 17s.
7. The Three Graces, after the antique; Mars and Venus,
first impression; Flora; Venus; Leda (5); fair impres-
sious, £1 15s.
8. The Forge of Vulcan, very rare, good impression, £4.
9. The Muses, after Rossi; the Centaurs and the Lapithæ,
the Forge of Vulcan, after Primaticcio (a different print
from the one numbered 8, supra) (3), fair, £1 4s.
10. A Bacchanalian Procession; an old woman about to step
into her grave; a sacrifice; an old woman spinning,
after Parmigiano; a young woman looking at herself in
a mirror (undescribed) (5), all fair impressions, £1 10s.
11. The Two Pilgrims, after Vasari; two statues; the woman
with an owl, after Parmigiano, original and copy, the
real original being mistaken by Bartsch for the copy (4),
fair impressions, £1.
12. The Roman Courtesan, with Virgil in the basket, first
impression, very fine, £4 5s.
13. The Rhinosceros, good, £1.
14. Fanciful composition of many children, after Michelangelo,
good, very fine, £1 17s.
15. The set of antique gems, Nos. 100-3, in three pieces, before
the plates were cut, not known to Bartsch, very rare in
this state, £7 7s.
16. Portrait of Giovanni de Medici, 1550, very good, £3.
17. Portrait of the Emperor Charles V., in an oval, surrounded
by emblematical figures, said to be from a wood block,
good, £1; again, another impression fine, £2 8s.
18. Cosmo de Medici, small bust in oval, good, 13s. 6d.
19. The Academy of Baccio Bandinelli, rare and fine, £3 5s.
20. The Rape of Hippodamia, good, 10s.
Villamena (Francesco).-Born at Assisi in 1566;
died in 1626. This clever artist is supposed to have studied
under Cornelis Cort in company with Agostino Carracci..
His plates number considerably over 300, and are all
executed with the graver, in a bold, open manner. The
general effect is clear, but his prints have an unfinished
appearance due to the bad management of the lights.
1. Portrait of Bellarminus, 1604; St. Francis Receiving the
Stigmata, after Baroccio; Madonna and Child in Glory
Appearing to St. Francis; subject for a Thesis, after
Albani (4), fair impressions, 1 £ls.
2. A representation of a fight in which Bruttobuono, a retainer
of the Spanish Ambassador at Rome, was killed by a
stone, 1601, good, with slight margin, £1.
3. The Virgin and Child, with Saints, good, 17s.
1
J
}
ENGRAVERS AND THEIR WORKS.
543
4. The Last Judgment, fair, 6s.; another impression, good,
with margin, 14s.
5. The set of twenty subjects from Raffaelle's Bible, good,
£2 4s.
6. John Alto, the Antiquary, in the Streets of Rome, good,
with margin, 16s.
7. Mary Magdalene Crowned by an Angel, fine impression,
clean, and with in. margin, £5 10s.
The
Villiers (François Huet).-A French landscape painter,
born at Paris in 1772; died in London in 1813.
following print is attributed to this artist:
1. Mrs. Quintin, the Brighton Beauty, fine impression in
colours, £9 12s.
Vincent (William).—An English mezzotint engraver,
who was born at London about the year 1650. This artist's
prints, especially those from his own designs, are much
esteemed. Among them may be noticed portraits of Mrs.
Bracegirdle, Charles I., Queen Mary of Modena, Archbishop
Sancroft and about ten others, all of which are scraped
in a very neat and finished style.
Visscher (Claes Jansz).-This excellent etcher doubt-
less belonged to the same family as the preceding. He
was born at Amsterdam about the year 1580, and died
there in 1648. His plates though executed in a free,
masterly style, are never highly finished.
1. Archbishop Laud, oval, folio; ditto, with the view of his
execution in the background (2), good, £2.
2. The Moor, with bow and arrow, fair, 3s. 6d.
3. Abraham van der Hulst, three-quarter length, with trophies,
and Dutch inscription, fine, 19s.
4. Cornelis Visscher, good impression, with margin, 16s.
5. The Encampment, with a horse in front of a trough, fourth
state, with the address of Danckerts, good of its kind.
7s. 6d.
6. Berchem's Ball, the engraver's first work, first state before
all letters, £3 15s.
7. The four times of day, after Berchem (4), all second states,
with the artists' names, £1 15s.
Visscher (Cornelis).-Born at Amsterdam about the
year 1620; died some fifty years later at the same place.
This artist was a pupil of Pieter Soutman, but did not
544
ENGRAVINGS AND THEIR VALUE.
1
imitate the style of that master. Though his etchings are
spirited and free, his works with the graver are more
admired on account of their delicate and clear execution.
These are in every respect, masterly productions.
1. Philip II., fine proof, rare, £1 18s.
2. His own portrait, when young, three-quarter length, 1649, 18s.
3. William de Ryck, third state, fine, £5 10s.
4. Petrus Scriverius, Dutch historian, 1649, 78.
5. David Pieterz de Vries, half-length, in oval, 5s.
6. William I. of Orange and his Family, eight lines in Dutch
at foot, £1 13s.
7. William, Archbishop Laud, in his robes, in oval, 17s.
8. Gellius de Bouma, half-length, seated, fine, ample margin,
second state before the date 1656, £7.
9. The Rat-Catcher, good, £2; again, second state, very fine,
£10 10s.
10. The Holy Family, fair, 15s.
11. The Pancake woman, third state with the cross hatchings
on the old woman's left hand, very fine, £7 7s.
12. The Bohemian woman, finished, but before any letters,
very fine in this state, £16.
Visscher (Jan). This engraver, who was the younger
brother of Cornelis Visscher, was born at Amsterdam
about 1635, and is known to have been living in 1690. He
worked somewhat extensively with the point, and all his
etchings are executed in a picturesque and harmonious
style, particularly those plates which he engraved after
Berchem and Ostade.
1. Four plates of figures, &c. (should be six), after Du Jardin,
good, 8s.
2. Peasants Dancing, after Ostade, called "Ostade's Ball,”
good, 6s.
3. The Shepherd, after Berchem, very fine, £1 6s.
4. Portrait of De Ruyter, Dutch Admiral, good, 9s.
Visscher (Lambert). — This artist was a brother of
Cornelis Visscher. He was born at Amsterdam in 1634,
and died at Rome about the year 1693. Nearly all this
artist's prints consist of portraits, which are executed with
the graver in an indifferent style.
1. Cornelis de Witt and Jan de Witt, with a view of their
execution beneath, 2 £15s.
2. Jan de Witt, half-length, standing, companion print to
the last, £1 17s.; again, £1 12s.
ENGRAVERS AND THEIR WORKS.
545
3. Cornelis de Witt, large oval, in ornamental border, 1688,
good, £1 1s.; again, 10s.
4. Marie Thérèse, Queen of France, after Van Loo, good,
£1 4s.
Vitus (Domenico).—An Italian engraver, who was born
at, or near, Bologna, about the year 1535. His plates,
which are executed in the style of Agostino de Musis, are
highly esteemed.
1. Two single figures, one dated 1580, good, £1 4s.
2. A Sacrifice to Priapus, fair, 5s.
3. The Descent from the Cross, fair, 7s. 6d.
4. The Annunciation, after Bronzino, good, 16s.
5. Various pieces, all published by H. Cock (6), fair im-
pressions, £1 15s.
6. The Head of Medusa; naked figures bathing; nymphs
dancing, in an oval; the Arch of Constantine (4); good
impressions, but cut, £1 1s.
Vivares (François).-Born at Montpellier in 1709;
died in London in 1780. This artist's prints number about
150, his landscape subjects, particularly those after Claude,
being extremely fine. His plates are for the most part
worked with the graver and shew a great improvement
on the style of Chatelain by whom he was instructed.
1. Francis Vivares, "passed greater part of his life," &c., in
small oval supported by cupids, fair, 10s.
2. A Tempest, after Poussin, fair, 6s.; another impression,
very fine, with margin, £1 8s.
3. The set of eight Derbyshire views, after Thomas Smith,
good, £1 14s.
4. The Enchanted Castle, after Claude Lorraine, fair, 5s.
5. A storm on land, after Poussin, good, 12s.
6. The set of four views of ruins, fine, 16s.
7. Eloisa Meditating, after Wheatley, oval in red, good, 17s.
8. The morning, after A. Cuyp, published March 15, 1754,
fair, 3s.
Vliet (Jan Joris van der). This artist was one of
the pupils of Rembrandt, whose style he imitated. He
was born at Delft about the year 1610. His etchings,
which, like those of his Master, are noticeable for their
accentuated variations of light and shade, are not in other
respects well executed, the outlines of the figures being
35
546
ENGRAVINGS AND THEIR VALUE.
very incorrect, the extremities badly marked and the
draperies heavy.
1. Susannah and the Elders, after Lievens, good, with margin,
£1.; another impression, very fine, £4 8s.
2. The Head of a Soldier, after Rembrandt, very fine and
rare, £1 10s.
3. The Rat-catcher, after Lievens, fair, Ss.; another impres-
sion, good, 12s. 6d.
4. A woman laughing, good, £1 3s.
5. St. Jerome, praying in a cavern, after Rembrandt, the
master's finest work, £2 9s.
6. The Five Senses, fine, £1 14s.
7. Isaac Blessing Jacob, after Lievens, fine and rare, £1 16s.
Voerst (Robert van).—An engraver of great repute,
who was born at Arnheim about the year 1600; died in
1670. This artist's chief works consist of portraits which
he executed entirely with the graver in a neat and clear
style. He practised in this country up to about the year
1635.
1. Charles I. and Henrietta Maria, after Vandyck, oblong
sheet, fine proof, and excessively rare in this state and
condition, £21 (old sale).
2. William, Earl of Denbigh, oval, 4to, fine and rare, £7 7s.
3. Edward, Earl of Dorset, oval, 4to, rare, £1 13s.
4. Robert, Earl of Lindsey, in armour, after Georg Geldorp,
very fine and scarce, £4 4s.
5. Robert, Earl of Lindsey (the large plate), rich laced sash
over his armour, 1627, after the same, Latin inscription
beneath, folio, extra rare and brilliant, £19 19s.; another
impression, good, £2 10s.
6. William, Earl of Pembroke, large oval, after Mytens, very
fine, £4; another impression, rare proof, £13 13s.
7. Philip, Earl of Montgomery, after Mytens, large 4to, fine,
and scarce, £2 16s.
8. James, Duke of Richmond and Lennox, after Georg Geldorp,
oval, large 4to, rare, 18s.
9. Robert, Earl of Warwick, laced scarf over his armour,
oval, 4to, rare and brilliant, £12 10s.
10. Robert, Earl of Warwick, in armour, large oval, arms
above, and representation of naval engagement in a
cartouche beneath, eight English verses, half-sheet, an
excessively rare print in a good state of preservation,
£31 10s. (old sale).
11. Sir Kenelm Digby, after Vandyck, choice proof, £4 18s.
Voet (Alexander).—A Flemish engraver, who was
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ENGRAVERS AND THEIR WORKS.
547
born at Antwerp in 1613. Most of this artist's prints are
after Rubens, and though neatly engraved, are not always
drawn correctly.
1. Charles I. and Henrietta Maria, playing at cards with
Christian IV., six lines in French beneath, fine and
rare, £3 12s.
2. Johannes Von Kessel, three-quarter length, with flower in
right hand, 12s. 6d.
3. The Card Players, after De Vos, good, 16s.
4. Death of Seneca, after Rubens, fine, £1.
5. The Roman Daughter, after Rubens, good, 12s.
Volpato (Giovanni).-Born at Bassano about the year
1730, subsequently studied under Bartolozzi and Wagner,
and died at Rome in 1803. Among this engraver's prints
are a number after Raffaelle, which are coloured. Good
impressions of these are scarce. He also engraved a
number of plates for Gavin Hamilton's "Schola Italica
Picturæ," which, however, do not usually command high
prices. Among the best are: "Perseus and Andromeda,"
after Caravaggio; "The Feast in the House of Simon,"
after Paolo Veronese; "The Gamesters," after Michelangelo;
and "Modesty and Vanity," after Leonardo da Vinci.
Vorsterman (Lucas).-Born at Antwerp in 1578; died
at London about the year 1660. All this artist's plates
are executed with the graver, those after Rubens being
especially fine, though all alike are noticeable for their
masterly execution and effect, in which the spirit of the
originals is admirably reproduced.
1. Thomas à Becket, in a surplice, small oval, proof and
letters, rare, 5 £15s.; again, fine, £1 10s.
2. Philip Howard, Earl of Arundel, laced ruff and cloak, oval
4to, proof, very rare, £17 10s.
3. Thomas, Duke of Norfolk, after Holbein, before the addition
of the word "fecit," very fine and rare, £5 5s.; the
same, proof before any inscription or the age and date
were introduced on the print, excessively rare, £21
(old sale).
4. Charles I., very fine and rare, £4 16s.
5. William, Earl of Pembroke, French inscription, large oval
sheet, very fine and scarce, £2 5s.
548
ENGRAVINGS AND THEIR VALUE.
6. Charles IV., Constable de Bourbon, three-quarter length,
in hat and fur-trimmed coat, good, £1 5s.
7. "Lucas Vostermans Calcographus," half-length, seated in a
chair, good, Ils.
8. The Entombment, after Raffaelle, fine with margin, £2 5s.
9. The Descent from the Cross, after Rubens, good, 12s.
10. Lot leaving Sodom, after Rubens, fair, 6s.
11. The Battle of the Amazons, on six sheets, good, £1 5s.
12. Thomas Howard, Earl of Arundel, after Vandyck, printed
on vellum, good, £2 8s.
13. Isabella d'Este, after Rubens, fine, £3 4s.
14. St. George and the Dragon, after Raffaelle, good, £2 16s.
Vorsterman (Lucas, the younger).—This engraver,
the son of the preceding artist, was born at Antwerp
about the year 1600. His plates are much inferior to those
of his father. He executed a number of prints for the Duke
of Newcastle's "La Methode et Invention Nouvelle de dresser
les chevaux" (Antwerp, folio, 1657): these are fairly good.
1. The Triumph of Riches, after Holbein, fair, 3s.
2. Sir Hugh Cartwright, ætat. 60, 1656, in armour, after
Diepenbeck, £1 8s.
3. The Virgin in the Clouds, after Vandyck, 8s.
4. The Bear Hunt, after Snyders, good, 12s.
5. The Trinity, a large upright plate, after Rubens, good, 10s.
Vouillemont (Sebastien).-The works of this artist
consist of etchings, some pure and others finished with
the graver. His plates in the former manner are more
successful though none are particularly noticeable, as
his drawing is invariably incorrect and the mechanical
part of his plates inferior. This engraver's best plates.
comprise, "The Massacre of the Innocents" and "Christ at
Emmaus," both after Raffaelle.
W. (Master of).-See Master of W.
Wagner (Joseph).-This artist, who is credited with
several portraits and a large number of subjects after
various masters, was a native of Switzerland, where he was
born in 1706. His prints are often offered for sale, and
high prices are the exception and not the rule. Among
his best productions are portraits of Peter the Great,
ENGRAVERS AND THEIR WORKS.
549
1
1
Carlo Brosci the musician, and various subjects after Paolo
Veronese, Giordano, Amigoni, van Loo and other well-
known painters. Another engraver of the same name, but
who was probably no relation to this artist, was Friedrich
Wagner, who was born at Nuremberg in 1803. This
engraver's plates are also very numerous and as a rule of
little value.
Walch (Jacob). - See Babylone (Francis de).
Walker (Antony).-Born at Salisbury in 1726; died
at London in 1765. This artist was chiefly employed in
executing frontispieces for the booksellers. He engraved
several plates for the Boydell collections in a heavy,
confused style.
1. The Country Attorney and his Client, after Holbein, 1764,
good, 8s. 6d.
2. St. Giles's Churcn in the Fields, fair, 4s. 6d.
3. Interior view of the same, fair, 4s. 6d.
4. Curius Dentatus and the Samnites, after Cortona (his best
print), very fine, £1 10s.
5. Law and Physic, after Ostade, good, 7s. 6d.
Walker (James).—This eminent mezzotint engraver was
born about the year 1748, and at the age of fifteen became
a pupil of Valentine Green. His earlier English prints
are dated 1773-83, and exhibit high artistic quality. The
portraits after Romney are very successful, those of
ladies especially. Walker died, most probably, in the
year 1820.
1. Miss Frances Woodley, after George Romney, fine, first
state, £109 4s. (The first state has the publisher's address
but is dated "Dec. 10th, 81." The second state is dated
“Dec. 12th, 1781").
2. The young Maid and old Sailor, after Henry Walton, rare,
£2 2s.
3. The Entombment, 26 ins. by 21 ins., after Liouel Spada,
rare, £1 15s.
4. Sir Barnard Taylor, after Wheatley, good lettered impression,
10s. 6d.
Walker (William).—This artist was the brother of
Anthony Walker, and flourished at the same period. He
550
ENGRAVINGS AND THEIR VALUE.
also was employed by Boydell in the execution of a
number of plates, mostly of large size.
1. The Rev. Archibald Alison, proof on India paper, 12s. 6d.
2. Portrait of a lady, after Gardener, proof before the title,
very fine, £2.
3. Sir Henry Raeburn, R.A., fair, 5s.
4. Robert Burns, bust, in oval frame, after Nasmyth, proof,
fine, £2 2s.
5. Sir B. Gerbier and his family, good, 16s.
6. Diana and Calisto, after Le Moine, proof before letters, 5s.
7. Lord Denman, after E. W. Eddis, private plate, lettered,
fine impression, £1 8s.
Ward (James).—A mezzotint engraver of considerable
repute; who was born in Thames Street, London, on Oct. 23,
1769; died Nov. 23, 1859. This artist was a pupil of
J. R. Smith and the younger brother of William Ward
next named. Bryan mentions William James Ward who is
stated to have been a son of William Ward. No such
artist is known either to Chaloner-Smith or to Nagler,
though Redgrave says that a mezzotint engraver of that
name died on March 1, 1840, "aged about 40."
1. Richard Burke, three-quarter length, four lines beneath,
fair, 7s. 6d.
2. Arthur Murphy, Esq., whole length, seated at a table, after
Dance, fair, 8s.
3. Prince George of Cambridge, after Lucas, fine and rare,
£1 1s.
4. Admiral Durham, after Grant, very fine, £3 3s.
5. Earl Grey, after Jackson, good, £1.
6. Victory of Lord Duncan, after Copley, proof, £4.
7. Children Bathing (The Hoppner Children), brilliant proof
with open letters; Juvenile Retirement (The Douglas
Children), brilliant impression, both after J. Hoppner (2),
£250. (See under William Ward, No. 36).
8. John Dunning, Colonel Barre and Lord Ashburton, after
Reynolds; The Baring Family, after Lawrence, both
proofs before letters, fine with large margins (2), £40;
again, lettered impressions but very fine with large
margins, £25 10s.; again, proofs before any inscription,
£31 10s.
9. Smugglers, after Morland, good with margin, £1 6s.; again,
open letter proof, £2.
10. The Misers, after Quintin Matsys, good, £1 12s.
11. G. F. Cooke in the character of Iago, after James Green,
1801 (19 ins. by 14 ins.), in colours, good, £2 14s.
ENGRAVERS AND THEIR WORKS.
551
12. The Cow-House, very fine, £5 5s.
13. Portraits of Celebrated Horses, thirteen lithographic plates,
proofs on India paper, selected and retouched by the artist,
very fine, £21.
Ward (William).—A very celebrated mezzotint engraver,
who is said to have been born in London about the year 1765.
He died there in 1826. This artist engraved a considerable
number of plates after his Brother-in-Law, George Morland,
for which there is at the present time a great demand.
See Morland (George).
1. Daniel in the Lions Den, after Rubens (24 ins. by 20 ins.),
in colours, fine with large margin, £3 10s.
2. The Entangled Kite, after Morland, £2 11s.
3. Domestic Happiness and The Coquette at her Toilet, finely
printed in colours (2), £76.
4. The Fruits of Industry and Economy, and The Effects of
Idleness and Dissipation, fine impressions (2), £13.
5. Industry and Economy, after Singleton, in colours, very
fine, £5 5s,
6. The Fruits of Early Industry and Economy, after Morland,
very fine, £11 15s.
7. The Delightful Story, fair, 11s.
8. Selling Rabbits, and The Citizen's Retreat, fine impressions
in colours (2), £27; again, £31.
9. The Country Stable ("The Farmer's Stable"), after Morland,
fine, £2 5s.; the same, proof before letters, full margin,
£14 14s.
10. Louisa Mildmay, proof, printed in brown, very rare, £11;
again in colours, very fine, £18 7s. 6d
11. Boaz and Ruth, after Wheatley, fair, 16s.
12. The Travellers, after Morland, fair, £1 8s
13. William Coke, after Weaver, in colours, fair, £1.
14. Morning and Evening, after Morland, a fine pair in colours,
£31; again, good, £12.
15. A Hard Bargain, after Morland, very fine, in colours, £7 15s.
16. Blindman's Buff, after Morland, open letter proof, very
fine, £10 10s.
17. H. R. H. Princess Amelia, after Ramberg, oval, in brown,
good, £1 11s.
18. A visit to Grandfather, after J. R. Smith (see Smith).
£3 3s.; again, in colours, £7.
19. Thoughts on Matrimony, after the same, in colours, very
fine, £21; again, very fine, £21 10s. (the companion
print "Thoughts on a Single Life," is by J. R. Smith).
20. A Visit to the Child at Nurse: a Visit to the Boarding
School, both after Morland, coloured (2), £10.
21. Stable Amusement; after the same, coloured, £6 10s. ; again,
coloured, £2 8s.
552
ENGRAVINGS AND THEIR VALUE.
22. Mrs. Benwell, after Hoppner, good, £13 13s.; again, proof,
open letters, fine, £20 10s.; again, in colours, £1 10s.
23. The Soliloquy, in colours, fine, £8 8s.
24. Reaping and The Gleaners, after Jas. Ward, both in
colours, good, £11.
25. The Snake in the Grass, after Reynolds, fine coloured
impression. £19.
26. The Daughters of Sir Thomas Frankland, after Hoppner,
proof before letters, earliest finished state, very fine with
large margin, £200; the same, proof, second state, £231;
the same, fine lettered impression, £33 12s.
27. The Stormy night and the Morning after the Storm, both
after Bigg, good lettered impressions (2), £4 18s.
28. Sunset, a view in Leicestershire, after Morland, full margin,
fine, £13 13s.
29. Cottagers, after Morland, fine, £9 15s.
30. The Turnpike Gate, after Morland, printed in colours,
£14 10s.; again, in colours, £24.
31. Alehouse Politicians, printed in colours, £10 10s.
32. The Storm, The Battle, The Sailors Return and, Sailors in
Port, the set of four after Morland, in colours fair, £3.
33. The First Pledge of Love, after Morland, good, £2.
34. A short horned heifer, bred by Robert Colling of Barmpton,
Durham, after Thomas Weaver, 1811, mezzotint, good
impression, £1 1s.
35. Elizabeth, Countess of Mexborough, after Hoppner, printed
in colours, very fine, £80.
36. Juvenile Retirement (The Douglas Children); and Children
Bathing (The Hoppner Children), both after Hoppner,
by William and James Ward, a pair, finely printed in
colours, £325 10s.
37. Miss Frances Vane Tempest, as "Miranda," after Hoppner,
proof printed in brown, fine, £54 12s.
Warren (Charles Turner).-This artist was born in
London in 1767, and died there in 1823. Though chiefly
employed on small book illustrations, he is celebrated as being
the first artist who really succeeded as an engraver on steel.
1. Ben Jonson, proof before letters, India paper, 12s.
2. Alexander Pope, proof, fine, £1.
3. The Broken Jar, after Wilkie, good, 15s.
4. Five Illustrations to "Don Quixote," after Smirke, fair, 8s.
Waterloo (Anthonie).- A painter and engraver, who
is supposed to have been born at Lille about the year
1610. This artist's etchings are most masterly; they are
executed in a slight, expeditious style, and sometimes
retouched with the point of the graver in order to
harmonize the lights and to give force to the masses
ENGRAVERS AND THEIR WORKS.
553
i
of shadow. They are of various sizes, and number in the
whole about 153, of which Bartsch describes 136.
1. The Forest; Ruins; set of four landscapes, proofs before
the numbers (6), 17s. 6d.
2. The set of landscapes numbered 21-32 in Bartsch (12),
18s. 6d.; again, very fine, £3 3s.
3. The Cavalier near the Gate, early state before the fore-
ground and the large trees on the right were strengthened,
very rare, £2 16s.
4. The Farm on the Bank of a River, first state before the
branches on the tree on the right, very rare, £2 14s.
5. Landscape, with men on the banks of a stream, proof
before the name of Waterloo, and before much additional
work, rare, £8 8s.
6.
Tobit and the Angel, very fine, £1 10s.
7. The set of upright landscapes numbered 119-24 in Bartsch
(6), very fine, £6.
8. A set of landscapes, numbered 131-136 in Bartsch (6), very
fine, £8.
9. The Water Mill, fine impression, with margin, £6 6s.
(the artist's best print.)
Watson (Caroline).-Born in London about the year
1760; died there in 1814. This artist was a daughter of
James Watson next named. She engraved both in mezzotint
and stipple.
1. Prince William Frederick, after Reynolds, fair, £1 2s.
again, in red, £1.
2. The Hon. Mrs. Stanhope after the same, fine, in colours,
£18 10s.; the same, plain, second state, £3 10s.
3. Mrs. Siddons and Mr. Kemble as Tancred and Sigismunda,
after Sherreff, oval, fair, 7s.
4. Miss Bover, after J. Hoppner, rare, £2 4s.
5. The Countess of Kinnoul, after Shelley, fair, 9s.
Watson (James). Born in Ireland in 1740; died in
London in 1790. This artist was one of the best of the
English mezzotint engravers, his style being excellently
finished and delicate. One peculiarity about the artist was
that when not completely satisfied with a plate he would
work an entirely new one instead of retouching and altering
the old one in the usual way. This sometimes gives rise
to considerable confusion by reason of their being two or
more plates of the same subject in existence.
1. Lucinda, after Falconet, fine, £1 4s.
2. A lady seated, after Morland, good, £1 12s.
554
ENGRAVINGS AND THEIR VALUE.
3. A girl reading, a light in her right hand, after the same,
fair, 12s.
4. Sir Jeffery Amherst, half length, in armour, after Reynolds,
proof, fine, £2 5s.; again, £2 10s.
5. Ann Courtney, Countess of Corke, proof before letters,
£1 16s.
6. Mary Heblethwaite, Lady Boynton, fine and rare, £3 8s.
7. Sir Joshua Reynolds, after himself, three-quarter length,
good, £2.
8. Mrs. Whatman, after Cotes, fine, £2.
9. Sir Christopher Wandesford, half length, robed, proof before
letters, very fine, £1 7s. 6d.
10. Lady Bingham, after Kauffman, fine, £3 18s.
11. Charles, Duke of Richmond, 1778, after Romney, proof
before the star and open letters, £3 5s.
12. Lord Chief Baron Wandesford, after Vandyck, fine, £1 1s.
13. Miss Elliot, standing, chariot to the left with peacock,
after Kettle, £1 16s.
14. John, Marquis of Granby, after Reynolds, proof before
letters, £2 12s.
15. Mrs. Hale as L'Allegro, after the same (24 ins. by 15 ins.),
brilliant proof before letters, large margin, £37 16s. ;
again, £32.
16. James Paine and his Son, after the same, proof before
letters and before the writing on the Scroll, margin,
£3 10s.
17. Lady Stanhope, after the same, proof before letters, fine
condition, with margin, £13 13s,; again, £22.
18. Francis, Marquis of Tavistock, after the same, proof before
letters, margin, £3 3s.
19. A Spaniel, after G. Barrett, proof before letters, fine with
full margin, £1 9s.
20. Mother and Child, after Reynolds, proof, cut, 12s.
21. The Right Honourable Lady Molyneux, after Reynolds, fair,
15s.; again, proof before letters, £2 15.
22. Maria, Countess of Suffolk, after Reid, private plate, scarce,
£1 8s.
23. Miss Greenway, after Reynolds, first state, £14 14s.; again,
£14 14s.
24. The Pembroke Family, after the same, proof before letters,
fine, £11.
25. Mrs. Bull, after Pyne, proof before all letters, £1 10s.
26. Warren Hastings, after Sir Joshua Reynolds, scarce, £2 16s.
27. Dr. Johnson, three-quarter length, after the same, rare and
fine, £5.
Watson (Thomas).-An eminent mezzotint engraver,
who was born in London in 1743. He died at the early
age of thirty-one, having executed many beautiful plates
in a bold and powerful style somewhat resembling that of
ENGRAVERS AND THEIR WORKS.
555
1
Dickinson. A few of this artist's earlier plates are in stipple.
He was no relation to the engravers of the saine name
previously mentioned.
1. Madame Du Barry, after Drouais, three-quarter length,
good, 10s. 6d.
2. Francesco Bartolozzi, after Sir Joshua Reynolds, proof,
before any letters, £3 3s.
3. Mrs. Frances Anne Crewe, after Sir Joshua Reynolds, very
fine, first state, before any inscription, £85.
4. Miss Lumsden, after Willison, three-quarter length, seated,
reading, fine proof, £1 18s.; again, lettered impression,
good, 15s.
5. Mrs. Lucy Hardinge, after Sir Joshua Reynolds, 1£ 10s.
6. Lady Ossory, after Lely, one of the set "V," proof, 1779,
£3 16s.
7. Lady Rochester, after Lely, one of the set "V," brilliant
proof, 1779, £3 8s.
<<
8. Lady Whitmore, after Lely, one of the set V," brilliant
proof, 1779, £3 15s.
9. The Death of Mark Antony, after Dance, proof, with margin,
£4 (21½ ins. by 15½ ins.); again, in colours, fair, 10s.
10. Mrs. Beresford, Mrs. Gardner and Lady Townshend, as
Graces. (Sacrificing to Hymen), fine impression of the
second state, before the names of the personages were
removed, £56 14s.; again, same state, very fine, £73 10s.
11. Miss Kitty dressing, after Wright, good, 16s.
12. Lady Gideon, proof before any letters, large margin, fine,
£11 10s.
13, Una, after Reynolds, good with margin, £3 8s.
14. Lady Bamfylde, fine, first state, £357 10s.; again (the
same print), £162 15s.; the same, second state, fine,
£30 9s.
15. The Strawberry Girl, after Reynolds, fine first state,
£109 4s.
16. Lady Melbourne and Son, after Reynolds, proof in the first
state, £6 6s.
17. Viscountess Spencer, after Reynolds, second state, £2.
18. A Beauty of Hampton Court, first state; Lady Whitmore,
proof; Countess of Rochester, proof; Duchess of Richmond,
proof; six "prints" all after Sir Peter Lely, £25 4s.
Watt (James Henry).—One of Charles Heath's pupils,
who was born in London in 1799. The whole of this
artist's prints are from copper, one of the finest being after
Eastlak e, entitled "Christ Blessing Little Children."
1. Lady Georgina Agar Ellis and Child, three-quarter length,
dated 1830, proof, 7s.
556
ENGRAVINGS AND THEIR VALUE.
Watteau (Antoine).—This famous painter, who was
born at Valenciennes in 1684, is credited with a couple
of plates, viz., "Tired Soldiers," and a set of “Habits à
la Mode." These are the only prints mentioned in Bryan's
'Dictionary of Painters and Engravers" or by Strutt.
Watteau died at Nogent, near Paris, in July 1721.
Watts (John).—This artist who was an engraver in
mezzotint was born in London about the year 1750.
His prints, the dates on which range from 1770 to 1786, shew
considerable merit and style.
1. The Marquis of Hertford, after Reynolds, dated 1786, fine
proof, with margin, £3 8s.
2. Nathaniel Lee, after Dobson, 1778, good, £1 5s.
3. The Earl of Denbigh, 1775, good, £l ls.
4. Icarus Flying, after Vandyck, fine, £2.
Watts (William).—A landscape engraver said to have
been born at London in 1752, and to have died a century
later at Cobham. This artist published a number of books
including "The Copperplate Magazine," "Views of the
Seats of the English Nobility and Gentry,” “Select views
in London," and other well-known works. The following
prints, one of which is ascribed to this engraver, were
sold quite recently by auction.
1. Arabian Nights stories after Bunbury, a pair representing
The Beautiful Stranger poisoned by her sister, and the
Little Hunchback dining with the Tailor, the former by
T. Ryder and the latter by Watts, inscriptions in English
and French, full margins, in colours, £2 5s.
Waumans (Conrade).—A Flemish engraver, who was
working at Antwerp about the year 1650. The date of
his death is unknown. Among his best prints are: "The
Descent from the Cross," after Rubens; "Mars and Venus,"
after Vandyck; and a portrait of Antonio de Zuniga, also
after Vandyck. Ordinary impressions of this artist's plates
are not of much value.
Weber (Friedrich).—A Swiss engraver, who was born
near Basle in 1813; he died at Paris in 1882. The artist's
ENGRAVERS AND THEIR WORKS.
557
best prints include “Sacred and Profane Love,” after Titian,
a Portrait of Holbein, after himself, and the "Portrait of
a Young Man," after Raffaelle.
Wechtlin (Johann).-See Pilgrim (Johann Ulric).
Weirotter (Franz Edmund).—This engraver, who
was one of the pupils of J. G. Wille, was born at Innspruck
in 1730; he died at Vienna in 1771. There are by this
master a large number of excellent landscapes etched in
a bold, free style and giving a most harmonious and
agreeable effect. They are all sinall plates and were for
the most part published in sets.
1. Ten views (should be twelve) in Italy, with a dedication
to the Duke of Saxe-Teschen, good, 12s. 6d.
Welbronner.-See Wilborn (Nicolas).
Westall (Richard, R.A.).—This celebrated artist was
born at Hertford in 1765; and died in London in 1836. His
designs are to be met with in numerous volumes, though
very few were engraved by himself. He is, however, credited
with the following:
1. Crossing the Burn, drawn and engraved by Westall, a
good impression in colours, £5 10s.
Westerhout (Arnold van).-Born at Antwerp about
the year 1665; died at Rome in 1725. This artist worked
entirely with the graver, in a neat, clear style, but without
sufficient force to produce an agreeable effect. He engraved
after his own designs and also after those of Carlo Maratti,
Volterra and others. Ordinary impressions from any of
his plates are usually of small value.
1. St. Paul preaching at Athens, after J. B. Lenardi, fair, 2s.
2. The Descent from the Cross, after Volterra, good, 8s.,
(Nicolas Dorigny engraved a plate from the same picture).
3. The Transfiguration, after Raffaelle, good, 6s.
Wheatley (Francis). This celebrated painter was
born at London in 1747, and died there in 1801. The
following plates were engraved by various artists after
558
ENGRAVINGS AND THEIR VALUE.
the designs of this master. There is at the present time,
a great demand for coloured impressions.
1. Summer, by Bartolozzi, fine, £2 2s.
2. Summer and Winter, by the same, fine proofs before
letters, £8.
3. The Four Seasons, complete, good, £10 10s.; again, £11 10s.
4. The Fisherman's Departure, The Fisherman's Return, both
by Barney, in colours, fine, £3 7s. 6d.
5. The Cries of London, after Wheatley.
(The following were all in good condition, with margins.)
Two Bunches a Penny, Primroses, by Schiavonetti, in
colours, £6 5s.; again, very fine in colours, £20; the
same in black, £1 10s.: again, proof, in brown, £4.
Cherries, by A. Cardon, in colours, very fine, £25 4s.
Milk Below, Maids, by Schiavonetti, brilliant impression,
printed in colours, with full margin, £9 15s.
The same, in black, £1.
Sweet China Oranges, by Schiavonetti, £1; again, in
colours, very fine, £23.
New Mackerel, by Schiavonetti, in brown, large margin,
£1 16s.; again, in colours, fine, £9.
Knives, Scissors, Razors to Grind, by Vendramini, £1;
again, £1 10s.; again, fine in colours, £20; again, in
colours, very fine, £47.
Fresh Gathered Peas, by Vendramini, £1 14s.; again, in
colours, £5 10s.
Old Chairs to Mend, by Vendramini, large margin, proof
in brown, £4.
Hot spiced gingerbread, by Vendramini, in bistre, good, £5.
A New Love Song, Only Ha'penny apiece, by A. Cardon,
in brown, large margin, £1 16s.; again, in colours,
fine, £11 10s.
Turnips and Carrots, O! by T. Gaugain, large margin, £1.
Matches, by A. Cardon, in colours, £7 10s.
6. The Cries of London, a set of thirteen, tolerable impres-
sions in colours, £21; again, in colours, very fine, £105.
Whistler (James Abbot McNeill).-This well-known
contemporary painter and etcher is credited with a large
number of plates, from which it has been the custom to
take early impressions on India, Japanese, or low-toned
papers. Some of these are very scarce. Early states of any
of the etchings by this master are invariably difficult to
procure, and command high prices. One of the best of the
artist's productions is a view of Billingsgate, showing the
large clock on the left, and London Bridge in the distance.
ENGRAVERS AND THEIR WORKS.
559
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The view of old Hungerford Bridge is also a fine production,
and the same remark applies to "The Lime Burners,"
"The View of Limehouse,' 'Portrait of Monsieur Becquet,"
"Portrait of M. Riault," and many others. See "A
Catalogue of the etchings and Dry points of J. A. M.
Whistler," by R. Thomas, 8vo, 1874.
1. Billingsgate, three impressions, one in brown, £2 4s.
2. Man in a Punt and The Artist sketching by the River-
side (2), £1 8s.
3. Etchings of Scenes on the Thames and other subjects,
a series of 12 etchings (only 100 impressions taken), £16.
White (Charles and Charles William).-Charles
White, who is supposed to have been born in London in
1751, was a pupil of Robert Pranker, the line engraver.
White, however, on leaving his master practised entirely
in stipple, and produced a number of plates, chiefly of a
trifling character. Charles William White, who practised
from about 1750 to 1785, engraved many plates after
Bunbury, Cosway, Stothard, and other artists. He was a
pupil of George White, the artist next named. The
following short list includes works by both Charles and
Charles William White.
1. Mis-Chance, after J. Wickstead, fine, £1 1s.
2. A Kentish Girl, in colours, very fine, £8 15s.
3. Elizabeth Chudleigh, afterwards Duchess of Kingston,
proof, rere, £2.
4. Children at Play, Swinging, Blindman's Buff, etc., a set of
four small circles, fine impressions in red, £5 7s.
5. Sans Souci; and Sans Six Sous, both after Bunbury, in
colours, good, £10 10s.
6. Instruction, after Crewe, printed in colours, very fine, £14.
7. The Elements, after Hamilton, by White and Baldrey, in
colours, good, £6 15s.
White (George).—This artist was, according to Redgrave
born in London about the year 1671, and died there about
1732. Most of his portraits are mezzotints, but some of his
earlier productions are in line. All the prints mentioned
below belong to the former class.
1. Sir John Coke, 1724, fine, 17s. 6d.
2. William Dodson, fair, 18s. 6d.
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ENGRAVINGS AND THEIR VALUE.
3. Alexander Pope, three-quarter length, his head resting on
his left hand, fine, £2 2s.
4. John Baptist Monnoyer, after Kneller, good, 10s. 6d.
5. Thomas Symonds, of Chelsea, leutered impression, without
the name of Symonds, fine, £1 12s.
6. Allan Ramsay, after Aikman, fine, £1 5s.
7. Sir Richard Blackmore, brilliant, £1 12s. 6d.
8. Old Parr, ætat. 152, good, 12s.
9. Tycho Wing, philosopher, after Vanderbank, 1731, good, 16s.
White (Robert).-Born in London in 1645; died there
in 1704. This artist was one of the pupils of David Loggan
for whom he drew and engraved many architectural views.
He worked with the graver and also in mezzotint, but
his plates in the latter style are inferior.
1. The six Portsmouth Captains who Declared for William,
Prince of Orange, £1 1s.; again, good, £1 10s.
2. Sir John Marsham, first state, before the scrolls preceding
the word "ætatis," fine and rare, £1 11s. 6d.
3. Sir Thomas Nott, rare, £1.
4. Hamet-ben-Hamet, Ambassador from the Emperor of
Morocco to Charles II., rare, 7s.
5. Richard Baxter, eight lines at the foot, good, 10s.
6. Sir Matthew Hale, half length, robed, very rare and fine,
£ 10s.; another impression, good, £1 17s. 6d.
7. Prince Rupert, three-quarter length, after Kneller, fine,
the artist's best print, £2 18s.
8. Samuel Pepys, proof before lettering or scroll, good, £1 4s.
9. George, Earl of Cumberland, full length, fine, £2 18s.
10. Edward Dering, good, £2 10s.
11. Lord Chief Justice Wright, good, £1.
12. George, Lord Jeffreys, after Kneller, good, £3 16s.
Wierix (Anthonie). - This artist, the youngest of the
family of Wierix or Wierinx, was born at Antwerp about
the year 1555; the date of his death is not known. He
worked entirely with the graver. His larger prints are
more bold and free and have altogether a better effect
than his smaller subjects. Nearly all this artist's prints
are signed with his name in full.
1. The Magdalene, St. Catherine, St. Margaret, St. Ambrose
(4), fine, 15s.
2. Albertus, Archduke of Austria, and the companion print,
Isabel of Spain, two on one mount, fine, £5 10s.
3. Elizabeth, Queen of England, three-quarter length, in small
oval, very fine and rare, £4 15s.
ENGRAVERS AND THEIR WORKS.
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4. Henri IV., wearing his high hat, and the companion print,
Marie de Medici, two on one mount, fine and rare,
£7 10s.
5. William, Count Palatine of the Rhire, good, £2 2s.
6. Susannah and the Elders, dated 1584, fair, 12s; another
impression, very fine, with margin, £5 10s.
7. Death of the Virgin, after Van Veen, good, 18s.
8. St. Dominick and the Virgin, fine, with large margin,
£5 15s.
9. A series of 61 Biblical and other sacred subjects, by the
Wierix family, ordinary, £2 15s.
10. Isabella Clara Eugenia, first state, before the address of
Hieronymus Wierix, fine, £3 3s.
Wierix (Hieronymus).-Born at Antwerp about the
year 1550; died there in 1619. Most of this artist's prints
are signed with his name in full. They consist either of
portraits or of Biblical subjects in the style of his brother
Jan. They possess the same extraordinary neatness, are as
correctly drawn, and exhibit the same deficiency in taste
and freedom.
1. The Virgin and Child, St Agnes, St Francis (3), fair, 11s.
2. Henriette de Balzac d'Entragues. brilliant impression,
large margin, £15 10s.; again, very fine, £10 10s.
3. Louis, King of Hungary, fair, £1 15s.
4. Emanuel de Lorraynes, three-quarter length, in armour,
fine, with margin, £5 10s.; the same, extracted from
a book, fair, 7s. 6d.; the same, fine. £2 5s.
5. Louis d'Orleans, bust, in small oval, 1602, fine, £2 2s.
6. William I., Prince of Orange; Philip II. of Spain; the
Emperor Rudolph II.; Sigismund III. of Poland; Sir
Francis Drake; Alexander Farnese, of Parma; six small
ovals on one mount, very fine, £16 10s.
7. William I., Prince of Orange, full length, first state before
the address of Hieronymus, very rare in this state, £11 11s.
8. Margareta, Consort of Philip III., very fine, £7.
Wierix (Jan).-Born at Antwerp in 1549 or there-
abouts; date of death not known. Many of this artist's
prints are copies after Albrecht Dürer, and good impressions
of these are rare. All the artist's numerous plates are
executed with the graver alone, in an extremely neat and
careful manner, and his drawing is always correct.
1. Catherine of Bourbon, bust, at the bottom four lines in
French, first undescribed state, before the address of
36
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ENGRAVINGS AND THEIR VALUE.
Harman Adolfz, very fine, with margin, £27 10s.; again,
fine lettered impression, £5 5s.
2. Henri IV., King of France, good, £1 5s.
2. The Marquise de Verneuil, fine, with margin, £2 2s.
4. Philipp. Willem, Prince of Orange, good, with large margin,
£1 11s. 6d.
5. Orpheus playing on his Lute, fair, Ss.; another impression,
fine, £1 4s.
6. James I. of England and his Queen, a very rare print,
£1 5s. (cut); another impression, very fine proof, before
any inscription or address, £45; again, fine lettered
impression, £6 6s.
7. Marie de Medecis. Queen of Henri IV., with the first
address, £3 15s.
Wilborn (Nicolas).—An artist who was living in 1536,
and who sometimes, though it is believed incorrectly, goes
by the name of Welbronner. His etchings are under forty
in number, and are executed in a style very much resembling
that of Hans Sebald Beham. The following appear to be
the best: "A Sacrifice to Priapus," a copy from Babylone's
print; "Eve in the Garden," and the portrait of
Bernard Knipperdolling, the fanatic, dated 1536, which,
according to Bryan, is a copy of Heinrich Aldegrever's
print.
Wilkie (Sir David, R.A.).-Born at Cults in Fifeshire
on the 18th November, 1785; died at sea (in the Mediterranean)
on the 1st June, 1841. According to Bryan's Dictionary,
this artist's etchings number fourteen, among the best of
which are "Cellini and the Pope” and “The Lost Receipt."
1. A set of proofs on india-paper, consisting of seven pieces
only, as follows: (1) The Dandy Chair; (2) a boy eating
from a bowl; (3) The Woman with a Baby; (4) The
Woman seated at a Table; (5) Two women at a cottage
door; (6) The Politicians; (7) The Man and his House-
keeper searching a Drawer, sold by auction for £15 15s.
in June, 1888.
2. A set of proofs on India paper, consisting of the above seven
pieces, sold by auction for £2 6s. on the 10th July 1896.
Wilkin (Charles).-This artist was born in London
in 1750, and died there in 1814. He chiefly engraved
portraits in stipple, good impressions of which, especially
when in colours, are scarce and valuable.
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ENGRAVERS AND THEIR WORKS.
563
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1. Viscountess Andover, three-quarter length, 1799, after
Hoppner, very fine, £10 10s.
2. Maurice de Saxe, three-quarter length, in a frame of
stone-work, 9s. 6d.
3. Mrs. Parkyns, after Hoppner, good impression but title
cut away, £1 10s.; again, good, £2 2s.
4. Epponina and Sabinus, after Benjamin West, 1794, good, £1 5s.
5. Cornelia and her Children (Lady Cockburn), after Reynolds,
1792, good, £1 1s.; again, £2 5s.
6. Master Henry Hoare, after Reynolds 1789, proof before
letters, £3 18s.; again in colours, very fine, £15 4s. 6d.
7. The Countess of Euston, after Hoppner, fine, 7 £7s.
8. Lady Langham and Lady Catherine Howard, the pair,
good, £13 13s.
9. Lady Charlotte Duncombe, three quarter length, seated,
1797, good, £6 10s.
10. Lady Charlotte Campbell, good, £5 16s.
11. The Duchess, of Bedford, after Hoppner, fine lettered im-
pression, £11 15s.
Wille (Johann Georg).-Born near Konigsberg in
1715; died at Paris in 1808. This artist, who was perhaps
a pupil of Rigaud, has a high reputation for the way in
which he handled the graver, no one ever having surpassed
him in the clearness and beauty of the strokes which he
laid with that instrument. His style is peculiarly
adapted to express silks, satins and all kinds of glossy
draperies an instance of which occurs in the print numbered
4 below, where the white satin dress of Cleopatra is
marvellously rendered.
1. L'Observateur Distrait, after Mieris, fine, 18s.; another
impression, fine and clean, £1 12s.
2. Musiciens Ambulans, after Dietrici, fourth state, with the
final "e" in "Electorale," very rare, £7 7s.
3. Tante de Gérard Dow, proof with the arms before the
inscription, £1 1s.
4. Death of Cleopatra, after Netscher, good; proof with the
arms but before all letters, £7.
5. Frederick the Great, three-quarter length, fine impression,
£2 5s.
6. Charles, Prince of Wales, the Young Chevalier, three-
quarter length, in armour, after Tocqué, 1748, scarce,
£4, again, £2 2s., again, £1 10s.
7. Frederick II., of Prussia, after Pesne, good, £1.
8. La Tricoteuse, after Mieris, fair, 8s.; another impression,
very fine proof with in. of margin, £5 10s.
564
ENGRAVINGS AND THEIR VALUE.
9. Maurice de Saxe, 1745. One of his best prints, after
H. Rigaud, fair, 16s.
10. François Poisson, Marquis de Marigny, fair, 10s.
11. The Cardinal of York, old impression, 16s.
12. The Death of Marc Anthony, after Battoni, before all
letters, £1 15s.
13. Le Concert de Famille, after Schalken, proof with the arms,
but before all letters, rare, £8 15s.
14. L'Instruction Paternelle, after Terburg, proof with the
border, but before all letters and the arms, very fine,
£20.
15. Le Jeune Joueur d'Instrument, after Schalken proof before
arms and all letters, very fine, £8 8s.
16. La Devideuse, La Liseuse, both after Gerard Dow, and
both proofs, the former with the arms and the latter
before, but both before all letters (2), £22 10s.
Williams (Roger). A mezzotint engraver, who
flourished between the years 1680 and 1704. He executed
nothing but portraits and, as in the case of all other
mezzotint engravings of this era, good impressions are
rare and valuable. As a rule, examples offered for sale
have their margins cut, and this, of course, reduces the
value considerably. The style of the artist is bold and
masterly. He succeeded best in his plates after Wissing.
1. John, Lord Cutts, after Wissing, 7s. 6d.
2. Henry Somerset, Duke of Beaufort, after Wissing, good,,
£2 5s.
3. Sir Charles Cotton, after Riley, proof before any letters
with margin, £22 10s.
4. Sir George Rooke, after Dahl, fine, £1 5s.; again, 11s.
5. Dr. Sir Richard Blackmore, after Clostermann, fair, 10s. 6d.
6. Sir Edward Littleton, after Van Dyck, fine and rare, £3 18s.
7. William Duke of Bedford, after Lutterell, scarce, £1.
Williamson (Peter).-This artist appears to have been
living in London about the year 1666. His prints are
executed with the graver only but not in a very correct
or pleasing style. They are, however, scarce.
1. Charles II., in large oval, 1661, very fire and rare,
£1 11s. 6d.
2. Catherine, Queen of Charles II., 1662, rare, £1 8s.
3. Mildmay Faue, Earl of Westmoreland, 1662, fine, £1 13s.
Willmore (Arthur).—This engraver
engraver was born at
Birmingham in 1814; died at London in 1888. Many of this
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ENGRAVERS AND THEIR WORKS.
565
i
artist's plates will be found in the "Art Journal" and other
books of an artistic character. He engraved many plates
after Turner, Doré, Copley Fielding, and other excellent
artis.s.
Willmore (James Tibbetts).-Born at Erdington,
Staffordshire in 1800; died in 1863. Many of this artist's
plates are after Turner, and with these he was peculiarly
successful. Several plates in "The Rivers of France" are
by him. See also Turner J.M.W.
1. The Old Téméraire, after Turner, artist's proof, on india-
paper, fine, £4 4s.
2. Mercury and Argus, after Turner, good impression, £1 1s.
3. Crossing the Bridge, after Landseer, fine, £1.
4. Ancient Italy, after Turner, good average impression, with
margin, £1 10s.
5. The Lake of Windermere, after Turner, fair, 8s.
6. The Golden Bough, after Turner, proof on india paper,
fine, £3 5s.
7. Dover, after Turner, and Hastings, after the same, each
measuring 29% ins. by 23, ins., the pair, good, 16s.
Wilson (James).-This engraver in mezzotint was,
according to Redgrave, born about the year 1735 and died
about 1780. His works are of little importance, being
chiefly copies and only tolerably well executed. The name
"T. Wilson" which appears on some of his plates is probably
a mistake, there being no evidence of the existence of any
contemporary artist bearing the same surname.
Woensam (Anton).-This celebrated painter and
engraver on wood flourished at Cologne during the earlier
part of the 16th century. He is also known by the name
of Anton van Worms. The artist's works, which closely
resemble those of Albrecht Dürer, are in the gothic style,
and were for the most part engraved for Bibles and other
works of a similar kind. Among his cuts, all of which
are scarce, are a set of the Apostles, "Paradise," and
"St Jerome," all executed for the Cologne Bible of 1529,
and a view of the City of Cologne, 1531, from nine blocks.
Wohlgemuth (Michael).-This old master was born
1
566
ENGRAVINGS AND THEIR VALUE.
at Nuremberg in 1435. His prints are scarce, and for
several years past but few specimens of any importance
have been sold by auction. Indifferent and "laid down"
impressions occasionally appear, and even then command
high prices, as, for example, "St. George and the Dragon,"
after Schongauer, which though "laid down," or pasted on
a cardboard background, brought £6 6s. some time ago.
This artist, in conjuction with Pleydenwurff, whose widow
he married, designed the illustrations for the "Nuremberg
Chronicle," Wohlgemuth was the master of Albrecht Dürer,
and perhaps identical with the mysterious "Master of W”
whom some authorites identify with Wenzel von Ollmütz.
Wolfgang (Georg Andreas).-Born in Saxony in
1630; died at Augsburg in or about the year 1716. This
well-known artist engraved both in line and mezzotint.
The line engravings are not of much value unless very
fine, but the mezzotints invariably command high prices,
as they are scarce. Amongst them may be mentioned
Susannah and the Elders," after Holbein, "A soldier in
Armour, with long hair," and "The Old Man and Woman."
Johann Georg Wolfgang, said to have been a grandson of
Georg Andreas, engraved a considerable number of portraits
which are neater and better executed than those of the
older artist.
Wolstenholme (David). There were two artists of
this name, father and son, both of whom practised as
animal painters and designers of sporting subjects. David,
the younger, appears to have been born at the commence-
ment of the present century. The following among other
prints are attributed to these artists.
1. The set of four fox-hunting scenes, by and after Wolsten-
holme, good coloured impressions (2 slightly damaged),
in contemporary frames, £8 15s.
2. The set of four subjects entitled Pheasant and Woodcock
shooting, old coloured impressions (1 damaged), £4 4s.
Woodman (Richard).—This engraver and draughts-
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ENGRAVERS AND THEIR WORKS.
567
man was, according to Redgrave, born in London on
July 1, 1784 and died on Dec. 15th, 1859. He was apprenticed
to Meadows, an engraver in stipple and afterwards
employed to colour the engraved imitations of Westall's
drawings. He also executed a number of sporting plates,
some of which are mentioned below.
1. Mr. Cooke as "Sir Archy Macsarcasm," whole length,
lettered impression, good, 10s.
2. Lord Worsley, M.P., dated 1844, fine proof, 8s.
3. Lieut.-Gen. Sir George Nugent, fine proof before any letters,
£3 12s.; again, lettered impression, good, 13s.
4. Six sporting prints, after Marshall, comprising Shooting (2),
and Interior of a Stable (1), uncoloured, fair, 12s.
5. Christopher Wilson, equestrian portrait, dated 1842, fine
proof before letters, £1 7s. ; again, lettered impression,
good, 13s.
Woollett (William).—Born at Maidstone in 1735; died at
London on May 23, 1785. The plates of this artist are worked
with a combination of point and graver and he was perhaps
the greatest master where landscapes are concerned, who
has ever lived. He invariably enters into the intention
of the painter and expresses the very spirit of his ideas
on the copper. Woollett also engraved a considerable
number of portraits and historical subjects.
1. The Enchanted Castle, after Claude, proof before letters,
£2.
2. Landscape, with a sacrifice to Apollo, called the Altieri
Claude, proof, £4 10s.
3. Morning and Evening, after Swanevelt, proofs (2), £1 17s.
4. Happy Peasants, after Dusart, and the Jocund Peasants,
after the same, both proofs before all letters, excepting
the artists names which were etched in, very fine, £13 13s.
5. The four Shooting pieces, after Stubbs, fine proofs (4),
£12 12s.
6. The Spanish Painter, proof, very fine, £1 11s.
7. The Haymakers, after Smith, fine proof, £1 10s.
8. The Apple Gatherers, after the same, proof, 19s.
9. The Merry Villagers, after Jones, proof, fine, £ 10s.
10. Diana and Aciæon, after Lauri, proof with arms, £1 5s.
11. Peter Paul Rubens, three-quarter length, proof, names and
address merely etched in, £2 2s.
12. Tobias and the Angel (19 ins. by 15 ins.) 1785, fair, 16s.
13. The Battle at La Hogue, after West, good, £1 12s.; again
early impression, £3 15s.
1
568
ENGRAVINGS AND THEIR VALUE.
14. Niobe, fine, with margin, £1 18s.
15. Phæton, proof before letters, very fine, £5 5s.
16. The Temple of Apollo, after Claude, proof before letters,
very fine, £4 4s.; again, engraver's unfinished proof, 12s.;
again, good finished proof, £1.
17. The first Premium Landscape, on india paper, £1 8s.;
again, proof before letters, 18s.; again, very fine proof,
£2 12s.
18. The Death of General Wolfe, after West, fair £1; again,
proof, open letters on India paper, £8.
19. Cicero at his Villa, after R. Wilson, fine £3 18s.
Worms (Anton van).-See Woensam (Anton).
Wren (Sir Christopher).-This architect, who was
born in Wiltshire in 1632, was supposed at one time to
have been the actual inventor of the mezzotint process
of engraving. That he worked in that style is certain,
but it is almost equally certain that he obtained a
knowledge of the process from Prince Rupert, who himself
obtained it from Germany. Two prints by Wren are
known to be in existence; they consist of heads of negroes,
and examples of both are in the British Museum. These
are extremely scarce.
Young (John). -A mezzotint engraver of considerable
repute who was born 1755; he died at London in 1825.
His best plate of a general character is a representation
of the fight between Broughton and Stevenson, after
Mortimer. His portraits are, however, his most important
productions.
1. The Distressed Girl, after Page, proof, £1 2s.
2. The Country Girl, after W. Paye, fine and rare, £2.
3. The Watercress Girl, after Zoffany, fair, 10s.
4. The Oyster Girl, after Huck, very fine proof, with full
margin, £2 10s.; again, fair lettered impression, 6s.
5. Lady Charlotte Greville, whole length, kneeling, after
Hoppner, fine proof, with the names etched in, £36.
6. Lord Nelson, full length, after John Rising (28 ins. by 18 ins.),
fair, 12s.
7. The Boy discovering the golden eggs, in colours, fair, £1 10s.
8. Catherine, Lady Hampden, after Hoppner, fine, £2 12s.
9. Mrs. Gwynn, after Hoppner, fine and rare, £4.
10. Lady Arne Lambton and family, after the same, very fine
first state, £325; the same print, lettered, in colours,
£23 2s.
ENGRAVERS AND THEIR WORKS.
569
1
11. The Show, after the same, fine first state, £10 10s."
12. Mrs. Hoppner, after Hoppner, fine proof, £47 10s.
13. Mrs. Orby Hunter, fine second state, £105.
14. Mrs. Bunbury, after Hoppner, open letter proof, fine, £7 Ts.
15. Coach Horses, after Giffard, fair, 14s.
16. The French Conscript, after Stothard, in colours, good,
£1 6s.
17. Eliza, after J. Hoppner, second state, £16 16s.
18. Lady Charlotte Cavendish Bentinck, after Hoppner, in
colours, very fine, £131 5s.
Zabelli (Antonio). - Born at Florence about the year
1740, and died there in 1796. This artist's plates are
almost all after pictures at Naples, although he engraved
several portraits for the Francesco Allegrini collection,
published at Florence in 1762. As a rule, the value of
Zabelli's prints is small.
Zagel (Martin).-A goldsmith's engraver, who was,
according to Bryan, working at Munich in 1500. He is
stated by some to have been born at Nuremberg. This
artist's prints invariably command high prices when in
good condition, which, however, is very rarely the case
since he worked in a very delicate style upon soft metal
with the result that his plates soon got worn. When
retouched they appear greatly inferior.
1. Solomon Adoring the Idol (dated 1501), brilliant, £4 10s.
2. The Martyrdom of St. Sebastian, fair, £1 5s.; again, 6s.
3. The Martyrdom of St. Catherine, fine, £25 10s.; again,
early impression, but much repaired, £6 10s.; again,
WO 10s.
4. St. Ursula, fair, 16s.
5. The Tournament, fine impression of a very rare print,
£13 10s.; again, very good, £6.
6. Socrates and Xantippe, rare, £15.
7. Light and Darkness, a very rare print, good, £13 13s.
8. The Virgin and Child in a Landscape fine, £2 10s.
9. The Couple Embracing in a Chamber, fine and rare, £12 12s.;
again, fine, £7 7s.
10. The Thoughts of Death, good, £3 12s. 6d
11. The Grand Ball, fine, £7 7s.
12. The Subjection of Man, good, £3 3s.
Zatzinger (Martin).- See Zagel (Martin).
Zeeman (Remigius). — This artist, who is also called
by the name of Renier Nooms, was born at Amsterdam
570
ENGRAVINGS AND THEIR VALUE.
about the year 1610, and died there about 1676. His
plates are etched in a bold, spirited style.
1. A number of marine views, shipping, &c., fine proofs, rare
(12), £3 10s.
2. Twenty-three views in Amsterdam, shipping pieces, &c.,
fair, 17s.
3. Twenty-five small landscapes, fair, 18s.
4. Eight etchings of Paris and its environs (subsequently
copied by Méryon), good, £1 18s. 6d.
5. A Sea view, with sawyers at work on the beach, first
state, rare, £2.
6. Set of Marine pieces (8), first state, with the address of
Dankerts, £3.
7. The Meeting of Fishermen, first state, before the address
of Dankerts, very rare, £2 4s.
Zenoi (Domenico).-An Italian engraver, living about
1570. This artist is supposed to have been a pupil of
Marco da Ravenna, as he worked in a style greatly
resembling that of the artist in question.
1. Francis I. entering the Temple of Jupiter, after Rosso,
and three portraits of the House of Austria (4), 10s. 6d.
2. The set of portraits inscribed "Illustrium Jurisconsultorum
Imagines" (13), fine and rare, £5 10s.; another set,
good, £2.
Zijlvelt (Adam). - Born at Amsterdam about the year
1640. This engraver imitated the style of Jan Vissch er
with considerable success.
1. Cornelis Bosch, proof, very fine, £3 5s.
2. Dirk Cuerenhert, the engraver, good, £1.
3. Christoph Wittichius, professor at Leyden, fine impression,
with margin, £4 4s.
Zingg (Adrian).—Born at St. Gall in 1734, died at
Dresden in 1816. This artist's prints, which number over
100, consist entirely of landscapes and views, of small
value, as a rule.
Zobel (George). - This engraver was born at the com-
mencement of the present century and is stated to have
died in 1881. His plates shew traces of the graver and
point and he also worked in the line manner. Bryan
states that between 1834 and 1874 he contributed thirty-
ENGRAVERS AND THEIR WORKS.
571
eight proofs to the exhibitions of the Royal Academy and
Society of British Artists, and every one is likely to
remember his numerous plates after Landseer. Among
the artist's best known productions are "Can't you talk?”
after G. A. Holmes, Mrs. Payne Gallway and infant, after
Sir Joshua Reynolds and the plates after Landseer, before
named. These last are for the most part of comparatively
small size and their value is not as great as it once was.
None of the plates by Zobel seem to be in great demand
at the present time.
Zuccarelli (Francesco). -This celebrated painter was
born in Tuscany about the year 1702; died at Florence
in 1788. During the early portion of his career he executed
a few spirited etchings after the designs of Andrea Del
Sarto and Giovanni Menozzi. These are not, as a rule,
of much value.
Zucchi (Andrea).—A celebrated painter and engraver,
who was born at Venice in 1676, and died there in 1740.
His two sons, Francesco and Lorenzo, who were born at
Venice in 1696 and 1704 respectively, also executed a
number of plates, which, though good, are not equal to
those of their father. Among his prints the following are
highly esteemed:
1. Cybele in a Car, after Tintoretto, good, £1.
2. St. John the Baptist, after Paolo Veronese, fair, but cut, 6s.
3. Eneas Rescuing Anchises, after Ricci, good, 16s.
4. The Birth of the Virgin, after Bambini, fair, 8s.; another
impression, very fine, with margin, £2 10s.
5. The Muse Erato, after Angelica Kauffman, tinted, £1 10s.
Zucchi (Francesco and Lorenzo).-See Zucchi
(Andrea).
Zundt (Mathias).—This engraver is supposed to have
been born at Nuremberg in 1498; and to have died there
in 1586. He worked with the point and also at times,
with the graver, producing allegorical and scriptural
subjects and occasionally portraits.
572
ENGRAVINGS AND THEIR VALUE.
1
1. Four ornaments with Allegorical figures, fair, 12s.
2. Portrait of Louis III., dated 1568, good, 8s. 6d.
Zwoll.-Named by Bartsch "Le Maître à la Navette,"
or Master of the Shuttle" whom see). It may be stated,
however, that the identity of this engraver is by no means
clear, though strong evidence has lately been produced to
connect him with Johann Von Koln. The whole of his
prints, seventeen of which are in the British Museum,
are excessively rare, and very valuable when in anything
like condition.
J
INDEX.
**
"Addresses." Publishers', 59.
Advice. Recapitulation of, 94.
Andrea (Zoan). Judith and
Holofernes," 47.
Aquatint-engraving. Process of,
20.
•
Artist's Proofs, 42.
Auctioneers' Catalogues, 79.
Block Books, 4.
Blocks. Worm eaten, 39.
Xylographic, 11.
Books of Reference, 25, 86.
"Brussels Print." The, 4.
Burin. The, 13.
Burr." What is, 41.
Cameo. Engraving in, 10.
Catalogues. Auctioneers', 79.
Caxton (W.). "Book of the
Chesse Moralysed, 12.
Chiaro-scuro. Engraving in, 17.
The earliest print in, 19.
Engraving. Representative ar-
tists of the Northern and
Southern Schools, 31.
Cleaning processes, 61.
Collection. Forming a, 23.
Collections. Prints from noted,55.
Collectors. Systems followed by,
25.
Marks, 50.
Colours. Printing in, 15.
Copies. Collecting, 30.
แ
Copies. Remarks on, 46.
Of Prints, taking by mecha-
nical process, 69.
Counter-proofs. What are, 43.
Cradle," The, 16.
Cross-hatching, 37.
Damp. Effects of, 66.
Devices. Collectors', 54.
Dimensions of Prints, 40, 49.
Dotted Prints, 13.
Manner. Engraving in the, 13.
Dry Point, 13.
Engravers. Various schools of,
30.
Engraving. Definition of, 1.
On Wood, 8, 9.
On Wood and Metal.
Antiquity of, 6.
Various processes of, 8-22.
Engravings. See Prints.
Etchers. Short list of (Various
schools), 34.
Etching. Process of, 14.
The most ancient, 15.
Finiguerra (Maso). Worker in
Niello, 3.
"Fond Sale." What is, 41.
Forged prints, 45.
Watermarks on paper, 38.
Fox marks. Removing, 66.
Framing prints, 75.
INDEX.
Gamble
น
(James). His colour
prints, 16.
Glass. Transferring designs to,69.
Grangerizing." What is, 78.
Graver. The, 13.
Grease spots. Removing, 62.
Historical References, 2.
Hudson. Anecdote of, 48.
LL
Hundred Guilder" Print. Pre-
sent value of, 27.
Impression. Characteristics of
a good, 36.
Characteristics of an early, 40.
Impressions. Modern, 38.
India Paper. What is, 42.
Indian Ink applied to prints, 69.
Intaglio. Engraving in, 11, 12.
Japanese Paper, What is, 43.
"Laid Down" prints, 43.
Le Blon (J. C.). His colour
prints, 15.
Line Engraving. Process of, 19,
20.
Lithography. Process of, 22.
Little Masters. The, 32.
Margins. False, 44.
Marks. Collectors', 50.
Master." The meaning of, 35.
"Mazarin Crucifixion." The, 14.
"Mercurius Civicus" (News-
paper). The, 11.
Metal. Engraving on, 12.
Engravers on. Short list of
artists of the different schools,
31.
Mezzotinto Engraving. Process
of, 16.
Short list of Engravers in, 33.
Modern Impressions, 38.
Mounting Prints, 71.
Needle. The, 13.
Newspaper. The first English
Illustrated, 11.
Niello. Working in, 3.
Prices of impressions from
work in, 7.
Nigellum. Composition of, 3.
Open letter proofs, 42.
Paper. Description of old, 11.
India, what is, 42.
Japanese, what is, 43.
Watermarks on, 38, 55.
"Parcels." Buying, 23, 80.
Plate-marks, 49.
Pontuseaux. What are, 57.
Preservation of Prints, 71.
Press. Use of a Printing, 11.
Prices of Prints, 76.
Prints. Cleaning, 61.
Copies of, 46.
Dimensions of, 40, 49.
Dotted, 13.
Earliest Known, The, 4, 5.
Forged, 45.
From noted collections, 55.
Framing, 75.
How to take copies of, 69.
"Laid Down," 43.
Most ancient, The, 4, 5.
Mounting, 71.
Preservation of, 71.
Repaired, 43.
Staining, 63.
Storing, 72.
Values of, 76.
Proofs before letters, 42.
Various Kinds of, 4.
59.
Publisher's "Addresses,"
Purchasers. Rules for, 49, 94.
Recipes for cleaning prints, 62.
Reference Books, 25, 86.
Register. Effect of a bad, 18.
Relief. Engraving in, 10.
Remarque Proofs, 42.
Rembrandt's Etchings. High
prices of, 27.
แ
Goldweigher," 47.
Hundred Guilder" Print, 27.
The Mill," 47.
"Resurrection of Lazarus," 47.
Repaired Engravings, 43.
Reprints, 38.
Retouching, 37.
Ruler. The, 20.
•
INDEX.
¡
}
Rules for purchasers, 49, 94.
Rupert (Prince). Engraver in
Mezzotint, 17.
"St. Christopher." The, 5.
Sales by auction. Attending, 79.
Schools of Engravers. A short
list of, 30.
Scraper. The, 13.
Senefelder (Alois). Discoverer of
Lithography, 22.
"Shake." What is a, 38.
Siegen (Ludwig von). His Mezzo-
tinto process, 16.
Staining prints. Method of, 68.
"State." Meaning of, 29, 42.
Stipple. Engraving in, 13.
Sulphur Casts, 5.
Casts. Prices of, 7.
Surface dirt. Removing, 63.
Systems followed by Collectors,
25.
Technical Terms, List of, 81.
Vamping. Various processes of,
39.
Watermarks. Forged, 38.
On paper, 55.
Wood Blocks, 4, 9.
Wood-cuts. The Munich for-
geries, 46.
Wood engraving. Later artists,
31.
Engraving. Process of, 9.
Engraving. Representative ar-
tists of the Northern
and Southern Schools, 30.
Worm Holes. Repairing, 67.
Xylographic Blocks, 11.
MAY 25 1921
Catalogue of Practical Handbooks
Published by L. Upcott Gill, 170,
Strand, London, W.C.
ANGLER, BOOK OF THE ALL-ROUND.
A Comprehensive
Treatise on Angling in both Fresh and Salt Water. In Four Divisions,
as named below. By JOHN BICKEROYKE. With over 220 Engravings.
In cloth, price 5s. 6d., by post 6s. (A few copies of a LARGE PAPER
EDITION, bound in Roxburghe, price 25s.)
Angling for Coarse Fish. Bottom Fishing, according to the
Methods in use on the Thames, Trent, Norfolk Broads, and elsewhere.
Illustrated. In paper, price 1s., by post 1s. 2d.
Angling for Pike. The most Approved Methods of Fishing
for Pike or Jack. Profusely Illustrated. In paper, price 1s., by post
1s. 2d.; cloth, 2s. (uncut), by post 2s. 3d.
Angling for Game Fish. The Various Methods of Fishing for
Salmon Moorland, Chalk-stream, and Thames Trout; Grayling and
Char. Well Illustrated. In paper, price 1s. 6d., by post 1s. 9d.
Angling in Salt Water. Sea Fishing with Rod and Line, from
the Shore, Piers, Jetties, Rocks, and from Boats; together with Some
Account of Hand-Lining. Over 50 Engravings. In paper, price 18., by
post 1s. 2d.; cloth, 2s. (uncut), by post 2s. 3d.
AQUARIA, BOOK OF.
OF. A Practical Guide to the Construction,
Arrangement, and Management of Fresh-water and Marine Aquaria;
containing Full Information as to the Plants, Weeds, Fish, Molluscs,
Insects, &c., How and Where to Obtain Them, and How to Keep Them
in Health. Illustrated. By REV. GREGORY C. BATEMAN, A.K.C., and
REGINALD A. R. BENNETT, B.A. In cloth gilt, price 5s. 6d., by post 5s. 10d.
AQUARIA, FRESHWATER : Their Construction, Arrangement,
Stocking, and Management. Fully Illustrated. By REV. G. C. BATE-
MAN, A.K.C. In cloth gilt, price 3s. 6d., by post 3s. 10d.
AQUARIA, MARINE: Their Construction, Arrangement, and Manage-
ment. Fully Illustrated. By R. A. R. BENNETT, B.A. In cloth gilt,
price 2s. 6d., by post 2s. 9d.
AUSTRALIA, SHALL I TRY? A Guide to the Australian
Colonies for the Emigrant Settler and Business Man. With two
Illustrations. By GEORGE LACON JAMES. In cloth gilt, price 3s. 6d.,
by post 3s. 10d.
AUTOGRAPH COLLECTING: A Practical Manual for Amateurs
and Historical Students, containing ample information on the Selec-
tion and Arrangement of Autographs, the Detection of
of Forged
Specimens, &c., &c., to which are added numerous Facsimiles for
Study and Reference, and an extensive Valuation Table of Auto-
graphs worth Collecting. By HENRY T. SCOTT, M.D., L.R.C.P., &c.
In leatherette gilt, price 7s. 6d., by post 7s. 10d.
BAZAARS AND FANCY FAIRS: Their Organization and Manage-
ment. A Secretary's Vade Mecum. By JOHN MUIR.
price 1s., by post 1s. 2d.
In paper,
175 C 8/96
•
2
Published by L. UPCOTT GILL,
BEES AND BEE-KEEPING: Scientific and Practical. By F. R.
CHESHIRE, F.L.S., F.R.M.S., Lecturer on Apiculture at South Kensington.
In two vols., cloth gilt, price 16s., by post 16s. 8d.
Vol. I., Scientific. A complete Treatise on the Anatomy and
Physiology of the Hive Bee. In cloth gilt, price 7s. 6d., by post 7s. 10d.
Vol. II., Practical Management of Bees. An Exhaustive
Treatise on Advanced Bee Culture. In cloth gilt, price 8s. 6d., by
post 9s.
BEE-KEEPING, BOOK OF.
A very practical and Complete Manual
on the Proper Management of Bees, especially written for Beginners
and Amateurs who have but a few Hives. Fully Illustrated. By
W. B. WEBSTER, First-class Expert, B.B.K.A. In paper, price 1s.,
by post 1s. 2d.; cloth, 1s. 6d., by post 1s. 8d.
BEGONIA CULTURE, for Amateurs and Professionals.
Containing
In
Full Directions for the Successful Cultivation of the Begonia, under
Glass and in the Open Air. Illustrated. By B. C. RAVENSCROFT.
paper, price 1s., by post 1s. 2d.
BENT IRON WORK: A Practical Manual of Instruction for Amateurs
in the Art and Craft of Making and Ornamenting Light Articles in
imitation of the beautiful Medieval and Italian Wrought Iron Work.
By F. J. ERSKINE. Illustrated. In paper, price 1s., by post 1s. 2d.
BIRDS, BRITISH, FOR THE CAGE AND AVIARY. Illus-
trated. By DR. W. T. GREENE.
[In the Press.
BOAT BUILDING AND SAILING, PRACTICAL. Containing
Full Instructions for Designing and Building Punts, Skiffs, Canoes,
Sailing Boats, &c. Particulars of the most suitable Sailing Boats and
Yachts for Amateurs, and Instructions for their Proper Handling. Fully
Illustrated with Designs and Working Diagrams. By ADRIAN NEISON,
C.E., DIXON KEMP, A.I.N.A., and G. CHRISTOPHER DAVIES. In one vol.,
cloth gilt, price 7s. 6d., by post 7s. 10d.
BOAT BUILDING FOR AMATEURS, PRACTICAL. Contain-
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Sailing Boats, &c. Fully Illustrated with Working Diagrams. By
ADRIAN NEISON, C.E. Second Edition, Revised and Enlarged by DIXON
KEMP, Author of "Yacht Designing,' "A Manual of Yacht and Boat
Sailing," &c. In cloth gilt, price 2s. 6d., by post 2s. 9d.
BOAT SAILING FOR AMATEURS.
Containing Particulars of
Illustrated with numerous
Second Edition, Revised and
the most Suitable Sailing Boats and Yachts for Amateurs, and Instruc-
tions for their Proper Handling, &c.
Diagrams. By G. CHRISTOPHER DAVIES.
Enlarged, and with several New Plans of Yachts. In cloth gilt, price 5s.,
by post 58. 4d.
BOOKBINDING FOR AMATEURS: Being Descriptions of the
various Tools and Appliances Required, and Minute Instructions for
their Effective Use. By W. J. E. CRANE. Illustrated with 156 Engrav-
ings. In cloth gilt, price 2s. 6d., by post 2s. 9d.
BUNKUM ENTERTAINMENTS: A Collection of Original Laugh-
able Skits on Conjuring, Physiognomy, Juggling, Performing Fleas,
Waxworks, Panorama, Phrenology, Phonograph, Second Sight,
Lightning Calculators, Ventriloquism, Spiritualism, &c., to which are
added Humorous Sketches, Whimsical Recitals, and Drawing-room
Comedies. In cloth, price 2s. 6d., by post 2s. 9d.
BUTTERFLIES, THE BOOK OF BRITISH : A Practical
Manual for Collectors and Naturalists. Splendidly Illustrated through-
out with very accurate Engravings of the Caterpillars, Chrysalids, and
170, Strand, London, W.C.
3
Butterflies, both upper and under sides, from drawings by the Author
or direct from Nature. By W. J. LUCAS, B.A. Price 38. 6d., by post 3s. 9d.
BUTTERFLY AND MOTH COLLECTING: Where to Search,
and What to Do. By G. E. SIMMS. Illustrated. In paper, price 18.,
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CACTUS CULTURE FOR AMATEURS: Being Descriptions of
the various Cactuses grown in this country; with Full and Practical
Instructions for their Successful Cultivation. By W. WATSON, Assistant
Curator of the Royal Botanic Gardens, Kew. Profusely Illustrated.
In cloth gilt, price 5s., by post 5s. 4d.
CAGE BIRDS, DISEASES OF: Their Causes, Symptoms, and Treat-
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GREENE, F.Z.S. In paper, price 1s., by post 18. 2d.
CANARY BOOK. The Breeding, Rearing, and Management of
all Varieties of Canaries and Canary Mules, and all other matters
connected with this Fancy. By ROBERT L. WALLACE. Third
Edition. In cloth gilt, price 5s., by post 5s. 4d.; with COLOURED
PLATES, 68. 6d., by post 6s. 10d.
General Management of Canaries. Cages and Cage-making
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Moulting, Pests, &c. Illustrated. In cloth, price 2s. 6d., by post 2s. 9d.
Exhibition Canaries. Full Particulars of all the different
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CANARY, THE PET. With some Instructions as to its Purchase,
Diet, Toilette, Cage, and Sanitary Keeping. Illustrated. By W. H.
BETTS, Hon. Treas. Cage Bird Club. Price 5s., by post 5s. 3d.
CARD TRICKS, BOOK OF, for Drawing-room and Stage Entertain-
ments by Amateurs; with an exposure of Tricks as practised by Card
Sharpers and Swindlers. Numerous Illustrations. By PROF. R. KUNARD.
In illustrated wrapper, price 2s. 6d., by post 2s. 9d.
CARNATION CULTURE, for Amateurs. The Culture of Carnations
and Picotees of all Classes in the Open Ground and in Pots. Illustrated.
By B. C. RAVENSCROFT. In paper, price 1s., by post 1s. 2d.
CATS, DOMESTIC OR FANCY: A Practical Treatise on their
Antiquity, Domestication, Varieties, Breeding, Management, Diseases
and Remedies, Exhibition and Judging. By JOHN JENNINGS. Illus-
trated. In cloth, price 2s. 6d., by post 2s. 9d.
CHRYSANTHEMUM CULTURE, for Amateurs and Professionals.
Containing Full Directions for the Successful Cultivation of the
Chrysanthemum for Exhibition and the Market. Illustrated. By
B. C. RAVENSCROFT. In paper, price 1s., by post 1s. 2d.
COINS, A GUIDE TO ENGLISH PATTERN, in Gold, Silver,
Copper, and Pewter, from Edward I. to Victoria, with their Value.
By
the REV. G. F. CROWTHER, M.A. Illustrated. In silver cloth, with gilt
facsimiles of Coins, price 5s., by post 5s. 3d.
COINS OF GREAT BRITAIN AND IRELAND, A GUIDE
TO THE, in Gold, Silver and Copper, from the Earliest Period to the
Present Time, with their Value. By the late Colonel W. STEWART
THORBURN. With 32 Plates in Gold, Silver, Copper, &c. In cloth
gilt, price 7s. 6d., by post 7s. 10d.
COLLIE, THE. Its History, Points, and Breeding.
Illustrated with Coloured Frontispiece and Plates.
by post 1s. 2d.; cloth, 2s., by post 2s. 3d.
By HUGH DALZIEL.
In paper, price 18.,
4
Published by L. UPCOTT GILL,
COLLIE STUD BOOK. Edited by HUGH DALZIEL. Price 3s. 6d. each,
by post 3s. 9d. each.
Vol. I., containing Pedigrees of 1308 of the best-known Dogs, traced
to their most remote known ancestors; Show Record to Feb., 1890, &c.
Vol. II. Pedigrees of 795 Dogs, Show Record, &c.
Vol. III. Pedigrees of 786 Dogs, Show Record, &c.
COLUMBARIUM, MOORE'S. Reprinted Verbatim from the original
Edition of 1735, with a Brief Notice of the Author. By W. B. TEGET-
MEIER, F.Z.S., Member of the British Ornithologists' Union. Price 1s.,
by post ls. 2d.
CONJURING, BOOK OF MODERN. A Practical Guide to Drawing-
room and Stage Magic for Amateurs. By PROFESSOR R. KUnard.
Illustrated. In illustrated wrapper, price 2s. 6d., by post 2s. 92.
COOKERY FOR AMATEURS; or, French Dishes for English Homes
of all Classes. Includes Simple Cookery, Middle-class Cookery, Superior
Cookery, Cookery for Invalids, and Breakfast and Luncheon Cookery.
By MADAME VALÉRIE. Second Edition. In paper, price 1s., by post 1s. 2d.
CRICKET. The History of a Hundred Centuries, as Written by Dr.
W. G. GRACE, and Edited by W. YARDdley. In paper, 6d., by post 7d.
CUCUMBER CULTURE FOR AMATEURS. Including also
Melons, Vegetable Marrows, and Gourds. Illustrated. By W. J. MAY.
In paper, price 1s., by post 1s. 2d.
CYCLIST'S ROUTE MAP of England and Wales. Shows clearly
all the Main, and most of the Cross, Roads, Railroads, and the Distances
between the Chief Towns, as well as the Mileage from London.
In
addition to this, Routes of Thirty of the most Interesting Tours are
printed in red. Fourth Edition, thoroughly revised. The map is
printed on specially prepared vellum paper, and is the fullest, handiest,
and best up-to-date tourist's map in the market. In cloth, price 1s.,
by post 1s. 2d.
DESIGNING, HARMONIC. Explaining a System whereby an
Endless Variety of Most Beautiful Designs suited to numberless
Manufactures may be obtained by Unskilled Persons from any Printed
Music. Illustrated by Numerous Explanatory Diagrams and Illustrative
Examples. By C. H. WILKINSON. Demy 4to, price £2 2s. [In the Press.
DOGS, BREAKING AND TRAINING: Being Concise Directions
for the proper education of Dogs, both for the Field and for Companions.
Second Edition. By "PATHFINDER." With Chapters by HUGH
DALZIEL. Illustrated. In cloth gilt, price 6s. 6d., by post 6s. 10d.
DOGS, BRITISH, ANCIENT AND MODERN: Their Varieties,
History, and Characteristics. By HUGH DALZIEL, assisted by Eminent
Fanciers. SECOND EDITION, Revised and Enlarged. Illustrated with
First-class COLOURED PLATES and full-page Engravings of Dogs of
the Day. This is the fullest work on the various breeds of dogs kept in
England. In three volumes, demy 8vo, cloth gilt, price 10s. 6d. each, by
post 11s. 1d. each.
Dogs Used in Field Sports. Containing Particulars of the
following among other Breeds: Greyhound, Irish Wolfhound, Blood-
hound, Foxhound, Harrier, Basset, Dachshund, Pointer, Setters,
Spaniels, and Retrievers. SEVEN COLOURED PLATES and 21 full-page
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Dogs Useful to Man in other Work than Field Sports;
House and Toy Dogs. Containing Particulars of the following,
among other Breeds: Collie, Bulldog, Mastiff, St. Bernards, Newfoundland,
Great Dane, Fox and all other Terriers, King Charles and Blenheim
170, Strand, London, W.C.
5
Spaniels, Pug, Pomeranian, Poodle, Italian Greyhound, Toy Dogs, &c.,
&c. COLOURED PLATES and full-page Engravings.
Practical Kennel Management: A Complete Treatise on all
Matters relating to the Proper Management of Dogs, whether kept for
the Show Bench, for the Field, or for Companions. Illustrated with
Coloured and numerous other Plates.
In the Press.
DOGS, DISEASES OF: Their Causes, Symptoms, and Treatment;
Modes of Administering Medicines; Treatment in cases of Poisoning, &c.
For the use of Amateurs. By HUGH DALZIEL. Third Edition. In
paper, price 1s., by post 1s. 2d. ; in cloth gilt, 2s., by post 2s. 3d.
ENTERTAINMENTS, AMATEUR, FOR CHARITABLE AND
OTHER OBJECTS: How to Organize and Work them with Profit
and Success. By ROBERT GANTHONY. In coloured cover, price 1s., by
post 1s. 2d.
FANCY WORK SERIES, ARTISTIC. A Series of Illustrated
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number is complete in itself, and issued at the uniform price of 6d., by
post 7d. Now ready-(1) MACRAMÉ LACE (Second Edition); (2) PATCH-
WORK; (3) TATTING; (4) CREWEL WORK; (5) APPLIQUÉ; (6) FANCY
NETTING.
FEATHERED FRIENDS, OLD AND NEW. Being the Expe-
rience of many years' Observation of the Habits of British and Foreign
Cage Birds. By DR. W. T. GREENE.
[In the Press.
FERNS, THE BOOK OF CHOICE: for the Garden, Conservatory,
and Stove. Describing the best and most striking Ferns and Sela-
ginellas, and giving explicit directions for their Cultivation, the for-
mation of Rockeries, the arrangement of Ferneries, &c. By GEORGE
SCHNEIDER. With numerous Coloured Plates and other Illustrations.
In 3 vols., large post 4to. Cloth gilt, price £3 3s., by post £3 6s.
FERNS, CHOICE BRITISH. Descriptive of the most beautiful
Variations from the common forms, and their Culture. By C. T. DRUERY,
F.L.S. Very accurate PLATES, and other Illustrations. In cloth gilt,
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SNAKES, MARSUPIALS, AND BIRDS. A Charming Book of
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TAXIDERMY, PRACTICAL. A Manual of Instruction to the
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lengthened Preservation; The Dairy; The Cellar; The Pantry; The Kitchen; Receipts for
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Small Motors; Household Law.
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ROWLANDS' ARTICLES
For the HAIR, COMPLEXION, & TEETH, are the
PUREST
GRANT POWDER FROM ORIENTAL HERBS.
ROWLANDS
ODONTO
or PEARL DENTIFRICEfor
PRESERVING & BEAUTIFYING TIE
TEETHANDGUMS,
A ROWLAND & SONS.
20, HATTON GARDEN.
TOT
29. PerBox
ROWLANDS'
AND BEST.
ROWLANDS' ODONTO,
An antiseptic, preservative, and aromatic den-
tifrice, which whitens the teeth, prevents and
arrests decay, and sweetens the breath. It
contains no mineral acids, no gritty matter or
injurious astringents, keeps the mouth, gums,
and teeth free from the unhealthy action of
germs in organic matter between the teeth,
and is the most wholesome tooth-powder for
smokers. It is most beautifully perfumed,
and is a perfect luxury for the toilet-table of
everybody. 2s. 9d. per box.
MACASSAR

OIL
Is the best preserver and beautifier of the hair of children and adults; prevents
it falling off or turning grey, eradicates scurf and dandruff, and is also the best
brilliantine for ladies' and everybody's use, and as a little goes a very long way
it really is most economical for general use; is also sold in a golden colour for
fair-haired ladies and children; it contains no lead or mineral ingredients, has
a most delightfully fragrant bouquet of roses, and is considered the most perfect
toilet luxury ever produced. Bottles, 3s. 6d., 7s., 10s. 6d.
ROWLANDS' KALYDOR,
A most cooling, soothing, healing, and refreshing preparation for the Skin and
Complexion of Ladies, and all exposed to the summer sun and dust, or the cold
and damp of winter; it is warranted free from all mineral or metallic ingre-
dients, or oxide of zinc, of which most Cosmetics are composed, and which ruin
the skin. It effectually disperses Chaps, Chilblains, Freckles, Tan, Sunburn,
Stings of Insects, Redness, Roughness of the Skin; relieves Irritation of the
Skin, Prickly Heat, &c., renders the
SKIN SOFT AND SMOOTH,
and produces a beautiful, pure, and delicate complexion. Size 4s. 6d. and
8s. 6d.; half-sized bottles, 2s. 3d.
ROWLANDS' ESSENCE OF TYRE
effectually dyes red or grey hair a permanent brown or black. 4s.
ROWLANDS'
EUKONIA.
A pure Toilet Powder in three tints, White Rose, and Cream, for ladies of a
Brunette complexion and those who do not like white powder. Boxes, 1s. ;
large boxes, 2s. 6d.
Ask Chemists for ROWLANDS' ARTICLES, of 20, HATTON
GARDEN, LONDON, and avoid spurious imitations.

The Diet of all Lucky Dogs
>
Copyright.
Sprutts Patent Ltd.'



SPRATTS PATENT
DOG CAKES.


Pamphlet on CANINE DISEASES GRATIS.
SPRATTS PATENT LIMITED, BERMONDSEY S.E.

MAY
UNI
UNIVERSITY OF MICHIGAN
』t,! x;
3 9015 01056 9088
Replaced with Commercial Microform 1988
commnccial reph, ordered OMFERSE